Elvis, solo, Mainz, Germany , Oct. 12 '14

Pretty self-explanatory
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johnfoyle
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Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by johnfoyle »

Promo interview -

http://www.allgemeine-zeitung.de/lokale ... 639881.htm

Elvis Costello, who soon comes to Mainz, on stereotyped thinking, Gaza conflict and Dylan's Basement Tapes

27 Sept. 14


MAINZ / WIESBADEN - Wave, Folk, Country, Classical, Jazz: Hardly a rock musician has a broader range of styles than Elvis Costello. On 12 October, 20 clock, he is solo guest at the Mainzer Phoenix Hall.

Mr Costello, you have an impressive musical range. Where do you see your roots?

I have no roots.

Her father was also a famous musician ...

Yes, somehow it's a family business. But even though my parents were musicians, I was listening to music but very differentiated. The music is an encounter as a child a kind of starting point. Then it is evolving. My first musical reference points were the songs that I heard on the radio or on records, so as many do. As a small child but I knew none Folk Songs. Their radios played more popular stuff, rock or jazz.

Is there a special Costello-style?

No. For me there is only one kind of music, and that's good music. I do not care what people call it. The name of something I was never important - important are the feelings that evokes a song.

You perform the Beatles song "You've Got to Hide Your Love Away". On one of your albums Paul McCartney has been involved. How was it working?

Paul and I have written dozens of songs together, alone twelve between 1988 and 1992 Recently I had my first gig at New York's Carnegie Hall and played the Beatles number, which I had never been on stage before. I think people liked it.

You have made projects with very different artists. Who is still on your wish list?

I never had a list of people I wanted to meet her. Although I had the good fortune to be working with many famous musicians, but that just happened. You have an idea to songs that you could make time and 25 years later it will work. I think that's still amazing.

2010 You have canceled concerts in Israel in protest over the settlement policy of the government. As you stand on the conflict in Gaza?

This is not easy to answer. Experience tells me that any comment is rotated and turned it. One must understand that people despair when they live in constant fear, no matter which side they are on. But you know other seemingly intractable conflicts in the world were found for the solutions. To say that if one thing is wrong, all the practices of the other side were correct, does not continue. The desire for peace has been the earlier rights.

Which songs will you play in Mainz?

This is not fixed yet. Usually I choose the songs always only relatively close to the show from. I watch quite like the hall in order to get a feel for it. It will probably be songs that I've long been in the program, new things and also the more familiar numbers. I am very flexible, games and songs simply because they come to me straight in the head. Often the listeners demand their favorites, almost always the same numbers, which sometimes makes me a little crazy. Anyway, there will be many points of contact with the audience.

What are you working on?

I'm preparing an album "Lost on the River: The New Basement Tapes" is and will be released on November 7th. It contains 24 previously unpublished lyrics by Bob Dylan from the year 1967 It is great that we get these texts. Bob was incredibly creative at this time and wrote for the "Basement Tapes" a wealth of incredible songs, like "Hey Heavy and a Bottle of Bread". We have the freedom to do with the material, what we want. Together with a group of other songwriters like Jim James, Marcus Mumford, Rhiannon Giddens or My Mornig Jacket was added 44 songs in twelve days. Really wonderful things, of which the people had always hoped Bob Dylan they would then also recorded. We have then done now.



The interview was conducted by Michael Jacobs.
johnfoyle
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by johnfoyle »

Anyone going?
johnfoyle
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by johnfoyle »

Ditto!
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by Azmuda »

http://www.fotocommunity.de/pc/pc/display/34825083

Gestern Abend in der Phönixhalle in Mainz gastierte Elvis Costello
Yesterday evening at the Phoenix Halle in Mainz toured Elvis Costello

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bronxapostle
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by bronxapostle »

thankfully, ELVIS listed it again! :) :) :)


Elvis Costello solo at the Phonix-halle, Mainz, Germany with support by Larkin Poe - "The Results"


Elvis Costello solo with support by Larkin Poe
Phonix-halle, Mainz, Germany.
October 12th, 2014

45
Greenshirt
Either Side Of The Same Town
Veronica
Watch Your Step
Ascension Day
New Amsterdam
Married To My Hack
My Dark Life
Tonight The Bottle Let Me Down
Everyday I Write The Book
Walking My Baby Back Home
Ghost Train
Almost Blue
Wave A White Flag
She
Watching The Detectives
Alison

Pads Paws And Claws
Love Field
Turpentine
Indoor Fireworks
Brilliant Mistake
Golden Tom/Silver Judas
That's Not The Part Of Him You're Leaving
Blame It On Cain
Lost On The River
Six Months In Kansas City

Jimmie Standing In The Rain
Oliver's Army
Shipbuilding
Everybody's Crying Mercy
The Scarlet Tide
Peace Love & Understanding
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by And No Coffee Table »

http://www.regioactive.de/review/2014/1 ... NXPTq.html

Episch
Reicher Lohn für geduldige Fans: Elvis Costello live in der Phönix-Halle in Mainz
Von Jan Wölfer. Veröffentlicht am Montag, 13. Oktober 2014

Zweieinhalb Stunden unterhält Elvis Costello seine Fans in der bestenfalls halbgefüllten Phönix-Halle in Mainz. Umso erfreulicher ist die Intensität seines Auftritts. Für das Überraschungsmoment sorgen allerdings zwei junge Damen aus der Nähe von Atlanta.

Manchmal sind Vorgruppen einfach nur ein unnötiges Ärgernis, das den Abend länger werden lässt und nicht zu dessen Qualität beiträgt. Dieser Abend ist keiner von dieser Sorte. Als Support spielen Larkin Poe aus Calhoun, Georgia, einen kleinen Ort nördlich von Atlanta.

Starke Schwestern

Hinter dem Bandnamen verbergen sich die Schwestern Rebecca und Megan Lovell, die mit Mandoline und Lapsteel gleich in eine beeindruckende Version des Gospels "Wade In The Water" einsteigen. Rebecca zeigt von den ersten Tönen an, dass sie über eine starke Stimme verfügt und die verzerrten Lapsteel-Licks, die Megan dazu einwirft, wären wohl ganz nach dem Geschmack eines Jack White.

Zu räsonieren, dass die beiden Schwestern vor allem mit ihrer äußerlichen Attraktivität punkten, wäre vermessen – zu überzeugend ist ihr musikalisches Talent und die Arrangements, mit denen sie zu zweit das Publikum sofort begeistern. Neben Songs aus ihrem just erschienenen Debüt-Album "Kin", spielen sie auch noch eine düstere Version von Nancy Sinatras "Bang Bang". Als sie nach 40 Minuten ihr Set beenden, wünscht man sich, noch mehr von ihnen hören zu können – ein Wunsch, der sich noch ausgiebig erfüllen sollte.

Überfallartig auf der Bühne

Ohne große Ankündigung stürmt dann Elvis Costello auf die Bühne und während viele Zuschauer überrascht schnell aus dem Foyer in den Saal eilen, legt er bereits mit einer starken Version von "45" los. Die akustische Gitarre hat auch einen Signalweg in die E-Gitarrenverstärker, so dass sein Sound einerseits akustisch brillant, aber auch kraftvoll verzerrt klingt. Überhaupt muss man Costello attestieren, dass er auf seinem Solokonzert darauf achtet, seine Gitarren sehr unterschiedlich einzusetzen und so die Gefahr eintönig zu klingen minimiert.

Als zusätzliches Gimmick hat er Loop-Pedale, mit dem er das just Gespielte sampelt und loopt, so dass er mit sich selbst mehrstimmig spielen kann. Auf sehr spannende Weise setzt er diesen Effekt bei "Green Shirt" ein – später wird er manche Songs durch massive Noise-Orgien fast überladen. Zunächst begrüßt er jedoch das Mainzer Publikum und stellt als Motto für diesen Sonntagabend "Songs of exile" in den Raum, der, wie er anmerkt, ja auch ein Exil sei, denn er habe die Ordner angewiesen die Türen zu versperren.

Anspruchsvolle Mischung

Die Songauswahl variiert durchaus von Konzert zu Konzert, an diesem Abend gibt es eine für das Publikum durchaus anspruchsvolle Mischung, die zwar nahezu alle Phasen seiner Karriere berücksichtigt, aber mit vielen Songs gespickt ist, die wohl nur die Costello-Experten kennen, so etwa "Ascension Day" von seiner Kollaboration mit Allen Toussaint "The River In Reverse" oder "My Dark Life", das damals nur auf einer wenig bekannten Compilation seiner Warner-Jahre in den 90s erschien.

Gerade mit so langen und sperrigen Songs wie "My Dark Life" fordert er die Geduld der Zuhörer heraus. Entweder sind jedoch genug dankbare Hardcore-Fans anwesend, die sich gerade über die ausgefallenen Songs freuen oder er hat einfach Glück, dass das Publikum aufgeschlossen für solche Momente ist. Über das ganze Konzert hat man durchaus das Gefühl, dass Costello ein gewisses Vergnügen daran findet, die Zuhörer auf die Probe zu stellen – eine Probe, die das Publikum aber durchaus zur Zufriedenheit des Sängers zu meistern scheint.
Flexible Reaktionen und spannende Anekdoten

Der Charme eines Solokonzertes besteht immer auch darin, dass der Künstler sehr flexibel auf das Publikum reagieren kann. So veranlasst eine umkippende Flasche ihn dazu das Merle Haggard-Cover "Tonight The Bottle Let Me Down" spontan zum besten zu geben. Außerdem lässt das Konzept der Soloshow natürlich Raum für Ansagen und diesen Raum nutzt Costello um sehr unterhaltsame und auch spannende Anekdoten über seinen Vater und seinen Großvater zu erzählen, die beide auch Musiker waren.

Oder er berichtet von seiner Frau, die wahrscheinlich gerade zuhause sitzt, Karten spielt und Brandy mit ihren 7-jährigen Zwillingssöhnen trinkt ("We're training them up to go into show-business, that's why we called them Hank and Frank so they can be a double-act!")

Halbzeitpause nach 80 Minuten!

Mit einer ohne Mikrofonverstärkung in den Saal gesungenen Version von "Alison" endet das reguläre Set nach 80 Minuten. Dass man hier auch von einer Halbzeitpause reden könnte, ahnt wohl noch keiner im Publikum. Nach einer kurzen Pause kehrt Costello mit den beiden Lovell-Schwestern zurück auf die Bühne und steigt mit einer stampfenden Version von " Pads, Paws and Claws" vom Album "Spike" ein.

Die beiden jungen Damen harmonieren prächtig mit dem nicht mehr ganz so jungen Troubadour, es zeigt sich, dass sie in den letzten fünf Jahren Costello schon oft begleitet haben. Rebecca singt wunderbare zweite Stimmen und Megans Steelguitar-Licks bringen entscheidende Würze in den Sound. Ganz hervorragend geraten vor allem zwei alte Costello-Faves: "Indoor Fireworks" und "Brilliant Mistake".

Neue Sounds aus dem Keller

Der gemeinsame Auftritt der drei dauert eine dreiviertel Stunde und enthält auch einige Songs aus dem "neuen" Album, auf dem Costello gemeinsam mit T-Bone Burnett und anderen Künstlern unveröffentlichte Bob Dylan-Texte aus der Zeit nach seinem Motorradunfall 1966 für ein Album namens "New Basement Tapes" vertont hat.

Insgesamt vier Songs aus dieser Sammlung gibt es an diesem Abend zu hören – vielversprechendes Material, in der Begleitung von Larkin Poe exzellent umgesetzt. Mit dem ebenfalls aus der Feder von Dylan stammenden "Six Months In Kansas City", das für den Refrain massiv Joe Cockers Version von "With A Little Help From My Friends" zitiert, endet dieses Zugabenset.

Zweieinhalb Stunden, 35 Songs

Aber Costello kehrt noch einmal auf die Bühne zurück. Zunächst spielt er mit "Oliver's Army" einen seiner bekanntesten Songs, anschließend performt er am E-Piano das fragile und heftig umjubelte "Shipbuildung". Für das großartige "Scarlett Tide" holt er Larkin Poe auf die Bühne zurück, die ihm auch bei der wilden, mitreißenden Version von "(What's So Funny About) Peace love and understanding" begleiten.

35 Songs sind es, die am Ende des Abends zu Buche stehen. Die Geduld des Mainzer Publikums in der ersten Hälfte hat sich mehr als ausgezahlt. Es wurde in der Tat spät. Aber es hat sich gelohnt!

Setlist

45 | Green Shirt | Either Side Of The Same Town | Veronica | Watch Your Step | Ascension Day | New Amsterdam / You've Got To Hide Your Love Away | Married To My Hack | My Dark Life | Tonight The Bottle Let Me Down | Everyday I Write The Book | Walking My Baby Back Home | Ghost Train | Almost Blue | Wave A White Flag | She | Watching The Detectives | Alison

Pads, Paws And Claws | Love Field | Turpentine | Indoor Fireworks | Brilliant Mistake | Golden Tom - Silver Judas | That's Not The Part Of Him You're Leaving | Blame It On Cain | Lost On The River | Six Months In Kansas City

Jimmy Standing In The Rain | Oliver's Army | Shipbuilding | Everybody's Crying Mercy | The Scarlet Tide | (What's So Funny About) Peace Love And Understanding


Google translation:

Epic
Rich reward for patient fans: Elvis Costello live in the Phoenix Hall in Mainz
Jan Wölfer. Published on Monday, October 13, 2014

Two and a half hours has Elvis Costello fans in the best half-filled Phoenix Hall in Mainz. More gratifying is the intensity of his performance. However, provide two young ladies from around Atlanta for the element of surprise.

Sometimes opening acts are just an unnecessary nuisance that can be longer the evening and does not contribute to its quality. This evening is not one of that sort. As Larkin Poe Support play from Calhoun, Georgia, a small town north of Atlanta.

Strong sisters

Hide the sisters Rebecca and Megan Lovell that go with the mandolin and lap steel equal in an impressive version of the Gospels "Wade In The Water" Behind the band name. Rebecca shows from the first notes that she has a strong voice and the distorted lap steel licks that interjects Megan to would probably be to the taste of Jack White.

To grumble that the two sisters score with their outward attractiveness would be presumptuous - to convincing is her musical talent and the arrangements by which they couple inspire the audience immediately. In addition to songs from her just-released debut album "Kin", they also play a gloomy version of Nancy Sinatra's "Bang Bang". When they finish their set after 40 minutes, one wishes to be able to hear more of them - a desire, which should be fulfilled yet extensively.

Raid-like on the stage

Without big announcement then has a fantastic Elvis Costello on stage and while many viewers surprised quickly rush out of the foyer in the hall, he already puts in a strong version of "45" going on. The acoustic guitar also has a signal in the electric guitar amplifier, so that his sound on the one hand acoustically brilliant, but also powerfully distorted sounds. Ever have to attest Costello that he pays attention to his solo concert on it, using his guitars very different and so minimizes the risk of sounding monotonous.

As an additional gimmick he has loop pedals, which he samples the just played and continues to loop, so that he can play more consistent with itself. In a very exciting way he uses this effect in "Green Shirt" - later he is some songs almost overloaded by massive noise orgies. First, however, he welcomed the audience and Mainz is the motto for this Sunday evening "Songs of exile" in the space, as he notes, so was also an exile, for he had ordered to block the doors of the folder.

Challenging mix

The song selection varies quite from concert to concert, this evening there is a quite demanding for the audience mix, although almost all phases of his career into account, but is peppered with many songs that probably only know the Costello-experts, such as "Ascension Day "from his collaboration with Allen Toussaint" The River in Reverse "or" My Dark Life ", which appeared at that time only a little-known compilation of his Warner years in the 90s.

Especially with so long and bulky songs like "My Dark Life", he challenges the patience of the audience. But either are grateful enough hardcore fans in attendance, who are happy just about the fancy songs or he just lucky that the audience is receptive to such moments. Throughout the concert you definitely feel that Costello is a certain pleasure from asking the audience to the test - a test that seems quite but to master the public to the satisfaction of the singer.
Flexible responses and exciting anecdotes

The charm of a solo concert there is always the fact that the artist can react very flexibly to the audience. So a bottle overturning caused him to give the Merle Haggard cover "Tonight The Bottle Let Me Down" spontaneous best. Furthermore, the concept of the solo show can of course room for announcements and Costello uses this space to very entertaining and interesting anecdotes about his father and his grandfather to tell, both of which were also musicians.

Or he talks about his wife, who probably just sitting indoors, playing cards and brandy drinking with her ​​7-year-old twin sons ("We're workout them up to go into show-business, that's why we called them Hank and Frank as They Can be a double-act! ")

Half-time break after 80 minutes!

With no microphone gain in the hall sung version of "Alison" the regular set ends after 80 minutes. That one could also speak of a half-time, well guess none yet in the audience. After a short break Costello returns with both Lovell Sisters back on stage and increases with a stomping version of "Pads, Paws and Claws" from an album "Spike".

The two young ladies harmonize sumptuously with the not-so-young troubadour, it turns out that they have supported in the past five years, Costello often. Rebecca sings wonderful second voices and Megan's steel guitar licks bring considerable spice to the sound. Quite outstanding fall mainly two old Costello Faves: "Indoor Fireworks" and "Brilliant Mistake".

New sounds from the basement

The joint presentation of the three takes three quarters of an hour and also includes some songs from the "new" album, on which Costello unreleased collaboration with T-Bone Burnett and other artists Bob Dylan texts from the period after his motorcycle accident in 1966 for an album called "New Basement Tapes "set to music.

A total of four songs from this collection, there this evening to hear - promising material, excellently implemented in the company of Larkin Poe. By also coming from the pen of Dylan "Six Months in Kansas City," which for the chorus massively quoted Joe Cocker's version of "With A Little Help From My Friends", ends this Zugabenset.

Two and a half hours, 35 songs

But Costello returns once more to the stage. First he plays with "Oliver's Army" one of his most famous songs, then he performs on electric piano, the fragile and heavily acclaimed "Shipbuildung". For the great "Scarlett Tide" Larkin Poe he brings back to the stage, "(So What's Funny About) Peace love and understanding" accompany him even in the wild, rousing version of.

35 songs are the ones who are on record at the end of the evening. The patience of the Mainz audience in the first half has more than paid off. It was in fact late. But it was worth it!

Setlist

45 | Green Shirt | Either Side Of The Same Town | Veronica | Watch Your Step | Ascension Day | New Amsterdam / You've Got To Hide Your Love Away | Married To My Hack | My Dark Life | Tonight The Bottle Let Me Down | Everyday I Write The Book | Walking My Baby Back Home | Ghost Train | Almost Blue | Wave A White Flag | She | Watching The Detectives | Alison

Pads, Paws And Claws | Love Field | Turpentine | Indoor Fireworks | Brilliant Mistake | Tom Golden - Silver Judas | That's Not The Part Of Him You're Leaving | Blame It On Cain | Lost On The River | Six Months in Kansas City

Jimmy Standing In The Rain | Oliver's Army | Shipbuilding | Everybody's Crying Mercy | The Scarlet Tide | (What's So Funny About) Peace Love And Understanding
sweetest punch
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by sweetest punch »

The review says that Larkin Poe joined Elvis for The Scarlet Tide and PLU.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by verbal gymnastics »

Sounds like a great concert. Good to see him warming up the Dylan songs for the UK shows...
Who’s this kid with his mumbo jumbo?
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by taramasalata »

verbal gymnastics wrote:Sounds like a great concert. Good to see him warming up the Dylan songs for the UK shows...
YES, definitely! Among the best gigs of the 14, 15 times that I've seen him since "my first one" in 1989 in an amusement park in the rather small New England town of Berlin CT, then together with the Rude 5, bringing in the crops of the heavy airplay of "Veronica" on MTV, making "Spike" one of this best-sold records ever, least in the U.S..

So MAINZ this time, another rather small town, in Germany much better known for carnival and wineries than for Rock'n Roll (the audience seemed appropriately enough rather uncertain about feeling pride, shame or amusement when Elvis kept labeling the town of being "the weird sex capital of Germany"...). Whatever made his management think that he could draw enough people to fill a more than 1000 seats-venue (might have been maybe 600... which isn't so bad thinking of him having had problems to fill even smaller venues in cities like Berlin, the one with 3.5 million inhabitants...), it was an absolute great concert.
With him seeming to have so much joy in playing songs from his amazing back catalogue, from his first home recording days with gems like "Wave a white flag" to his recent collaboration with the New Basement Tapes project, which I hadn't have so much interest in until I heard him play quite a bunch of immaculate songs from it last Sunday in concert, and spontaneous enough to throw in "Tonight the bottle let me down" after someone in the audience let a bottle roll over the floor ("This is actually my favorite sound of all", he commented with a smile).
Like most times, it took him a bit to really get into the mood, though the early surprise of "Green shirt", a splendid interpretation of "Either side of the same town" and the self-confidence to play a difficult-to-play acoustic guitar version of "My dark life" in a great way (another one anyone would have hardly thought about) within the first half hour of the concert, were a good cue for the evening to evolve in a fantastic way.
With very beautiful renditions of never-tiring classics like "Almost blue" or "Alison", he certainly would have given a great performance the man just himself, but with the two ladies of Larkin' Poe, it did add the whole thing another quality of joy, of life, of abundance. From "Pads, Paws and Claws" all the way through until "Six days in Kansas City", there was so much playfulness and dedication to and in the music that it was such a pleasure to be part of it.
It's hard to pick certain songs out, but the way they treated "Love Field", "Brillant mistake" or "Blame it on Cain" (the only shame being the fact that I had to force myself so hard not so sing along TOO loud while most of the audience was listening rather reverently to their master's performance) was absolutely brilliant.
And, after a very somber rendition of "Shipbuidling" seated on the e-piano and another surprise of Mose Alison's "Everybody'c crying Mercy", while honoring a request, he brought Larkin' Poe back for another very unexpected one, The Scarlet Tide, before he then, now for once doing the expected, closed with PLU.

Like being preceded and followed by the reviews of his other shows, this European tour apparently finds him in such a positive way, enjoying so much the things he is doing, performing every night to people in all different kinds of places, in the tradition of his ancestors, "Jimmie standing in the rain" without the stale bread and the third-class ticket.
Who would have thought of so much positivity in him, while not losing any bit of his bite, 37 years ago?

Pure joy. And worth having to go back by train all the way back to Zurich, the other morning.
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by verbal gymnastics »

Thanks taramasalata - great review.
Who’s this kid with his mumbo jumbo?
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by johnfoyle »

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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by sweetest punch »

Thanks John, here is the article: http://www.rnz.de/kulturregional/00_201 ... hwoer.html

Elvis Costello in Concert: Der Geisterbeschwörer

Als wolle er den Soundtrack zu "True Detective" spielen: Elvis Costello in Mainz. und davor gab es die grandiose Vorband "Larkin Poe"

Manchmal hat man vor Konzerten Angst. Auch als Zuschauer. Vor dem aktuellen Elvis Costello-Auftritt zum Beispiel. Schließlich hat der Brite mit "Wise Up Ghost" vergangenes Jahr ein Album vorgelegt, das - mit der Hip-Hop-Formation "The Roots" aufgenommen - sagen wir: gewöhnungsbedürftig war.

Glücklicherweise aber hat Costello die Geistergeschichten daheim gelassen. Stattdessen ein Parforceritt quer durch die Karriere des 60-jährigen Declan Patrick MacManus. Er alleine auf der Bühne. Der Tee auf der Box dampft, die fünf Gibson-Sammlerstücke glänzen im Scheinwerferlicht.

Zum Aufwärmen in der ziemlich zugigen Mainzer Phönix-Halle gibt Costello den Song "45". Da steht die Hälfte des Publikums zwar noch draußen bei Bier und Brezeln. Doch spätestens als Costello kurz darauf zur blonden Jazz-Gitarre greift, wird klar: Das wird ein besonderer Abend.

Das Unvorhergesehene regiert. Costello hat ein Loop-Gerät angeschlossen. Damit kann er seine Gitarre aufnehmen, die Melodie wiedergeben, Neues draufpacken, einblenden, ausblenden - und über die so entstandene Klangcollage am Ende frisch spielen und singen. Es entstehen ganz eigenwillige Momentaufnahmen - und Costello freut sich sichtlich, weil ihm einige davon im Laufe des Abends richtig gut gelingen.

Manchmal klingt er, als wolle er den Soundtrack zur düsteren Krimiserie "True Detective" liefern. Erdig, tief im Mississippi-Delta. Wie Geisterbeschwörer in Louisiana.

Er lotet die Extreme aus. MacManus ist einer der großen Singer-Songwriter der Gegenwart. Ende der 70er-Jahre war er der intellektuelle Angry Young Punk mit seiner Band The Attractions. Aber Costello kann alles: Rock'n'Roll, Funk, Blues. Er kann Jazz, Streichquartett und Piano-Ballade. Trotz der Vielseitigkeit bleibt seine musikalische Handschrift markant.

Aber Costello ist auch ein rechter Kauz. Den Panamahut zum Anzug ist man gewohnt. Auch wenn der ziemlich unpraktisch ist, weil er vom Kopf zu segeln droht, immer wenn Costello die Gitarre wechselt und den Schultergurt über den Kopf zieht - also praktisch nach jedem Song. Dazu kaut er unablässig Kaugummi und erzählt skurrile Geschichten aus seinem Familienleben. Von seiner Frau zum Beispiel, der Jazz-Musikerin Diana Krall, die, während er hier auf der Bühne steht, wahrscheinlich daheim in New York sitze und mit ihrem siebenjährigen Sohn Brandy kippe.

Das ist Quatsch, macht aber Spaß. An den Sechssaitern nimmt er seine Sache dagegen ernst. Jeder Konzertabend soll anders verlaufen, erst kurz vor dem Auftritt entscheidet Costello, was er heute spielt. So das Konzept. Und so kann er spontan reagieren. Als im Publikum eine Bierflasche umkippt und klirrend über den Boden rollt, philosophiert er über dieses wunderbare Geräusch - und spielt dann "Tonight The Bottle Let Me Down", ein Country-Klassiker von Merle Haggard.

Seinem 1980er-Song "New Amsterdam" mischt er die Beatles-Klassiker "Norwegian Wood" und "You've Got to Hide Your Love Away" unter - eine kurze Verneigung. Drei Songs zuvor hatte er bereits "Veronica" im Programm, das Ende der 80er in der eher schwierigen Kollaboration mit Paul McCartney entstanden war.

Es gibt einige solcher magischen Momente. "Almost Blue" wird dramatisch, bei "King Of America" darf's auch mal richtig scheppern. Während einer seiner experimentellen Songcollagen hantiert Costello mit einem Megafon und "Alison" wiederum singt er ganz ohne elektronische Verstärkung in den Saal.

Die größte Überraschung aber ist Costellos Vorband "Larkin Poe". Rebecca und Megan Lovell aus Atlanta spielen amerikanischen Roots-Rock. Die eine hauptsächlich an der Mandoline, die andere an der Lapsteal-Gitarre. Schon die 45 Minuten zum Anheizen waren der Hammer. In der zweiten Hälfte seiner "Solo-Show" holt Costello die jungen Musikerinnen - 25 und 23 Jahre alt - mit auf die Bühne.

Und bei den dreien stimmt die Chemie. Nicht nur, dass sie musikalisch toll harmonieren - die klaren Stimmen der Mädchen setzen einen spannungsreichen Gegenpol zu Costellos gebrochenem Genuschel. Auch scheint sich der Ältere zwischen dem hübschen Duo sichtlich wohl zu fühlen. Man hat den Eindruck, die drei wollen gar nicht mehr runter von der Bühne. Zusammen spielen sie die stärksten Songs des Abends, "Blame It On Cain", "Six Months In Kansas City" und "Brilliant Mistake".

34 Songs an einem Abend. Beseelt, gereinigt stolpern wir aus der Halle. Es ist halb 12. Kurz vor der Geisterstunde. Doch die Angst vor dem "Wise Up Ghost" - längst vertrieben.

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Google translation: https://translate.google.be/translate?s ... t=&act=url

Elvis Costello in Concert: The Necromancer

When he wanted the soundtrack to "True Detective" play: Elvis Costello in Mainz. and before that there was the grand opening band "Larkin Poe"

Sometimes people are afraid of concerts. Even spectators. In the current Elvis Costello appearance for example. Finally, the Briton has presented an album of "Wise Up Ghost" last year, which - taken with the hip-hop band "The Roots" - say: was used to.

Fortunately, Costello has allowed the ghost stories back home. Instead, a tour de force across the career of the 60-year-old Declan Patrick MacManus. He alone on the stage. The tea on the box evaporated, the five Gibson Collectibles shine in the spotlight.

To warm in the rather drafty Mainz Phoenix Hall Costello is the song "45". Since half of the audience is still out there with beer and pretzels. But at least shortly thereafter engages Costello as the blond jazz guitar, is clear: It will be a special evening.

The Unforeseen governed. Costello joined the loop device. He can hold his guitar, play the melody, draufpacken New, Show, Hide - and play fresh on the resulting sound collage at the end and sing. It created a very unique snapshots - and Costello is obviously pleased, because he captures some of them really well during the evening.

Sometimes he sounds like he wants to provide the soundtrack to the dark crime series "True Detective". Earthy, deep in the Mississippi Delta. How necromancer in Louisiana.

He explores the extremes. MacManus is one of the great singer-songwriters of our time. End of the 70s he was the intellectual Angry Young punk with his band The Attractions. But Costello does: rock and roll, funk, blues. It can jazz, string quartet and piano ballad. Despite the versatility of his musical handwriting is distinctive.

But Costello is also a right geezer. The Panama hat to suit you're used to. Although that is quite impractical, because it threatens to sail from the head whenever Costello guitar changes and the shoulder strap over the head pulls - basically after each song. For this purpose, he chews gum incessantly and told bizarre stories from his family life. Of his wife, for example, the jazz musician Diana Krall, who, while he is here on the stage, probably sitting at home in New York and cant with her seven year old son brandy.

That is nonsense, but fun. At the Sechssaitern he takes his job seriously, however. Each evening concert should have been different, until shortly before the show decides Costello what he plays today. So the concept. And so it can react spontaneously. As the crowd tipped over a bottle of beer and clinking rolls across the floor, he philosophizes about this wonderful sound - and then plays "Tonight The Bottle Let Me Down", a Country Classics by Merle Haggard.

His 1980 song "New Amsterdam" he mixes with the Beatles classic "Norwegian Wood" and "You've Got to Hide Your Love Away" - a short bow. Three songs previously he had already "Veronica" was created in the program, the end of the 80 in the rather difficult collaboration with Paul McCartney.

There are some such magical moments. "Almost Blue" is dramatic, with "King Of America" ​​may sometimes rattle's right. During one of his experimental song collages Costello handled with a bullhorn and "Alison" again he sings without electronic amplification in the hall.

The biggest surprise, however, is Costello's opening act "Larkin Poe". Rebecca and Megan Lovell from Atlanta playing American roots rock. The one mainly on the mandolin, the other on the Lapsteal guitar. Even the 45 minutes to heat up were awesome. In the second half of his "solo show" Costello brings the young musicians - 25 and 23 years old - on stage.

And in the three great chemistry. Not only do they harmonize musically great - the clear voices of the girls put an exciting counterpoint to Costello's broken Genuschel. Also, the Elder between the duo seems pretty clear to feel comfortable. One has the impression that the three will not want to get off the stage. Together, they play the best songs of the evening, "Blame It On Cain", "Six Months in Kansas City" and "Brilliant Mistake".

34 songs in one evening. Inspired, cleaned we stumble out of the hall. It's half past 12, just before the witching hour. But the fear of the "Wise Up Ghost" - long since sold.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: Elvis, solo, Mainz, Germany , Oct. 12 '14

Post by Man out of Time »

Review by Christian Friedrich in the Frankfurter Allgemeine Zeitung on October 14, 2014:

"Lauter Lieder über die Liebe, deren Ende und die Untreue

Statt Begleitband ein Dutzend Gitarren: Elvis Costello in der Mainzer Phönix-Halle

Er hat sich in Schale geworfen, die roten Schuhe hervorgeholt, den schicken weißen Hut keck ins Gesicht geschoben, dann in diesem "fine establishment" landed Elvis Costello betont den Hinweis auf die Umgebung so, wie ältere Damen manchmal degoutant von einem "Establishment" sprechen. Ein anrüchiger Ort is die Phönix-Halle in Mainz nun zwar nicht, doch gewiss der falsche für ein Solo-programm des legendären britischen Liederschmieds. Zu groß die Halle, zu leer - trotz eigentlich ordentlichen Besuchs - die hinteren Reihen, zu unausgewogen der Sound. Costello hat nämlich in Mainz keine Attractions, keine Confederates, keine Imposters, keine Roots oder sonst eine der Begleit bands, die ihn in seiner langen Karriere schon begleitet haben, sondern nur ein halbes Dutzend Gittaren dabei.

Diese, ob nun akustisch, halbakustisch oder elektrisch, klingen in der hohen Halle bisweilen unangenehm wie Kreissägen. Das ist nur zu einem geringen Teil Costellos offensichtlichem Spaß an der gelegentlich eingesetzten Looping-Technik geschuldet und auch keine Reminiszenz an die Punk-Attitude seiner frühen Alben, selbst wenn er beim ersten Song des Abends, "45", in den er fõrmlich hineinrennt, diesen Eindruck erwecken könnte. Er singe aber lieber über "die Liebe", erzählt der mittlerweile 60 Jahre alte Sänger, um dann augenzwinkernd anzufügen:"und über das Verlassen und die Untreue. Gut 400 Songs habe er dazu geschrieben, darunter auch Klassiker wie "Veronica” oder seinen Beitrag für die Ewigkeit. "Alison"

Dieses Wunderwerk singt Costello ganz ohne Mikrofon in den Saal, während das Publikum andächtig lauscht und sich erst nach Aufforderung traut, wenigstens noch in den Refrain einzustimmen. Gut 80 Minuten hat Costello da schon gespielt, manchen Hit wie "Watching the detectives" oder "Everyday I write the book” und manche unerwartete Perle wie ein Mash-up seines Songs "New Amsterdam” mit dem Beatles-Monument "You’ve got to hide your love away” geboten, mal wie ein junger Held mit der so markanten Costello-Stimme gesungen und mal wie ein alter Bob Dylan geknödelt und auch dessen Kunst der Dekonstruktion eines Songs übernommen.

Doch statt nach wohlverdientem Applaus das Weite aus "Mainz, the German capital of weird sex” zu suchen. gibt er lieber gleich noch ein weiteres Konzert. Anders kann man diesen immensen Zugabenblock nicht nennen, den sich Elvis Costello als Uberraschung aufgehoben hat. Wenn diese Uberraschung unvergesslich bleibt, ist es auch zwei jungen Damen zu verdanken, die schon Vorprogramm aufhorchen ließen.

Die Schwestern Rebecca und Megan Lovell musizieren von Kindesbeinen an und haben in Eigenregie bereits einige Bluegrass/Folk-Platten aufgenommen. Mittlerweile nennen sie sich Larkin Poe und haben ihrem Americana-Sound noch etwas Bluesrock und Pop-Appeal verpasst. Dass sie mit einer solchen Mixtur zu Größerem berufen sein könnten. hat Costello, der nicht umsonst als exzellenter Musikkenner gilt, natürlich schon längst bemerkt. Er hat vermutlich auch deshalb die Schwestern nur zu gern zu seiner Verstãrkung auf die Bühne geholt, um nicht weniger als elf Songs mit ihnen gemeinsam zu spielen. darunter entzückende Versionen von "Love field”, "Brilliant Mistake” und "(What’s so funny ‘bout) peace, love and understanding”. Nicht nur der makellose Background-Gesang der Lovells, sondern vor allem die von Megan Lovell verzerrt gespielte Lapsteel fûhren die Costello-Songs in jene Country Gefilde, mit denen der Englander ja schon seit den achtziger Jahren immer wieder liebäugelt und zu denen sein Hut gar trefflich passt.

Hat der Haudegen also doch die passende Garderobe gewählt für einen denkwürdigen Abend. der nach zweieinhalb Stunden selbst ein "establishment" wie die Phönix-Halle in eigentümlichem Glanz funkeln lässt."

Or in "English" via Google Translate:

"Loud songs about love, the end and the infidelity

Instead of backing a dozen guitars: Elvis Costello in Mainz Phoenix Hall

He has thrown in a bowl, brought out the red shoes, chic white hat pushed boldly in the face, then this "fine establishment" landed Elvis Costello emphasizes the reference to the environment as older women sometimes disgusting from a "Establishment" speak , A disreputable place is not the Phoenix Hall in Mainz now though, but certainly the wrong for a solo program of the legendary British songs blacksmith. Too big hall to empty - despite actually ordinary visit - the back rows, too unbalanced sound. Costello namely in Mainz no Attractions, no Confederates , no Imposters , no Roots or else one of the accompanying bands who have accompanied him in his long career, but only half a dozen guitars on it.

This, whether acoustic, semi-acoustic or electric, sound sometimes unpleasant as circular saws in the high hall. This is due to obvious fun of occasionally used looping technology only to a small extent Costello and no reminiscence of the punk attitude of his early albums, even if the first song of the evening, " 45 ", into which he runs fõrmlich, could give this impression. But he sing rather about "love," says the now account for 60-year-old singer and then winking to add: "and about leaving and infidelity" Well, he wrote to 400 songs, including classics like." Veronica "and his contribution for eternity. "Alison".

This marvel Costello sings without a microphone in the room, while the audience listens attentively and dares until prompted, at least not join in the chorus. Well 80 minutes Costello has played there, some hit like "Watching the detectives" or "Everyday I write the book" and some unexpected pearl like a mash-up of his song " New Amsterdam "with the Beatles Monument" You've got to hide your love away "offered, sometimes sung as a young hero with the so distinctive voice and Costello geknödelt at times like an old Bob Dylan also adopted the art of deconstruction of a song.

But instead of looking after her well-deserved round of applause to the length of "Mainz, the German capital of weird sex". He is rather just yet another concert. Unlike you, this immense encore not name, Elvis Costello has been canceled as a surprise. When this surprise is unforgettable, it is also thanks to two young ladies who were already sit up opening act.

The sisters Rebecca and Megan Lovell music from childhood and have already taken some bluegrass / folk-plates on their own. Now they call themselves Larkin Poe and have missed their Americana sound a little blues rock and pop appeal. That they might be appointed to such a mixture to be bigger. has Costello, who is regarded as excellent music connoisseurs not in vain, of course, noticed long ago. He's probably got the reasons that the sisters only too happy to its amplification on stage to play no less than eleven songs with them. including adorable versions of " Love field drove "," Brilliant Mistake "and" (What's so funny 'bout) peace, love and understanding ". Not only the flawless background vocals of Lovells, but especially the distorted by Megan Lovell played lap steel Costello songs in those realms country with which the Englishman already since the eighties toying again and to which his hat fits quite admirably.

The perfect outfit, the warhorse thus nevertheless elected for a memorable evening. after two and a half hours for yourself "establishment" can be like the Phoenix Hall sparkle in a peculiar lustre."

The reviewer was clearly impressed by Larkin Poe. Google Translate fails to suggest an English translation for "geknödelt" - perhaps "noodled"?

MOOT
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