From: Stephen
To: COSTELLO-L@LISTSERV.AOL.COM
Just got back from my quick tour of the PacNW. Much has
been posted already about the Seattle show. I enjoyed it, but IMHO
Portland was much stronger. EC seemed more into it, singing with more
passion and the audience was more responsive. Plus for the encores
(vitually half of the show) I was able to move forward to the front row.
The 3 new songs were very strong - begging to be recorded in a
KOA-mode. Country Darkness is my pick of the three. Highlights - as in Seattle
- were Unwanted Number, Either Side..., You'll Never Walk Alone and
Dark End of the Street. The North songs were better received as well.
During the encore when alone at piano EC reminds me of Randy Newman on the
North material.
Surprises were Ommie Wise (he started the No Wonder 1860 intro then
changed his mind) and Poisoned Rose - he struggled over the lyrics at
first but the second half of the song was wonderful. Great versions of
Shipbuilding and Home Truth as well.
On to SF & Santa Rosa!
pl+u
Stephen
EC/SN - PORTLAND - 03/09/04
Accidents Will Happen
45
I Hope You're Happy Now
Show With His Own Gun
This House Is Empty Now
You Left Me In The Dark
Someone Took The Words Away
Home Truth
Indoor Fireworks
Unwanted Number
Poisoned Rose
Ommie Wise
You Turned To Me
Fallen
God's Comic
Man Out Of Time
Shipbuilding
PL+U
-----
Either Side of the Same Town
When It Sings
Still
Alison / Suspicious Minds
-----
The Deilvery Man
Country Darkness
Needle Time
-----
Almost Blue
Let Me Tell You About Her
I'm in the Mood Again
Scarlet Tide
You'll Never Walk Alone
Pump It Up
The Dark End of the Street
Portland setlist/comments
-
VonOfterdingen
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The Oregonian
Happily married, but . . .
Elvis Costello gives merely mortal performance of unmoving music
03/12/04
MARTY HUGHLEY
When great singer-songwriter Elvis Costello married popular pianist and singer Diana Krall last December, the likely musical result (or so it seemed to me and aficionados I know) was that at the least Krall would start singing better songs.
The possibility that Costello's own music might be affected -- and for the worse -- never crossed our minds.
And standing on the outside of both the relationship and the artistic process of these talented newlyweds, we can't really say it's a matter of cause and effect. In fact, in interviews Costello has denied that his new wife's specialty in jazz piano ballads has altered his own stylistic direction. And if they're both happier, what we think of the music they make is secondary, at most.
Nonetheless, "North," the recent Costello album that reflects the emotional ricochet of the singer's divorce and subsequent new love, is his least engaging set in years. And at least in part because the songs from "North" served as the core of Costello's Tuesday night performance at the Arlene Schnitzer Concert Hall, this show was the least captivating he's played in the area.
Here it should be pointed out, though, that a less-than-stellar Costello show remains a wonderful thing, a feat of musical depth, range and agility beyond the ken of most artists. But compared with the rock 'n' roll heaven of his two Portland shows in 2002, Tuesday's Elvis seemed a mere talented mortal.
Unlike the 2002 shows, which featured a standard rock quartet, Costello was joined this time only by his longtime keyboardist, Steve Nieve. It's a fruitful format, with Nieve on piano and Costello playing acoustic, or sometimes electric, guitar. The pair showed right away that they can give the music a considerable fullness and drive, opening with the New Wave-era favorite "Accidents Will Happen" and the more recent rocker "45." But they also took advantage of the extra space with subtle expressiveness on ballads such as the dramatic "Shot With His Own Gun," the sadly resigned "Home Truth" and a version of the wistful "Almost Blue" with cool, behind-the-beat phrasing reminiscent of Chet Baker.
For a time, it appeared that the concert would follow a similar thematic arc to "North," mixing some of that album's tunes with other tales of romantic woe such as the Burt Bacharach collaboration "This House Is Empty Now" and the country-tinged "Indoor Fireworks" and "Poison Rose." But as the show stretched to more than 30 songs over two-plus hours, that sense faded in the face of failed experiments (an 1860s ballad laced with guitar feedback), crowd-pleasing concessions ("Alison," "Pump It Up," the Nick Lowe-penned "(What's So Funny 'Bout) Peace, Love and Understanding") and political protest both explicit (an anecdotal interlude in "God's Comic") and implied (the exquisite anti-war ballad "Shipbuilding").
But time and again he returned to "North" songs. He's taken similar detours before into art song and classic pop balladry to wonderful effect. But these songs, however heartfelt and skillful, are somehow charmless, narrow in both mood and pitch range, handsome yet uninviting.
He did, however, play one song he said was from a forthcoming album, a catchy pop song about a triangular relationship. It was reassurance enough that he has plenty more great writing in him. And, probably, plenty of shows even better than this one.
Marty Hughley: 503-221-8383; martyhughley@news.oregonian.com
The Oregonian
Happily married, but . . .
Elvis Costello gives merely mortal performance of unmoving music
03/12/04
MARTY HUGHLEY
When great singer-songwriter Elvis Costello married popular pianist and singer Diana Krall last December, the likely musical result (or so it seemed to me and aficionados I know) was that at the least Krall would start singing better songs.
The possibility that Costello's own music might be affected -- and for the worse -- never crossed our minds.
And standing on the outside of both the relationship and the artistic process of these talented newlyweds, we can't really say it's a matter of cause and effect. In fact, in interviews Costello has denied that his new wife's specialty in jazz piano ballads has altered his own stylistic direction. And if they're both happier, what we think of the music they make is secondary, at most.
Nonetheless, "North," the recent Costello album that reflects the emotional ricochet of the singer's divorce and subsequent new love, is his least engaging set in years. And at least in part because the songs from "North" served as the core of Costello's Tuesday night performance at the Arlene Schnitzer Concert Hall, this show was the least captivating he's played in the area.
Here it should be pointed out, though, that a less-than-stellar Costello show remains a wonderful thing, a feat of musical depth, range and agility beyond the ken of most artists. But compared with the rock 'n' roll heaven of his two Portland shows in 2002, Tuesday's Elvis seemed a mere talented mortal.
Unlike the 2002 shows, which featured a standard rock quartet, Costello was joined this time only by his longtime keyboardist, Steve Nieve. It's a fruitful format, with Nieve on piano and Costello playing acoustic, or sometimes electric, guitar. The pair showed right away that they can give the music a considerable fullness and drive, opening with the New Wave-era favorite "Accidents Will Happen" and the more recent rocker "45." But they also took advantage of the extra space with subtle expressiveness on ballads such as the dramatic "Shot With His Own Gun," the sadly resigned "Home Truth" and a version of the wistful "Almost Blue" with cool, behind-the-beat phrasing reminiscent of Chet Baker.
For a time, it appeared that the concert would follow a similar thematic arc to "North," mixing some of that album's tunes with other tales of romantic woe such as the Burt Bacharach collaboration "This House Is Empty Now" and the country-tinged "Indoor Fireworks" and "Poison Rose." But as the show stretched to more than 30 songs over two-plus hours, that sense faded in the face of failed experiments (an 1860s ballad laced with guitar feedback), crowd-pleasing concessions ("Alison," "Pump It Up," the Nick Lowe-penned "(What's So Funny 'Bout) Peace, Love and Understanding") and political protest both explicit (an anecdotal interlude in "God's Comic") and implied (the exquisite anti-war ballad "Shipbuilding").
But time and again he returned to "North" songs. He's taken similar detours before into art song and classic pop balladry to wonderful effect. But these songs, however heartfelt and skillful, are somehow charmless, narrow in both mood and pitch range, handsome yet uninviting.
He did, however, play one song he said was from a forthcoming album, a catchy pop song about a triangular relationship. It was reassurance enough that he has plenty more great writing in him. And, probably, plenty of shows even better than this one.
Marty Hughley: 503-221-8383; martyhughley@news.oregonian.com