lindsey stirling and amy lee tour

Lindsey Stirling and Amy Lee of Evanescence on touring together with an orchestra

When Lindsey Stirling tweeted out her summer plans — a co-headlining tour with Evanescence and an orchestra — the Gilbert native included a video that playfully portrayed her as an Evanescence super-fan.

"Do I like Evanescence?" she asks at the start of the video. "Yeah, I mean I would say I'm a casual fan, especially in high school."

Then the camera slowly pans out from a closeup of the violinist's face to show her in a room whose walls are filled with Evanescence posters.

A lot responded, she says, by telling her how cute that was.

But the people who knew her in high school and college had a much different reaction.

"They texted me like 'Holy cow, are you serious?!!'" Stirling recalls with a laugh.

"Because they remember what I was like in high school and college. I loved Evanescence. And I still do. To this day, I have so much respect for Amy Lee. And getting to watch her perform every night, she’s such an incredible powerhouse. I feel like I have a lot to learn from her and what she’s done."

And the pairing is perfect for Lee.

"The likenesses are there just enough for it to make total sense," she says. "There’s the classical thing. We’re both into the orchestra. Lindsey’s a kick-(expletive) female doing her own thing, carving her own path. So am I."

And yet, their shows are very different.

"She’s got a lot of cool visual stuff going on," Lee says. "And it’s a very energetic set. She’s got dancers. She’s flying all over the place the whole time. I don’t know how she does that and plays in perfect tune all the time. It’s amazing."

Evanescence's set is darker and Lee isn't flying all over the stage.

"I’m forcing myself," she says, "to really just stand at a mic stand — I’ve never used a mic stand before — and just focus, really, on the sound of my voice and blending with all of those instruments up there."

The collaboration that led to the tour

Prior to touring together, Stirling made a guest appearance on Evanescence's 2017 album, "Synthesis." As thrilling as it was to work with Lee on that recording, it wasn't like touring together.

As Stirling says, "Sadly, the way a lot of stuff is done nowadays is remotely. Amy was in Nashville. I was in L.A."

They did communicate by phone, though, and Stirling found her childhood idol to be "super, super gracious" and enthusiastic.

When the prospect of touring together came up, Stirling says, "We have so much in common in weird ways, I knew it would be a good fit."

When Stirling met Lee's father on the first night of the tour, he told her, "Oh, you and Amy are so much alike. You kind of march to the beat of your own drummer.”

Another similarity that Stirling sees is that they're both "very specific with our art."

And one more thing. "I remember being in a venue years ago and seeing a picture of her on the wall," Stirling says. "And I was laughing at how similar our costumes were."

How Evanescence got to 'Synthesis'

The idea to tour with an orchestra grew out of "Synthesis," which featured reworked versions of earlier songs with orchestral arrangements and EDM elements in addition to two new songs, "Hi-Lo" and "Imperfection."

"Honestly," Lee says, "my vision for Evanescence from the beginning is this combination of cinematic classical influence and heavy rock."

There's always been an element of that on their recordings, and some electronic programming as well. In fact, most of the songs she writes begin with loops and programming with Lee on piano and vocals and then the guitars are added l.

"But by the time we get to the end of making every album and of course with the format or box that we’re trying to stick it in – everything has to be stuck into some kind of box – the rock element is what’s pushed to the forefront and everything else kind of falls to the background."

With this album, she says, the idea was “What if we strip that stuff back and take a moment to really magnify and expose this other side of our music, let the guitars and big acoustic drums take a backseat and let the classical influence kind of come forward."

It was a satisfying experiment, she says, to take those songs their fans already know and "show them in another light."

At the same time, she says, it allowed them to "breathe new life into those songs that mean more to me now than they ever could have when we hadn’t run 'round the world singing them. I’ve had to listen to the old version of “My Immortal” from when I was 17 for way too long and I don’t want to hear it anymore so I had to put a good one at the top of the pile."

This tour, which started last October playing theaters and added Stirling in July, grew out of that experiment.

On touring with an orchestra

"At first it was scary, to be honest," Lee says. "First of all, it’s been a dream my entire life to play with an orchestra, not just for a band but also in general. Just to be able to do that is something that’s always like 'Oh, that’s what real musicians do. I’m a measly rock artist.'”

She always figured it would impossible to make that dream come true, Lee says, because of the expense.

"I mean, how do you do that, touring with a whole bunch of extra buses and orchestra musicians who charge by the hour?" she says. "There’s no way."

But her manager figured it out.

"We just basically get a contractor and they put together different groups everywhere you go," she says. "But then, that’s terrifying too because we’re only playing together as a group that one night and it’s so much music for them to learn, especially when this version of our show in particular really relies on the orchestra. There’s a lot of very raw, exposed moments where they’ve gotta be doing it really well."

What she learned in the course of the tour, though, was that professional, classically trained musicians don't require the same amount of time in the rehearsal space. 

"You kind of have to just be brave and do the best you can and hope that everyone is gonna come in like they’re supposed to," she says, with a laugh. "And nine times out of 10, they do."

As the tour progressed, she started to embrace that feeling.

"It’s easy to get, especially at this point in my career, where you can just do what you know and kind of go on autopilot a little bit," she says. "And that isn’t fun for me. I need to be challenged. I need to feel like we’re doing something new that’s a little bit dangerous."

Stirling says she never would have thought to combine what she does with an orchestra.

"At this stage anyway," she says. "But it’s been really cool. It’s awesome to have such depth to the music in a way it never has before. And also, I played with orchestras all growing up so it’s cool to now get to do it on a whole new level with my own music."

Both acts planned their set list with the orchestra in mind. 

"Some songs definitely just worked really well with an orchestra," says Stirling. "And other ones, the orchestra is just more like an extra layer of support. So the music changes depending on what song we’re doing. Sometimes the orchestra is really leading the song and other times the orchestra is, like I said, supportive."

Lee says, "I wanted to make it about the songs that naturally lent themselves to this sort of classical thing. There are certain moments that are just this epic thing where I always dreamed of that being full classical and now I can go all the way with that moment."

Lee points to "Never Go Back," which opens both the album and the show.

"It very much has this big epic bridge that takes it to this classical place with the piano," she says. "So that was a natural choice. The song was never a single. It was on our third album. But it just had to be done. Originally, my list was 20 songs because there are so many songs that for whatever reason I wanted to go in and do something with. But we just sort had to whittle it down to the songs that were the most important."

'I was Lindsey and I played the violin'

In addition to playing in orchestras in elementary school, junior high and high school, Stirling also did extracurricular orchestras.

"I was that kid," she says, with a laugh. "I did the Metropolitan Youth Symphony. Like I said, I was super cool in high school. But it’s a really great orchestra program outside of school that you can audition for. I really grew a lot as a player by doing that. And it’s cool that Arizona has programs like that."

She also took part in Suzuki group lessons on summer break in Ahwatukee.

"Arizona has a really great support system for the arts," she says. "And I’m a beneficiary of it so I’m very grateful."

Stirling was accepted into Brigham Young University's music program as a performance major but had a change of heart.

"I don’t know where my passion went," she says, "but I was like ‘I just don’t care anymore.’ And that was very sad to me because I had always enjoyed playing growing up and it was part of me. It was part of my ability. I was Lindsey and I played the violin. And that was a hard realization."

Her older sister had been a music major and advised her not to do it if she wasn't sure it's what she says.

As Stirling recalls, "She said, 'I think it’ll just beat the love of it out of you even more.'"

So Stirling became a film major instead.

"And rather than quitting the violin, I was like, 'Well, I’m just gonna make it fun. I’m gonna go out and I’m gonna play with bands and I’m gonna start to dabble in writing my own music, just do it for fun.' And that’s kind of how I developed my sound."

She'd go see bands and if she liked them, she'd give them her number and tell them to call if they ever decided they needed a violinist.

"And just by playing with so many different musicians," she says, "it kind of reinvigorated my passion and I started writing music. That’s when I think I really fell in love with the violin because suddenly it wasn’t just a tool for playing what had been played for hundreds of years from white paper with black dots on it that annotates everything you’re supposed to do and how you express it. I was able to be creative and that’s what I thrive on."

What's next for these tourmates?

Stirling plans to start writing her next album when this tour is over and having spent summer playing with an orchestra could have an impact.

"I’ve been thinking it would be kind of cool to lean a little more classical on this next album," she says. "I mean I did work with an orchestra a little bit on my Christmas album. But combining that with some EDM would be really interesting and cool."

Evanescence also plan to focus on new music. But first, Lee says, "We’re gonna take a little time after this tour to catch our breath."

As to whether this experience will have much impact on the next release, Lee seems to think it could go either way.

PHOTOS OF MORE SUMMER CONCERTS 2018:

"It’s been good for me to be able to continue with Evanescence in a way that’s not the way we always have," she says, "because I don’t feel burnt out on rock. I just become what I’m doing when I make an album and it’s such a consuming experience – writing, creating, recording the album and then going on tour for the album for a year or more. By the time you finish that whole cycle, for me personally, usually I’m just tired of any heavy music. I just need a break. You get to a point where it’s like “I need something else.”

But this time is different.

"I feel inspired," she says. "And I’m kind of ready to rock because it hasn’t been that style so much. It’s in there but it’s not the same, so I don’t feel like I need to run away like I sometimes do at the end of our tours. So I don’t know exactly how it’s going to inspire the next album. Actually I think it could be a little bit of the opposite. I think we’re all ready to let the pendulum swing the other way."

Lindsey Stirling and Evanescence

When: 7 p.m. Wednesday, Aug. 29. 

Where: Ak-Chin Pavilion, 2121 N. 83rd Ave., Phoenix.

Admission: $25 and up. 

Details: 602-254-7200,  livenation.com .

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Six Facts About Evanescence’s Co-Headlining Tour With Lindsey Stirling

Amy Lee discusses Evanescence's Synthesis tour, which started an amphitheater run on July 6 that's being co-headlined by electric violinist Lindsey Stirling.

By Christa Titus

Christa Titus

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Since Evanescence released its multiplatinum debut, Fallen , in 2003, band leader Amy Lee has taken her time in crafting successive albums. Her determination to make quality-driven music has resulted in a limited studio output that includes 2006’s The Open Door and 2011’s Evanescence . It’s a risky approach, but it doesn’t stress her too much.

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“I really don’t worry about it. Maybe that sounds crazy, but I feel like too much emphasis is put on the time and maybe not enough on the products,” says the songwriter-performer. “I just want to make something great. If I can’t make something awesome that I’m not ready for or don’t believe in … I won’t make it.”

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The dedication of Evanescence’s followers lets her take whatever time she thinks is necessary. “Our fan base has proven to me that it doesn’t really matter how long how it takes. They keep coming back. It’s such a beautiful thing. I hope that continues.”

So when the band dropped 2017’s Synthesis , it was a surprise that instead of delivering all original music, Lee had reconstructed material from the aforementioned albums with an orchestra. After introducing Synthesis with new track “Imperfection,” Evanescence launched a North American tour that ran October-December to support the project. To do it justice, a full orchestra backs the quartet.  The run has been captured for the upcoming Synthesis Live CD/DVD that’s due Oct. 12 on Eagle Vision. Lee calls the experience so far “extremely educational and interesting.”

Below, she discusses the tour, which started an amphitheater run on July 6 that’s being co-headlined by electric violinist Lindsey Stirling.

Bringing a Dream to Life

Playing with an orchestra fulfills a lifelong ambition for Lee and completes the vision she held for Evanescence when she formed it in the 1990s with Ben Moody, who departed in 2003. The conceit was to blend heavy rock, electronic sounds and orchestration, for some of her earliest influences were “Mozart on one hand, and then Soundgarden and Nirvana on the other.”

“It has shown me that so much more is possible than I realized it was,” she says of the endeavor. After 20 years of performing, “you get used to what your role is onstage. It’s such a different thing this time around, because instead of it being about running around with the wireless mic and keeping the crowd engaged, never letting there be a moment of silence, and making sure everybody’s screaming on their feet the whole time — this we wanted to be a stark contrast.”

It’s a Musical Reclamation

Lee has previously expressed her unhappiness that when Fallen was released, label Wind-Up Records insisted that a rap be added to breakthrough single “Bring Me to Life,” so she killed that part when she re-created the track on Synthesis . She also revamped Fallen ’s “My Immortal.” She calls the latter song a “beautiful redemption to sing it again,” partially because she feels she’s a better performer now than when she first recorded it. “It’s this piece of this soundtrack to my life and a lot of the people’s lives that are standing out in the audience,” says Lee. “It’s cool to be able to get to that point where I don’t actually think of all the songs as mine … Instead, it’s like, ‘This is bigger than me, and I’m really grateful to be the one standing here singing it.’ ”

Evanescence to Blend Orchestration With Electronica on New Album 'Synthesis'

There’s Comfort in Being Uncomfortable

The orchestra is neither a touring company nor a local ensemble. Instead, a contractor coordinates handpicking the instrumentalists for each tour stop. Evanescence doesn’t meet them until sound check. “When we do the show, you’re hearing us all do it together for the first time, for the most part, in front of you, which is awesome!” enthuses Lee. She admits that was initially daunting because so many things could go wrong, but she looks forward to such challenges. “I don’t want to be comfortable. I always want to be able to take it to a place where it’s a little bit scary. Something might go wrong, but you’re challenging yourself potentially to do something cooler than you’ve ever done, or at least you’re doing [something] different than you’ve ever done.”

Synthesis Opened Doors to New Venues

Evanescence began the tour in theaters, and Lee appreciates how they differed from rock halls “because they were [old-fashioned with] red velvet curtains and ornate,” she explains, noting that the band usually wouldn’t be able to play them because its typical music isn’t the right fit for locations like Australia’s Sydney Opera House, where the group played Feb. 13-14. But she’s just as grateful to play in familiar settings: “I was thinking I was going to miss the theaters because that was so fitting for this music, but now we’re going to play to twice the amount of people every night and have the opportunity to do some big, beautiful production. It wouldn’t have fit into those places before, so it’s fun to be able to make a show bigger.”

Lots of Love for Lindsey

Stirling previously teamed with Evanescence for original Synthesis track “Hi-Lo,” whose official video arrived Aug.1. (Watch below.) “It’s awesome every night to be able, when I’m not playing, to step out there and watch her really shred on her instrument while doing all kinds of high kicks and stuff. I don’t know how she does it,” says Lee. “I honestly don’t know how she moves around like a humming bird, jumping all over the place and still playing in tune.” She also loves that multiple women are on this tour and gives a shout-out to conductor Susie Seiter: “She’s a new mom and also training [people] and conducting. She works all day long on two shows. She’s a superhero too.”

Lee’s Stage Wardrobe Is Hot… No, Not That Way

The singer-pianist favors goth-inspired outfits like gowns of layered material. While she prefers weather that’s “super humid [rather] than freezing cold” for the sake of her voice, she questioned her fashion choices when she returned to the road this summer. “I actually have the heaviest thing that I’ve ever worn on tour,” she confesses. “It kind of occurred to me as an afterthought as I was leaving for tour, like, ‘Hmm, maybe that should have been a winter thing.’” She describes it as a sequined 12-pound skirt that changes colors when she moves. “It looks awesome. I’m like a human disco ball.”

For a list of remaining dates, go here .

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Evanescence's Amy Lee and violinist Lindsey Stirling go back to medieval times in video for Love Goes On and On

The track features on violinist's fifth album, Artemis

Evanescence vocalist Amy Lee has teamed up with violinist Lindsey Stirling for a surprise new video for the song, Love Goes On and On . 

The track is taken from Stirling’s 2019’s concept album Artemis , which tells the story of "unlikely heroine who represents the fight in all of us to reclaim light back into our lives". 

"My greatest hope is listeners recognise how powerful they are when they hear [the album],” said Stirling in a press release. “Life is full of cycles. I want everyone to believe in themselves like the character in this story. In my life, I’ve gone through depression, anorexia, and loss, but I always come out on the other side. I want to remind everyone it’s possible. You don’t have to define yourself by who you are right now, you can define yourself by who you believe you can be.”

The track is not the first time the pair have collaborated. Stirling made a guest appearance on the song Hi-Lo , taken from Evanescence’s 2017 album Synthesis , and both acts went on a North American co-headline tour the following year.

The beautifully-shot video, co-directed by the violinist and Stephen Wayne Mallett, has a Lord of the Rings feel and features the duo dressed in medieval period clothing,   performing in a misty forest and a disused house, which slowly becomes overrun with foliage. 

Check out the video below: 

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Born in 1976 in Newcastle-upon-Tyne,  Simon Young  has been a music journalist for over twenty years. His fanzine,  Hit A Guy With Glasses , enjoyed a one-issue run before he secured a job at  Kerrang!  in 1999. His writing has also appeared in  Classic Rock ,  Metal Hammer ,  Prog , and  Planet Rock . His first book, So Much For The 30 Year Plan: Therapy? — The Authorised Biography  is available via Jawbone Press. 

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EVANESCENCE's AMY LEE Featured In LINDSEY STIRLING's Music Video For 'Love Goes On And On'

Critically acclaimed fan-favorite American violinist, songwriter, and dancer Lindsey Stirling has released the music video for her song "Love Goes On And On" . The track, which features a guest appearance by EVANESCENCE singer Amy Lee , is taken from Stirling 's 2019 album, "Artemis" .

Back in 2017, Stirling guested on "Hi-Lo" , one of two new songs that were included on EVANESCENCE 's "Synthesis" album. The set was a reimagining of some of EVANESCENCE 's best-loved tracks. In support of the LP, Stirling and EVANESCENCE teamed up for a U.S. tour, a trek which saw Stirling join the band onstage for a cover of Ozzy Osbourne 's classic "No More Tears" .

Asked how Amy ended up guesting on "Love Goes On And On" , Lindsey told The Morning Call : "Well, when we worked together for 'Hi-Lo' , she had been, like, 'Okay, thanks so much for being on my album. I loved working with you. Please let me know if I can return the favor for your album someday.' And I put that in my back pocket — like, 'I'm going to take you up on that.' And when I was working on this song and did the instrumental version, the song just needed something more. I knew it was — it's like a super epic song and it just needed something more, and I couldn’t think of anyone else besides Amy Lee . Her voice on this song would just be so cool. Of course, when I reached out, she was so sweet and excited to be on it. And added so much to the song. There were no lyrics when I sent it to her. I just had been, like, 'I want you to sing 'Ahhs' and 'Ooos' and she sent back all these lyrics. And I'm, like, that's feakin' awesome. So yeah, it really transformed, it was rally collaborative and she really brought her own to the song. And it's really fun to do live. That song live is just so fun."

Lindsey told the Arizona Republic in a 2018 interview: " I loved EVANESCENCE [in high school]. And I still do. To this day, I have so much respect for Amy Lee . And getting to watch her perform every night, she's such an incredible powerhouse. I feel like I have a lot to learn from her and what she's done."

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Evanescence’s Amy Lee On the ‘Beautiful, Satisfying’ Orchestral Tour + What’s Next

Evanescence 's Amy Lee has been fulfilling a creative passion over the past year, first releasing the Synthesis album including reimagined orchestral versions of the band's music and then taking their show on the road with orchestral backing. Earlier this summer, Evanescence kicked off a co-headline tour with Lindsey Stirling; see the list of tour dates here .

We spoke with Lee about the tour, Stirling and opening act Cellogram, and the unique Ozzy Osbourne-Sia show-closing mashup. Lee also spoke about Evanescence's future plans, which includes a loose timeline to start their next album.

I know from your youth, you were a big fan of classical music, so how much of a dream is it to do something like you’ve done with the Synthesis album and your orchestral touring?

It’s such a dream, like from so early on. The first big thing, the first piece of music or artist that got me inspired that made me think, ‘Oh that’s what I wanna do, I wanna make music,’ was Wolfgang Amadeus Mozart after seeing the movie Amadeus when I was a little girl. I think I was 8 or 9 and I just became obsessed with that.

It started out with me begging for piano lessons. I wanted to be a composer and then after that I started getting angsty and getting into Nirvana and Soundgarden and Smashing Pumpkins, and it definitely evolved, but there was always this combination for me that was the idea for the sound of Evanescence between that classic cinematic influence and the hard rock thing.

I honestly didn’t really think it would be possible for us to do a tour like this. It just seemed really lofty and expensive and complicated. The fact that we’ve been able to do it … it was just surreal at first, and we’ve gotten comfortable with it now, but it’s just been this really beautiful, satisfying experience.

It’s a challenge too, because you can’t rely on everything you’re comfortable with. Doing a rock show is one thing. We can do that. Your comfort zone is to stand there and rock it out, but you add in the orchestra and try to change things, and it’s not just changing but also subtracting some of what we normally do. The band sits down and they’re making crazy, ambient sounds with their guitars and blending in so we’re one big unit and I’m standing at the mic stand and not running all over the place. There’s nothing to hide. I’m very exposed.

That challenge made it really exciting and new again and it gave us the opportunity to really love these songs that have become for me such a big part of my life. It’s more than I could’ve imagined when they were first written, but to go back and record the songs with new perspective and a bigger feeling was really cool.

How did this tour come together and what do you admire most about your tourmates now that you've had this time with them?

Man, it's been really really fascinating and different. Pretty much every other band we've ever toured with is a rock band and I can't think of anyone who hasn't been. This is really beautifully different and it fits really well. This whole experience has been a way for us to show another side of who we are that's always existed. Evanescence has always been about what the sound is and even those older songs, part of it was always there with this orchestra thing and the classic influence and the electronic programming, but there was always a lot of stuff going on with the rock in the forefront, so maybe you don't think about it that way. It just gives us a chance to put it in a different light and what the tour is like and who we can tour with because it works.

It's been really cool watching Lindsey because it's a different approach. She's got dancers and she does dancing the entire time amazingly and playing perfectly through it all, just shredding on a violin. It's very inspiring to watch. It's so odd cause this tour this summer it's like high 90s to 100 degrees and they're running everywhere just nailing it and we're over on the side watching like, "We just stand there and it's art." (laughs). So I'm very impressed at the physical talent going on there as well as the fact that she's an incredible performer and player. She's just a really, really talented amazing person.

Cellogram, as well, it's like they do something that is putting the atmosphere in an art festival. Dave Eggar, my longtime collaborator in a lot of side and solo projects, he is just this genius, madman avant garde cello guy who has made his own path too, taking the cello and using it different ways -- turning it sideways and playing it like a guitar and shredding it like Jimi [Hendrix] -- he's like really cool to watch. He knows everybody and he's played in everything. So we go to these cities and play these different shows and everywhere he's got a friend who is some child prodigy martial arts artist who will come up and do karate moves or some other day we'll be somewhere with this amazing violinist guesting. There's almost always some special featured guest in their set and they change what they do all the time. It's really fun to watch.

So we're all having fun not only performing but watching the other talent that's onstage when we're not because it's just kind of a fascinating show in my opinion.

With this tour you've worked with a bunch of different orchestral musicians depending on the city. What's been the biggest challenge and did you perhaps pick up anything from the people you've worked with?

We've met some people that we've made relationships with. It's a different group everywhere we go. It's both awesome, but it was scary at first, but it is awesome because it creates a different energy. You totally get a vibe when you're playing music with somebody. There's a connection there and even when there's an entire group of people onstage, you make some kind of a deep connection when you're playing music together. It's hard to define exactly, but there's an intimacy.

There are recurring musicians who have come back several times, like every time we come back to that area, they get on the job. I made a really great connection with a piano player named Michael who played with us for a lot of shows starting last year and we keep seeing him anytime we're around the New York and New England area and he's so good at it. He's come to me a couple of times and told me he's a fan and that this was something so fun for him to do. It's so different from the normal orchestral gigs that these musicians get. He just seemed to really enjoy it and has been back three times and it's been a pleasure to play with him and connect with him.

It's an intimate thing too as a piano player to give your parts away to someone. Obviously I'm going to be more critical of that than anything else I'm hearing. "Oh, I would've done that different." "Oh, that's 'My Immortal.'" But it's really a beautiful thing to give that to someone and trust somebody with that and be able to stand at the mic and connect with the audience in a direct way, and that song just as an example, in a direct way that I never have before. I've been stuck behind the piano for "My Immortal" for years, so to stand there and look face-to-face with the crowd and have that connection for us is something that I wanted. It's been really beautiful and special. You learn how to break it up and it's special and in no way does this show feel like songs we've done before even though so many of them are. It feels like a completely new set.

With the whole idea of doing different arrangements, I've always been a fan of the power of your voice and I'm wondering in reconfiguring these songs is there one that stands out to you vocally that you're particularly enjoying in the way you're now able to deliver it?

Well, this isn't a giant hit, but there's a song called "The End of the Dream" that I love and it's on our third album. It's one of those songs that when it was being written it was from a place of programs and loops and vocals and synth stuff, and then we turned it into a full on rock song. The tempo changed and and the whole feeling changed. The verse was all groovy and it was pretty cool, but it was just so different from where it started. That can actually be an awesome thing. I love the original version, but there's also something to me that I remember the spookiness of the first verse, the feeling and the gravity of those lyrics. I love those lyrics and miss the way that it felt when it was very sparse. You could hear them and feel them and perform it in a way that was not tied to a beat. It was just full emotion.

So in this version of it, we stripped it back to that and made it way better than it was in the demo from the early days. We did it though with that in mind that this part that I loved so much ... it was something where I could just go to a place and I'm not tied to a beat or on the click track, nothing. There's just a drone and singing and it feels so good to just start the song off that way and just go into that place and take my time with it and let the song unravel into something bigger.

Actually, that's the most difficult song to sing every night. It's the highest one. We never performed it back in the day during our self-titled album which that song was on. That was one of the songs that we all loved, but we never played it live because I just felt like I couldn't do it. I'm not going to be able to hit that high, long note over and over again in the middle of the set and have nothing left to do the rest of the show. So we didn't do it. But this time I'm like, "This is all about challenges and stepping up, so I think maybe with the way that it's different and the sparsity of it, I'm going to try to do this."

I do try to keep it toward the front of the set so I can do it with a fresh voice and I can move on and recover, but it's been a really cool thing for me to prove to myself that I can do it.

Talk about the Ozzy Osbourne / Sia mashup of "No More Tears" and "Alive": how did that come together and talk about adding Lindsey into the mix as well?

I really wanted it to be this thing where we're doing this co-headline tour and we intersect. I guest on a song during her set and she does "Hi Lo" in ours. At the end of the night, we just thought it'd be really cool to come back together have it be an "everybody in the pool" moment. When she finishes, it doesn't always work the same way as they have an encore built into their set, but when we finish on our night it's just really cool to take it to that place and bring her back in. We even have Cellogram up there cause Dave [Eggar] is already up there in the orchestra. Chuck comes back and does percussion with the orchestra on that too, so everyone from the whole night is represented onstage.

Coming up with what that was going to be though was actually hard. I had in my head that I wanted this rock and roll moment between me and Lindsey -- a really great, epic, classic rock song with a great riff and a great singer. I wanted to recreate that rock and roll moment where we would have a guitar player, but instead it's a violin and a singer staring at each other doing a back and forth kind of versing between a riff and a vocal. I just wanted that moment! I wanted to do that thing, 'cause all night I've been holding my band back, making them sit down and do ambient stuff. So, for once, let's kick the chair to the side, everybody stand up and let's rock out cause it'll feel so good. We have way too much fun with it at the end every night. That's everyone's favorite part.

So Lindsey comes in with a rocked up version of a classic piece with the band but without me, then we go to Ozzy which is full on rock-metal and in with this really hopeful place with Sia's "Alive," which to me is tying pop into it, which is important because that's a big part of our set as a group too -- between Lindsey's set, our set and just the whole show. So it ties in to me all the major genres and lets us show that they can all live together beautifully. I like ending it on the positive message of, "I'm alive." It's about survival and all the stuff we go through. Our music is such a journey and a lot of it is painful, just like life, some of it is wonderful, but some of it is painful, but we've made it. We've survived. So by the end to be able to put it in those words, like "Hey, I'm still breathing. I'm alive." It just feels right.

It was also recently announced that there's a Synthesis Live concert release coming out. I just wanted to get your recollections of the performance we'll see in the release.

I think it was filmed in November last year, so we were still fresh doing this. We're at a place now where we're more comfortable. I think it was more on the vulnerable and raw side, which I kind of love. We were in Connecticut and we filmed with Paul Brown who is the video director for both "Imperfection" and "Hi Lo." He also did all the artwork for Synthesis . It's beautiful artwork that is sort of a blend of reality and this painted other thing. He filmed it and we're releasing it.

I think it's an awesome performance. I'm very proud. This was something right from the beginning [when we started this touring] that I wanted to capture so that we have it. If nothing like this happens again for the rest of my life, which is could very well not, I wanted to make sure we have this documented.

In recent years, you've got into film scoring, you've done a children's book, you've now deconstructed Evanescence's music. Have you started thinking about what the next thing is at this point?

We're going to take a little bit of time, but the next thing we're going to focus on creatively is just the next full Evanescence album. That's the plan. I just like to keep us finishing this tour a little open-ended, like let's all just breathe through the end of the year, and then we'll start writing next year for the next thing.

I think as a band, we're all in a really good place with each other. I've been with the guys -- Will, Troy and Tim -- now for over a decade. Jen's the new kid on the block but she brings a lot of positivity and energy to the group and we're excited for her to be with us. We're all happy together and we make a great team and we're excited to make more music together.

You can catch Evanescence, Lindsey Stirling and Cellogram on the road at these stops . The 'Synthesis Live' DVD / Blu-Ray will be released on Oct. 12 via Eagle Vision and you can pre-order yours at this location .

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Lindsey Stirling, Amy Lee, Evanescence tour: We ‘lift each other’

From upi.com: Violinist and dancer Lindsey Stirling said touring with A my Lee and Evanescence offers an important message about how the best way to empower women is for them to support each other.

“Rather than waiting for everybody to let us into those offices, we’re going to be the ones to lift each other,” Stirling said, adding she is interested in composing music with other women and chose to go on tour with Evanescence, in part, because it is led by a woman.

The artists will perform their own concerts with various live orchestras throughout the country and will also make guest appearances in each other’s sets. A female conductor has also been employed for their upcoming road show.

Stirling and Lee told UPI they have been fans of each other’s work for years and are excited to tour together this summer.

“What I really love about Lindsey the most is I feel like she created her own genre,” Lee, 36, said recently during a Live Nation press day in New York. “I don’t know of another person who has gone out as an instrumentalist, like a violinist, and had this amazing, mainstream presence.”

“I have been a huge Amy fan, huge Evanescence fan. When I heard ‘Bring Me to Life’ for the first time, I was just so struck by the contrast in the music,” said Stirling, 31. “When I started to create my own music, I wanted to have that same contrast in my music, this light versus dark and this edgy versus smooth and soaring.”

Stirling — who is famous for viral videos such as “Crystallize” and “Shadows” — said she doesn’t expect the inspiration she draws from Lee to fade now that they are working together.

“I think that is really a unique story for me to get to tell as I enter the stage every night. Hey, I never would have expected as a teenager that I would one day get to share the stage with my idol. And to be like: ‘Guys, dream it, believe it, see it. Because it could happen.'”

Lee said she is thrilled and a little anxious about performing Evanescence songs such as “My Immortal,” “Lithium” and “Everybody’s Fool” with new orchestral musicians in each city they visit.

“It’s a beautiful tightrope live,” she said. “It’s weird and it’s scary. Anything could happen.”

Lee said she has wanted since she was a teenager to perform with a full, live orchestra, but always thought it was too expensive and difficult to organize until her new management team came along and helped her realize her dream.

“I simultaneously wanted to be in a rock band and wanted to be Danny Elfman and score film and the sound of the band really is sort of a combination of those things,” she said. “It just felt like it would be so fun and fulfilling to finally show a whole other side to the music that I really feel very connected to.” [Source]

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Carol Of The Bells (Live from Summer Tour 2023)

Lindsey Stirling

3 SONGS • 8 MINUTES • DEC 08 2023

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Combining her love of classical music with electronic dance and hip-hop, California artist Lindsey Stirling is a violinist, dancer, and performer who surpassed early viral fame with a solo career that captured an audience in the pop mainstream. Early on, she was known for her YouTube cover videos and for competing on the 2010 season of America's Got Talent, but she quickly became a crossover success after the release of her self-titled 2012 solo debut. As the decade progressed, she issued multiple Top Five, gold-certified albums, including 2014's Shatter Me and 2016's Brave Enough, both of which found her expanding her sound with singers including Lzzy Hale, Dia Frampton, Christina Perri, Rivers Cuomo, and others. Stirling has continued to explore new musical territory, releasing the 2017 holiday album Warmer in the Winter and collaborating with vocalists Amy Lee and Elle King on her chart-topping 2019 album Artemis. A second holiday album, Snow Waltz, arrived in 2022.

Born in Santa Ana, California, Stirling grew up in Arizona and began studying classical violin at the age of five. In her teens, she played in a rock band called Stomp on Melvin and competed in the Junior Miss competition, winning the Arizona Junior Miss title. An active member of the Church of Jesus Christ of Latter-Day Saints, she studied therapeutic recreation at Brigham Young University. In 2010, Stirling appeared as the "hip-hop violinist" on NBC's America's Got Talent, in which she showcased her unique performance style of dancing and playing the violin at the same time accompanied by electronic backing tracks. After finishing in the quarter-finals of the show, Stirling began focusing more on filming videos for her YouTube channel. Working with director/cinematographer Devin Graham, she produced a series of videos featuring her in beautiful, evocative outdoor settings or with striking visual accompaniment; one of her videos, "Crystallize," ended up being viewed more than 100 million times. She released her self-titled debut album of all-original material in 2012 through her own Lindseystomp label. The album sold over 200,000 copies in the United States as an independent release, and was certified gold in Germany (selling over 100,000 copies there), Austria, and Switzerland.

After successful concert tours throughout the United States, Europe, Asia, and Russia, Stirling signed a deal with Lady Gaga's management firm, Atom Factory, and reissued her eponymous debut album through Universal Music. In 2013, Stirling released a pair of collaborative EPs -- one with Tyler Ward, the other with Ward and Chester See. Her sophomore long-player, Shatter Me, arrived the following year. It was her first to include collaborations with other vocalists (Lzzy Hale, Dia Frampton), and it debuted at number two on the album charts. Along with taking part in several new collaborations (Jesse J, Pentatonix, Joy Enriquez), Stirling devoted much of 2014 and early 2015 to a massive world tour that took her across North America, through Europe, and into Oceania.

In June of 2015 she announced the completion of an autobiography, The Only Pirate at the Party, and began work on a new album. Released in 2016, Brave Enough was a partially fan-funded production that included the single "Arena." The album -- which debuted atop both the Billboard classical and dance/electronic charts -- featured appearances from Weezer's Rivers Cuomo, Indian-American rapper Raja Kumari, Christian rapper Lecrae, Christina Perri, and Andrew McMahon in the Wilderness. Her collaboration with the latter, "Something Wild," was chosen as the theme song to the Disney reboot of Pete's Dragon, which was released in 2016. At the end of the year and into 2017, Stirling embarked on a mammoth world tour in support of the album, taking in dates in the U.S., Europe, Australia, and into South America. In May, she was awarded the Top Dance/Electronic Album at the 2017 Billboard Music Awards for Brave Enough. The single "Love's Just a Feeling" appeared at the same time and featured guest vocals from Irish singer/songwriter Rooty.

In October 2017, Stirling released her fourth studio album, the holiday-themed Warmer in the Winter, which featured guest spots from Trombone Shorty, Alex Gaskarth of All Time Low, and Sabrina Carpenter. That same year, she competed on the 25th season of Dancing with the Stars. She returned to music in 2019, releasing the single "Underground" and announcing her fifth studio album, Artemis. The album, which used the eponymous goddess as a framework for exploring perseverance, was released in September of the same year. Artemis featured guests Amy Lee of Evanescence ("Life Goes on and On") and Elle King ("The Upside"). Lee returned the favor, including Stirling on Evanescence's 2020 song "Use My Voice." The violinist was also featured that same year on singer Avril Lavigne's song "We Are Warriors."

In 2021, she released the standalone single "Lose You Now" featuring vocalist Mako. Building upon the Artemis instrumental "Guardian," Stirling tasked Mako with penning the lyrics for the track, which was created as a tribute to her late father. The following year, Stirling returned to holiday standards with her second themed set, Snow Waltz, which featured the rock-tinged "Ice Storm." ~ Matt Collar

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Upcoming Concerts for Lindsey Stirling

• Jul 12 Jul 12, 2024 Civic Theatre San Diego View Concert
• Jul 13 Jul 13, 2024 Vina Robles Amphitheatre Paso Robles View Concert
• Jul 15 Jul 15, 2024 Maverik Center West Valley City View Concert
• Jul 17 Jul 17, 2024 Red Rocks Amphitheatre Morrison View Concert