As the world continues to learn more about coronavirus and its spread, it's vital to stay up-to-date on the latest developments. However, it's also important to make sure that the information being distributed is from credible sources. To that end, Between The Lines has compiled, [...]
Tori Amos, whose ninth album, “The Beekeeper,” was released Feb. 22, is bringing her Original Sinsuality Tour to the Detroit Opera House April 14.
Each stop on the tour will feature “Tori’s piano bar,” a segment of the show where she’ll do cover songs requested by fans. Amos has an impressive repertoire of cover songs, reworking everyone from Nirvana (“Smells Like Teen Spirit”) to Led Zeppelin (“Thank You”) to Joni Mitchell (“A Case of You”). 2001’s “Strange Little Girls” was an entire CD of songs originally done by men, including Eminem’s “97′ Bonnie & Clyde” and Depeche Mode’s “Enjoy the Silence.”
Her newest album, however, is original Amos. “The Beekeeper” is a one of the most ambitious records of her career. It’s also one of her most political. Amos has always infused her music with feminism, speaking from the place of her most intimate and personal experiences: her rape, her miscarriage, her religious upbringing. “The Beekeeper” is Amos’ response to the world outside of her, specifically to the current social climate in the United States, all the while proving that being a wife and a mother does not a sexless woman make.
“The storm is on the horizon,” says Amos on her website. “It’s coming, this massive force. It can be emotional or physical – or all those things.”
“The Beekeeper” is, according to her website, “very much about these times, and about the struggle to find a bedrock of truth beneath the tangle of lies, mythology, casual assumptions and political manipulation that have formed the cultural landscape of the USA today. For Amos, the problems facing America have less to do with the simplistic duality of ‘red’ and ‘blue’ states than with the ways in which power, faith and relationships have been misunderstood and abused.”
“Beekeeper” is ripe with religious imagery, which won’t surprise fans who are aware of Amos’ strict religious upbringing. But the concept on “Beekeeper” goes far beyond getting off to a picture of Jesus as Amos did on 1994’s “Under The Pink.”
“I wouldn’t be using religious imagery like I am unless it was the vernacular commerce of the week! Ten years ago, the right-wing Christians weren’t holding court in Washington quite like they are today. So maybe I need to reveal some things they’re not – like how women were edited out of the New Testament,” Amos told The Hartford Advocate last month. “That’s really what’s at the core of ‘The Beekeeper’ – realizing that, OK, if we’re going to go into biblical allegory, the garden is there for the Judaic world, the Christian world, and the Islamic world. So let’s create a garden where we also have the ancient feminine there. ‘The Beekeeper’ takes place not in the garden of original sin, but in the garden of original sin-suality.”
Amos has a large and devoted following, many of them women who have been following her musical journey since 1991’s “Little Earthquakes.” For those who have been faithful and patient, “Beekeeper” takes off stylistically where “Scarlet’s Walk” left off, but it also harkens back to the stark beauty of “Earthquakes” – like the song “Toast,” which Amos wrote in response to her brother’s death.
Released at the same time as “Beekeeper” was “Tori Amos: Piece by Piece,” an autobiography Amos wrote with music journalist Ann Powers. The book is an open and intimate look at Amos and her life. Its deeply personal nature compliments the semi-autobiographical explorations of “Beekeeper.” Together, they show the full picture of a wiser and more mature, if not more mellow, Tori Amos.
“When I was in my 20’s, there was a certain questioning I had about myself,” she told the Hartford Advocate March 30. “Hopefully, you’re asking different questions when you’re 41, because life becomes an entirely different ballgame. I’m no longer wondering what kind of woman I’m going to be, which is what I was doing at 26, when I started writing ‘Little Earthquakes.’ I know what kind of woman I am now, for good or ill.”