On the surface, the pairing of Evanescence and Lindsey Stirling on 31-date summer tour seems questionable. The former, a goth rock band responsible for the anthems of the early 2000s “Bring Me To Life” and “My Immortal,” known for singer Amy Lee’s ethereal seems the complete opposite to the latter, a virtuoso violinists who’s amassed over 10 million YouTube subscribers after first introducing herself to the world on Season 5 of “America’s Got Talent.” However, on this summer tour, the coupling is seamless.
Why? Well to start, both acts are linking up with a local orchestra in each city to help put on the larger than life show. There’s only a few artists out there right now that could pull this off and to great effect. Evanescence proved with the 2017 release Synthesis, which features a collection of songs from the band’s career rerecorded with a deeper, more dramatic orchestration, that more classical approach is ideal. For Stirling, it’s even more obvious considering the violinist has performed with an orchestra more than once before. Not to mention the two artists collaborated for Evanescence’s single “Hi-Lo” last year.
The full orchestra made for a unique sensory experience, starting with Evanescence, who took the stage first (because the two acts are alternating who goes first in each city). Although it took a moment for the experience to kick in. The last glimpse of the bright setting sun beamed into the amphitheater overexposing the band’s dark and stormy feel to start. But once the sun went under the horizon, Evanescence pleased each of the five senses. Songs like “Overture,” which features Lee behind the piano keys, and “Lacrymosa” showcase the vocalist’s witchery and brooding voice. Visually, she’s backed by large LED screens which only exist to darken the mood with videos of crows flying through gloomy storm clouds. The performance is all encompassing and the presentation is felt by the audience, who offered a standing ovation at the end of each song. The crowd’s praise felt and sounded sincere, more so of what’s heard at the end of a theater play versus the generic “woos” that are heard at a typical concert.
Those who specifically came to see Evanescence were probably thrown off by the band’s start time, performing before Stirling, as few grumbles were heard throughout the venue. But the violinist proved she could absolutely hold her own.
In terms of style, she was the antipode of Evanescence. Stirling glided around the stage, violin tucked under her chin, while her skirt flowed with each twirl and high kick. She rarely stood still, and even when she did it was atop at 30-foot riser that loomed over the audience. The production was off the charts and Stirling matched the theatrical excitement with her own. When she wasn’t bending over backwards and fluttering through the air, she was magical. Midway through the set, she reemerged from what appeared to be a see-through box, drawing gasps from the crowd. Even a bit of magic wasn’t off limits for Stirling.
Contrary the moody vibe the former set, Stirling’s stage featured every color on the spectrum, decked out with scenery that changed every time she pranced off stage to switch her own outfit. For “Moon Trance” her and her backup dancers performed amongst gravestones that read the names of everyone that’s every doubted her, including Piers Morgan, who once said her music sounded like “rats being strangled.” She danced around the props, paying no mind to the obstacles in her path.
The song and performance represented something bigger. She took time to address the audience on multiple occasions, letting them in on the struggles she’s overcome on way to realizing her dream of touring, especially with Evanescence.
“I am living proof that you can make the unbelievable happen. It’s all up to you,” she told the crowd. “Visualize your dreams, see them as if they’re real. It’s all about getting up every time you fall down.”
