MORE than three decades after London helped launch her career, Tori Amos is back in the city, headlining the Royal Albert Hall for a tenth time.
The US singer is chatty and upbeat despite staying up until 5am, still riding the high of her gig the night before.
With her striking red hair falling in waves and her vivid green eye make-up, Maryland-raised Tori, who has called Cornwall home since the late Nineties, looks every inch the star.
“London was the place that gave me my big exposure explosion,” she says.
“It really did shake my life up. And here we are again.
“London broke Silent All These Years in the autumn of 1991, and then launched [debut album] Little Earthquakes, which rippled out to the States and the rest of the world.
“America really discovered me through London, and then the UK did, too. From there, it just kept rippling outwards.”
On her forthcoming 18th album, In Times Of Dragons, Amos turns political dread, female resistance and personal storytelling into something unique and mythic.
She says: “I’m very reclusive at home and I’m not very sociable there so when I’m on tour I go from this insular life, where I do a lot of reading, music and writing, and step into this much more exposed life.”
The contrast between Amos’s secluded home life and her role as a performer feeds directly into an album shaped by both personal reflection and political unease.
The record is a response to the current political climate in America because, as a songwriter “a lot of my work is documenting time,” she tells me.
“That’s what I did with Little Earthquakes, which followed my time of failure after [her synth band] Y Kant Tori Read when I had to go back to play piano bars.
“I have a history of documenting things — my miscarriage in 1998 and that journey, then my 2002 album Scarlet’s Walk which documented 9/11 when I actually wrote some of it on the tour bus.”
The idea for In Times Of Dragons came through the muses — otherworldly entities — that Amos believes bring her music.
She has spoken widely about these guiding forces, which she says have inspired her songwriting since childhood.
And last year she published children’s book Tori And The Muses, all about them.
She says: “This message came to me through the muses that I needed to document America at this pivotal time in history.
“And I had to personalise this.
“It came to me a year ago that I needed to be me in the story and be closely connected to one of these people, and what that would look like, because they are personally affecting us.
“I had to turn the volume on that to create this narrative, whatever turning into a dragon looks like.”
The album follows the story of Tori trapped in a world run by billionaire tech moguls and lizard dragons, who threaten democracy through corporate greed and authoritarianism.
Amos says: “Jane Mayer writes about the genesis of this in Dark Money, which is one of the most important books people need to read if they’re asking, ‘How did we get here?’.
“This has been going on since the Seventies.
“As Mayer documents, figures like the Koch brothers — and I use that as an umbrella term for a wider movement — helped shape it, along with super PACs [organisations that spend millions supporting political candidates] and all the rest.
“It seems there was an understanding that progressive teaching in universities had to be excavated, cut back and penetrated by a very tight right-wing philosophy that is now upon us.
“And I’m not just talking about Republicans and Democrats. I’m talking about tyranny versus democracy.
“If you had asked me about this even around the Scarlet’s Walk era, I was already going after it through that record, and then through [2007 album] American Doll Posse during the Bush-Cheney administration with the wars, the manipulation, all of that.
“Then there was a period of relief, when a different, more inclusive philosophy came in, whatever your politics are.
“For me, it’s about the philosophy.
“As a songwriter, I’ve been tracking that through my career.
“On this record, I had to take a personal journey and look at the effects of what this very small cabal of men is doing — and there are women involved too, we can’t get confused about that.
“There’s Cambridge Analytica, the involvements of the Mercers, Rebekah Mercer [the right-wing US heiress and political donor] and all those interconnections.”
The album’s story sees Amos’s character flee and reunite with her daughter.
This part is played by her real-life daughter Natashya, who co-wrote tracks Veins, Strawberry Moon and Stronger Together — the latter of which she also sings backing vocals on, and is one of the most emotional songs on the record.
“She was in DC at the time, in law school, and she graduates in a few weeks,” says Amos proudly.
“She’s going into criminal law and really had her finger on the pulse.
“On a daily basis she’s seeing things that the wider public probably isn’t, unless you’re a political journalist.
“We’re so inundated that the little freedoms being quietly taken away can be missed.
“Criminal law is her calling.
“So, writing these songs with her, with her understanding of what’s happening in the field she’s chosen, and her exposure to the shock of what is being torn to pieces, was hugely important.
“She says we are past constitutional crisis and what’s going on is absolutely shocking.”
The final song, written last- minute for the album, is Ode To Minnesota — a response to the deaths caused by ICE agents there.
She says: “Heinous, atrocious crimes are being committed and so this is the world of the record.”
Amos, 62, has a long history of addressing America in song, and In Times Of Dragons continues that while exploring wider patterns of male power.
It’s also a reminder of her role as a feminist icon and the influence she’s had on artists such as Lady Gaga, Florence Welch and St Vincent (real name Annie Clark).
“Annie’s one of my dear friends,” she says of St Vincent.
“She’s fabulous. We have a giggle and I’m thrilled for her, for her art, and for the way she’s balancing motherhood so beautifully.
“It’s lovely to see people who came to my shows when they were younger.
“She’s talked to me about Choirgirl [Tori’s 1988 album From The Choirgirl Hotel] and what it meant to her when she first heard it, and we’ve had laughs about that.
“And it’s the same with the guys too.
“I’m off to an event later and the guy doing the Q&A used to stand by the stage door as a teenage gay kid.
“To see these people grow up, and to still be able to bask in their creativity and development, is a beautiful thing to witness.”
But while Amos is moved by the artists and fans who have grown up with her work, she is hesitant to define her own feminist legacy.
She says: “It’s not for me to say, that’s more for other people to decide.
“Believe it or not, I’m a bit introverted about that.
“What I think I’ve tried to do, and what I have done, is there for those who know it.
“What’s important to remember is that there was no social media then.
“When people ask, ‘Was it easier back then?’, well, in some ways no, and in others yes.
“We did have a music business with a few women in record companies, though only a few in executive positions.
“One or two could balls their way through, but you really had to.
“And if you didn’t have that tenacity in the Nineties — especially to get played on radio — it was tough.
“At an alternative station in the States, they might add two women out of 64 slots, and the other 62 would be men.
“I’ve spoken about that with some of my contemporaries over the years, Alanis [Morissette] being one of them, and it was not a good feeling — knowing that talented women with very good records were simply not being added to the station.
“And touring took money.
“That’s why I never had tour support.
“In the early days, I went out with just a piano, my tour manager and a sound guy. That was it.
“We kept the costs down, and luckily the shows sold out, because the Press had really got behind me.”
Today, Amos points to Dolly Parton as proof that women can keep evolving, performing and owning the stage on their own terms as they get older.
“She is fantastic and she’s aware we are a different generation that played this game and played it well,” says Amos.
“There are women who are still playing the game beautifully, and they still have the physicality and the health to do it.
“I used to have a three-and-a-half octave range when I was doing those one-woman shows.
“But with the change of life — becoming a dragon, if that’s the menopause analogy — you adapt or you collapse.
“For me, it wasn’t a crisis in the way it has been for some women we’ve read about in the Press, and I have huge empathy for that.
“But vocally, I did have to make changes.
“I didn’t want to alter the top lines of songs with those very high, wide-ranging melodies, so on the last tour I simply didn’t play them.
“Then I thought, ‘No, that isn’t what I want.
“I want the whole catalogue available to me as a storyteller’.
“So, I decided to bring in backing singers who could hit those notes.
“It was a strategic, compositional choice.
“I didn’t want to be in a position where I could only perform 40 per cent of my catalogue because of range.
“And we’re having a blast.
“They’re amazing singers.
“I’ve gained four notes at the lower end and I feel like I’m down there rocking with Nick Cave, but that’s the trade-off.
“I gained more on the lower end, while recognising that if I want to play those songs, you can only transpose them down so far before they lose their essence.
“I have so much respect for Nick Cave.
“I used to run into him in the early Nineties.
“His work has always been a beacon of beauty and darkness — expansive work that makes you think.”
Like Cave, Amos remains restlessly creative, and she is already thinking about where to go next.
“After something as demanding as this, I’m doing a prequel to children’s book Tori And The Muses — that will be out next year,” she says.
“Her journey as a little girl with her muses.
“It’s due next April — and there may be music to go with it too.”
- In Times Of Dragons is out on May 1.