Tori Amos returns with her 18th studio album In Times of Dragons, released via Universal/Fontana, and it is one of her most conceptually dense and politically charged works in years. Built as a protest record wrapped in allegory, mythology, and modern fairy tale imagery, the album explores themes of political instability, democratic collapse, environmental anxiety, and personal transformation through a fictional narrative of a woman escaping a dangerous billionaire and gradually becoming the very “dragon” she must confront.

Musically, the album leans into a rich and structured prog-rock palette. It is piano-driven at its core but expands into harpsichord textures reminiscent of Boys for Pele, layered Rhodes keyboards, string arrangements, and drifting organ tones that give it a constant sense of unease and atmosphere. The production is deliberately dense, encouraging a full-album listen rather than isolated tracks.

Amos also shifts her vocal approach here, often settling into a lower, smokier register that feels more conversational and reflective than her earlier 1990s work, while still carrying emotional force when needed. That restraint gives much of the album its tension, especially as the narrative becomes more politically direct.

Several key tracks define the record’s arc. “Shush” opens the album in stark, ominous piano tones as the protagonist realizes the danger around her. The title track “In Times of Dragons” marks the turning point, where escape begins. “Gasoline Girls” stands out as one of the most defiant moments, described as a rallying cry of solidarity, while “Blue Lotus” blends harpsichord and piano into a darker, more ornate soundscape. The closing track “23 Peaks” stretches into a six-and-a-half-minute instrumental-leaning finale with strings and organ taking the lead. Amos also collaborates with her daughter Natashya Hawley on tracks such as “Veins,” which explores generational trauma and inherited responsibility through call-and-response vocals.

Across its narrative structure, the album follows a transformation from fear to resistance, using mythic imagery to reflect very real contemporary anxieties. The cover artwork, created with photographer Kasia Wozniak, reinforces that sense of ritual and symbolism through its vintage photographic process.

Critical reception has already pointed to its ambition and intensity. As one review notes, “This may be Amos’ most unsettling and socially connected work since her 90s peak, where politics and personal myth collide in a way that feels both deliberate and urgent.”

We summed up the album like this:

This is an album that resists easy listening, rewarding patience with detail rather than immediate gratification.

With In Times of Dragons, Amos delivers a record that is less about accessibility and more about immersion, demanding attention while rewarding it with one of her most layered conceptual works in over a decade.

Author: Andrew Braithwaite

Andrew is the founder and chief editor of Music Talkers. He's also a keen music enthusiast and plays the guitar.