A mixed bag of extraordinary content.
Tori Amos’ latest album, In Times Of Dragons, is exactly that: a mixed bag of extraordinary content. Across her intensely political eighteenth studio album, Amos does not shy away from expressing her views.
She has described the record as “a metaphorical story about the fight for Democracy over Tyranny, reflecting the current abhorrent non-accidental burning down of democracy in real time by the ‘Dictator believing Lizard Demons’ in their usurpation of America.” Throughout the album’s 76-minute runtime, Amos champions women’s rights, condemns contemporary political developments, and delivers a message that is unwavering in both conviction and purpose. Each song knows exactly what it wants to communicate and, lyrically, rarely loses sight of that goal.
Sonically, however, the album is far more uneven. At its best, Amos reminds listeners why she remains one of the most respected songwriters of her generation, crafting inventive arrangements and ambitious compositions. At other times, the album feels overly indulgent, as though it is more concerned with demonstrating artistic freedom than creating engaging listening experiences.
While In Times Of Dragons is clearly intended as a statement piece rather than a casual listen, that same ambition may limit its accessibility. Amos fills the album with timely, thought-provoking lyricism, but many of those ideas are paired with drawn-out vocal performances and dark, brooding instrumentation that can feel exhausting over extended stretches.
This issue appears immediately on the opening tracks, “Shush” and the title track, “In Times Of Dragons.” Together running over eleven minutes, both songs feature some of the strongest writing on the album, yet their stormy, slow-burning arrangements struggle to maintain momentum.
“Shush” serves as a powerful reflection on the experiences of women facing oppression and diminishing freedoms. Amos’ declaration that “I no longer believe that freedom and democracy are compatible” is striking, though it hardly stands apart from the rest of the song’s bold political observations. Similarly, “In Times Of Dragons” functions as a thinly veiled allegory for contemporary American politics while also turning inward, as Amos questions her own beliefs and reflects on how both she and the world around her have changed.
Like much of the album, both tracks are rich with vivid imagery and political commentary, but their musical foundations do not always match the strength of their lyrical content.
Fortunately, not every song falls into this pattern. The following track, “Provincetown,” stands out as one of the album’s strongest moments. Built around layered, experimental instrumentation, the song recounts a visit to the Massachusetts town with a noticeably lighter spirit. Given Provincetown’s reputation as one of the most LGBTQ+-friendly communities in the United States, Amos embraces its celebratory atmosphere, referencing bears, witches, and the town’s unique culture. The combination of harpsichord flourishes, contemporary percussion, and playful storytelling results in one of the album’s most memorable and rewarding tracks.
Ultimately, In Times Of Dragons succeeds because of its conviction. Asking a protest album to be consistently upbeat or easily digestible would miss the point entirely. While the record’s lengthy runtime and often challenging musical choices prevent it from being an easy listen, its fearlessness and sincerity are undeniable. Amos has crafted a passionate, uncompromising statement that is equal parts political manifesto and personal reflection, resulting in an album that is brave, bold, and deeply self-assured.
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