Having actually fallen in love in recent years, Bareilles has some more upfront love songs, now, in an arsenal that was formerly bigger on classic breakup material. Following an introductory tease of “Orpheus (Prologue),” with its hint of the heat of the Greek underworld, Bareilles quickly proceeded right into “Fire,” which has the singer leaving a sparkless relationship she’s settled for, holding out for something that merits at least as much passion as she’s putting into her ridiculously melodic but also nearly percussive piano playing.
She seemed determined to bring the heat from the moment she appeared on stage, looking like the embodiment of a fire emoticon, or at least a very bright autumn leaf, in her flaming dress.
Bareilles is addressing it covertly in some new songs, more overtly in others, like “Armor.” (“I was profoundly changed” by the 2017 women’s march, she said in prefacing the tune, and by “what it means to dissemble and reanalyze some things that have always been social constructs but don’t have to be. To be alive at a time when we get to make these choices consciously is super f-ing important to me, and I am so proud to be a feminist.”) “I’m happy for your child.” A lot has happened in her absence, like a political upheaval that just about counts as a big chill, itself. My kid’s grown, my kid’s in kindergarten now.'” She paused in this mostly imaginary conversation.
“I have not toured in almost six years,” she announced, before deferring to a response from the Bowl’s pool seating area.
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