Amos has the makings of a star: a captivating voice, the ability to write and play compelling songs and a memorable stage presence. But in concert, she doesn't seem to believe her talents are enough. Instead, she resorts to come- hither glances and a sexually suggestive way of sitting at her piano incongruous with her angry, painful lyrics. Meaning to create drama, the singer often pauses and strikes a pose both cloying and disruptive to the momentum of some of her best work, including "Crucify" and "Silent All These Years." These annoyances are heightened by meandering, self-indulgent stories Amos tells between songs.
Tuesday's show was not without merit. Amos was a child prodigy on the piano and it shows - her playing is flawless. Her covers of Led Zeppelin and Nirvana, from an EP released after the album, were unique and startling. And ''Happy Phantom," "Leather," "Mother" and "China," all from Little Earthquakes, rivaled the recorded versions. However, none of her performance surpassed the experience of listening to Amos' CDs.
The true mettle of a performer is tested in concert. It pains me to say she didn't pass the test.