The show started fine with a few selections from her current album, then segued into a rising "Hand In My Pocket," replete with Alanis on the world's most uncool instrument, the harmonica. It would have been terrific if the mix engineer could have heard what was going on through the enormous amounts of bass.

Following were "Are You Still Mad" and "You Learn," deemed a dedication to all the audience members. "Thank U" and "Ironic" were obvious crowd pleasers, as well as a slowdown take on the once rambunctious "You Oughta Know," complete with fifteen thousand fans singing the chorus, further emphasizing that the first hit is always the one you can't get away from. The new take was an effort of sorts; gone were the intense guitars, the inherent rage. What came forth in its place was a deliberative movement, reminiscent of an electrified "Sweet Jane." Think of what "Like a Virgin" has become to Madonna, fifteen years later. Judging from the performance of the song, I'd guess that's exactly where this Alanis tune is headed.

A few surprises, intended to stretch the limitations of your typical arena show, came late in the evening. A short film of sorts led off "Jonathan," but the warbly audio and the outright cheesiness of the visuals got muddled in the enormity of the venue, leaving its efficacy compromised and the audience confused. Also curious was the show's last few songs, punctuated by a scrim flown in leaving fifteen feet of stage for Alanis and the band to come out and sit on stools, MTV Unplugged-like, and perform the last three songs, including "Precious," as if they were at an intimate coffeehouse gathering. It would have been more appropriate if they were in a venue with one tenth of the capacity.

Production wise, it was a mixed bag. The set was actually quite nice - drapes with flame painted florals framed the stage, and a projection screen was alternately hidden and revealed by silhouette cut twin doors in an Indian "tree of life" pattern mimicking the drape. It wasn't overwhelming, which was nice, but it also didn't seem to fit. On the other hand, the lighting was a mess. A hodgepodge of mismatched textures and aimlessness made the show mostly uninteresting to look at. Granted, most people don't know the difference with lighting, but it can foster audience response when done right - that is, if the person at the controls knows how to find the downbeat, and obviously the person running this console had no idea what it was. I am bored by lighting that believes that the rotating gobos in a VL-6B are impressive - even if the are never brought over thirty feet across and fifty percent brightness, left all the way over at the sides of the stage, and never ONCE made to hit anything on the ever obvious beat.

Additionally, a truss hanging over the the front floor section of the audience, with about thirty to forty stationary lamps, kept the first fifty rows lit at all times, which was annoying at best and detracting at worst. (We expect it to be dark, guys. Let it just be dark!) It certainly can't have been much fun for the poor kids in the nosebleed seats to try to see down to the stage through the glare. Whatever the point to this, it was missed. Overall, it seemed like nothing more than educated knob twiddling. It's a shame, because for such a dynamic performer, with such potent material, the set design should be an asset.

The brightest note of the evening came during "Uninvited." The keyboardist, allowed to take a few liberties, opened the dam and some powerful music was made to open the song, at once unexpected and totally inspired. Radio's overplaying of the tune has reduced the public's tolerance to it, mine included, but it seemed fresh this time around.

Mostly, I'm sad to report, I was just bored. After the big, loud, commercially successful adolescent screamfest that "Jagged Little Pill" was, it's hard to stay that angry and remain the march leader for most girls in the English-speaking world. One usually decides that next time out they're going to burn the edges a little. This would be fine if it were properly executed. But, as is sometimes the case with those accustomed to the conventional, the new tricks seemed clumsy. The big-time energy was missed, and what ended up in its place was contrived and heavy-handed. There was no electricity, no ferocious swing of brilliance.

I don't mean to imply that every show has to top the other, but it's almost as if this performer, designer, and crew had never seen another show - including their own - to really galvanize in their heads what makes live shows not just watchable, but liveable. Nothing this uncohesive could possibly fill up all of that space. I do appreciate that Alanis still, after all this time, really does try to make a connection with the audience. Unfortunately, she didn't have much help. Maybe next time around, smaller venues and tighter, not necessarily more, production will go a long way. I'll go see her again, but only to see if she's gotten some rest and rethought the show a little. Maybe then I'll be blown away the way I'd hoped I would be this time.