Here's the set list for Saturday night in Columbus. Order may be a little off. Teriffic show - great Waylon Jennings and Rodney Crowell covers in the encores that I hadn't seen on other set lists for the tour. It's great to see a performer generously give 3 hour perfromances even when he knows that he probably could get away with 90 minutes.
Uncomplicated
Clown Strike
45
Radio Radio
Clubland
Country Darkness
Waiting for the End of the World
Stranger In the House
One of These Days
Heart Shaped Bruise
Tonight the Bottle Let Me Down
Indoor Fireworks
My Baby's Gone
Mystery Train
Life's Companion
Sin City
Red Dirt Girl
American Without Tears
Luxury Liner
Delivery Man / Butcher's Boy
Bedlam
Monkey To Man
Needle Time
Mystery Dance
Why Don't You Love Me Like You Used To Do
Pump It Up/Ain't That A Lot of Love
Wild Horses
Wheels
Pancho & Lefty
Must You Throw Dirt In My Face
Gathering Flowers for the Master's Bouquet
Ain't Living Long Like This
Love Hurts
When I Paint My Masterpiece
What's So Funny About Peace Love & Understanding
The Scarlet Tide
Columbus 7-30 Set List
http://www.cd.columbus.oh.us/
DUO SPECIAL DESPITE CONFLICTING VOICES
Monday, August 1, 2005
By Curtis Schieber
FOR THE COLUMBUS DISPATCH
Elvis Costello and the Imposters ended the first segment of a nearly three-hour concert Saturday night in PromoWest Pavilion with Waiting For The End Of The World, a song Costello wrote in London's subway in 1976 for his famed punk-rock debut album.
Then he introduced country singer Emmylou Harris for Stranger in the House, a flat-out honky-tonk song. Costello confessed he wrote the song in 1977, when "performing country music was verboten '' and his manager would hide the George Jones cassettes when journalists were around.
Though Stranger and the more than a dozen country songs played Saturday were no surprise to Costello fans, enlisting Harris as his co-conspirator for the program summarized his love of the music.
A songwriter known for his clever wordplay and poetic cadence, Costello offered the Louvin Brothers' My Baby's Gone and the all-time great first line, "Hold back the rushing minutes, make the wind lie still,'' as evidence of the music's value.
Partnering with Harris also allowed Costello to emulate Gram Parsons, the deceased hero of alternative country and Harris' mentor and frequent singing partner.
But many of the reprised Parsons/Harris duets were flawed. Parsons and Harris' voices were uncommonly matched, both of them as beautiful and brittle as a dried wood carving. But Costello's phrasing and the warmth of his tone is a more difficult partner for the arid emotion of Harris' voice.
The closest the two came to the Parsons-Harris magic was in the encore with Wild Horses, a Rolling Stones song inspired by Parsons. They were furthest away on Love Hurts, a ballad best defined by the Everly Brothers and Parsons-Harris.
Larry Campbell, borrowed from Bob Dylan's band, sweetened all, though, with steel guitar and mandolin.
The program testified to the variety of styles Costello has tapped, his still-brilliant songwriting and a couple of themes that have run through much of his work. Displacement was key in American Without Tears, one of the evening's highs, reflecting Costello's English/Irish heritage. Monkey To Man and 45 were two of several songs that displayed the singer's rock 'n' roll abilities. Mystery Dance and Pump It Up were tributes to Costello's punk days and were plenty raucous. The Scarlet Tide, an Oscar-nominated song co-written with T-Bone Burnett for Cold Mountain, displayed Costello's politics with the newly written line, "You lied/bring the boys home.''
Still the evening was special because of Harris' presence and the duo's delivery of mostly tragic songs. Her lovely delivery of Red Dirt Girl under a balmy summer sky was as good as it gets, even though the song is full of pain. Or, as she said after Sin City : "Nothing like an apocalyptic waltz on a Saturday night.''
DUO SPECIAL DESPITE CONFLICTING VOICES
Monday, August 1, 2005
By Curtis Schieber
FOR THE COLUMBUS DISPATCH
Elvis Costello and the Imposters ended the first segment of a nearly three-hour concert Saturday night in PromoWest Pavilion with Waiting For The End Of The World, a song Costello wrote in London's subway in 1976 for his famed punk-rock debut album.
Then he introduced country singer Emmylou Harris for Stranger in the House, a flat-out honky-tonk song. Costello confessed he wrote the song in 1977, when "performing country music was verboten '' and his manager would hide the George Jones cassettes when journalists were around.
Though Stranger and the more than a dozen country songs played Saturday were no surprise to Costello fans, enlisting Harris as his co-conspirator for the program summarized his love of the music.
A songwriter known for his clever wordplay and poetic cadence, Costello offered the Louvin Brothers' My Baby's Gone and the all-time great first line, "Hold back the rushing minutes, make the wind lie still,'' as evidence of the music's value.
Partnering with Harris also allowed Costello to emulate Gram Parsons, the deceased hero of alternative country and Harris' mentor and frequent singing partner.
But many of the reprised Parsons/Harris duets were flawed. Parsons and Harris' voices were uncommonly matched, both of them as beautiful and brittle as a dried wood carving. But Costello's phrasing and the warmth of his tone is a more difficult partner for the arid emotion of Harris' voice.
The closest the two came to the Parsons-Harris magic was in the encore with Wild Horses, a Rolling Stones song inspired by Parsons. They were furthest away on Love Hurts, a ballad best defined by the Everly Brothers and Parsons-Harris.
Larry Campbell, borrowed from Bob Dylan's band, sweetened all, though, with steel guitar and mandolin.
The program testified to the variety of styles Costello has tapped, his still-brilliant songwriting and a couple of themes that have run through much of his work. Displacement was key in American Without Tears, one of the evening's highs, reflecting Costello's English/Irish heritage. Monkey To Man and 45 were two of several songs that displayed the singer's rock 'n' roll abilities. Mystery Dance and Pump It Up were tributes to Costello's punk days and were plenty raucous. The Scarlet Tide, an Oscar-nominated song co-written with T-Bone Burnett for Cold Mountain, displayed Costello's politics with the newly written line, "You lied/bring the boys home.''
Still the evening was special because of Harris' presence and the duo's delivery of mostly tragic songs. Her lovely delivery of Red Dirt Girl under a balmy summer sky was as good as it gets, even though the song is full of pain. Or, as she said after Sin City : "Nothing like an apocalyptic waltz on a Saturday night.''
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Extreme Honey
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bambooneedle
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Do you mean This Year's Model?bambooneedle wrote:One Of These Days?
and his manager would hide the George Jones cassettes when journalists were around.
And I bet it's 100% true as well...bambooneedle wrote:EC must be getting consistent laughs from town to town out of that story....
Who’s this kid with his mumbo jumbo?