Elvis, solo, Gateshead, 9 June 2015
Elvis, solo, Gateshead, 9 June 2015
Who's going?
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verbal gymnastics
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Re: Elvis, solo, Gateshead, 9 June 2015
Me. As I posted in the other thread, I'm front row centre with Nicola76. That'll be great until he goes to the piano!
Who’s this kid with his mumbo jumbo?
Re: Elvis, solo, Gateshead, 9 June 2015
Photos by Nicola76
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sulky lad
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Re: Elvis, solo, Gateshead, 9 June 2015
Brilliant photos, Nichola, thanks for sharing !
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stricttime81
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Re: Elvis, solo, Gateshead, 9 June 2015
http://www.chroniclelive.co.uk/whats-on ... ad-9425414
Review: Elvis Costello at the Sage Gateshead
12:06, 10 June 2015
OPINION BY GRAEMEWHITFIELD
The singer-songwriter returns to Tyneside with a set completely different to anything he's done before (as expected)
If there’s one thing Elvis Costello can’t do, it’s whatever he did last time.
Two years ago, Costello brought his ‘Singing Songbook’ to the Sage, the nearest he’ll ever get to a greatest hits tour, albeit with the audience choosing the songs by spinning a giant wheel that contained many of the most loved tunes from his large back catalogue.
Back at the same venue, he has dispensed with the band, appearing backed only by a giant mock TV and a collection of guitars that would keep Windows in business for a number of years.
The show is called Detour and it is very much a ramble through the more obscure and half-forgotten songs of his illustrious career. I have 26 of Costello’s albums in my house and have played most of them to death, but there are times when I am scratching my head and going “ooh, what’s this one?”
By its nature, a show of obscurities throws up moments where you think “I wish he would play Oliver’s Army” (he does, by the way, and it’s great). But there are also some wonderful surprises, from the opening Sneaky Feelings to Hoover Factory, a 1981 B-side that didn’t see light of day again until added to the release of his Get Happy album in 1994. It’s a belter.
Time has changed Costello from an angry young man to a warm and funny raconteur, telling stories about his father and grandfather – musicians both – and how their influence has shaped his career in song.
And that lineage is very much the story of Detour, with songs by the likes of Patsy Cline and Nat King Cole thrown in alongside early punk favourites. He may be one of the country’s greatest songwriters, but this is a set which also accommodates other people’s tunes to mark the impact they have had on his life.
Classic ballad Alison, sung without any amplification, brings the Sage to awed silence, before a supercharged Pump It Up (written on the fire escape of the old Swallow Hotel in Newcastle, fact fans) and country tune Good Year for the Roses (with backing from young country band and support act Larkin Poe) bring things to a thrilling end.
It is a reminder that Elvis Costello, contrarian or not, is generally wonderful. Next time you see him he will be entirely different, but I wouldn’t bet against him being wonderful again.
Review: Elvis Costello at the Sage Gateshead
12:06, 10 June 2015
OPINION BY GRAEMEWHITFIELD
The singer-songwriter returns to Tyneside with a set completely different to anything he's done before (as expected)
If there’s one thing Elvis Costello can’t do, it’s whatever he did last time.
Two years ago, Costello brought his ‘Singing Songbook’ to the Sage, the nearest he’ll ever get to a greatest hits tour, albeit with the audience choosing the songs by spinning a giant wheel that contained many of the most loved tunes from his large back catalogue.
Back at the same venue, he has dispensed with the band, appearing backed only by a giant mock TV and a collection of guitars that would keep Windows in business for a number of years.
The show is called Detour and it is very much a ramble through the more obscure and half-forgotten songs of his illustrious career. I have 26 of Costello’s albums in my house and have played most of them to death, but there are times when I am scratching my head and going “ooh, what’s this one?”
By its nature, a show of obscurities throws up moments where you think “I wish he would play Oliver’s Army” (he does, by the way, and it’s great). But there are also some wonderful surprises, from the opening Sneaky Feelings to Hoover Factory, a 1981 B-side that didn’t see light of day again until added to the release of his Get Happy album in 1994. It’s a belter.
Time has changed Costello from an angry young man to a warm and funny raconteur, telling stories about his father and grandfather – musicians both – and how their influence has shaped his career in song.
And that lineage is very much the story of Detour, with songs by the likes of Patsy Cline and Nat King Cole thrown in alongside early punk favourites. He may be one of the country’s greatest songwriters, but this is a set which also accommodates other people’s tunes to mark the impact they have had on his life.
Classic ballad Alison, sung without any amplification, brings the Sage to awed silence, before a supercharged Pump It Up (written on the fire escape of the old Swallow Hotel in Newcastle, fact fans) and country tune Good Year for the Roses (with backing from young country band and support act Larkin Poe) bring things to a thrilling end.
It is a reminder that Elvis Costello, contrarian or not, is generally wonderful. Next time you see him he will be entirely different, but I wouldn’t bet against him being wonderful again.
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sweetest punch
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Re: Elvis, solo, Gateshead, 9 June 2015
Dedicated fans Colin and Misha are in the press. Congratulations!
http://www.cumbrialive.co.uk/home/from- ... -1.1217466
http://www.cumbrialive.co.uk/home/from- ... -1.1217466
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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Offshoreram
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Re: Elvis, solo, Gateshead, 9 June 2015
Damn, he played Tiny Steps!
I requested he play it at Leicester when I spoke to him after the Oxford gig.
He said "Tiny Steps? I'll see what I can do".
I suppose he could play it again
I requested he play it at Leicester when I spoke to him after the Oxford gig.
He said "Tiny Steps? I'll see what I can do".
I suppose he could play it again
My head is spinning and my legs are weak
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verbal gymnastics
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Re: Elvis, solo, Gateshead, 9 June 2015
If it's any consolation he didn't actually play Tiny Steps.
Who’s this kid with his mumbo jumbo?
Re: Elvis, solo, Gateshead, 9 June 2015
Photos by Verbal
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Re: Elvis, solo, Gateshead, 9 June 2015
Setlist (please feel free to correct it - I didn't write it down but am doing it based on the stage setlist). I'm also not sure if it was 3 or 4 encores but I think it was 4. Also I can't remember where Alison was played in the set but it was definitely an encore.
Sneaky feelings
Watch your step
Accidents will happen
Ascension Day
Santa Cruz
Church underground
Mouth almighty
Either side of the same town
Oliver's army
Shipbuilding (piano)
Walking my baby back home (seated)
Ghost train (seated)
She (seated)
When I write the book/Everyday (dedicated to Nick Lowe and Bobby Irwin)
With Larkin Poe - encore 1
Pads, paws and claws
Love field
Hidee ho
That's not the part of him you're leaving
Down on the bottom
Blame it on Cain
Inside TV - encore 2
Don't let me be misunderstood
Pump it up
Alison (unplugged, walking across the front of the stage)
Piano - encore 3
Side by side
I can't stand up for falling down
Hoover factory (audience request)
Jimmie standing in the rain/Brother can you spare a dime
With Larkin Poe - encore 4
Good year for the roses
Peace, love and understanding
Start 8.20pm
End 10.35pm
This was a fantastic show. With Larkin Poe joining him it was always going to be a different set because they have a fairly established mini set.
The key points
- Elvis' voice sounded fantastic and the sound in the venue was fantastic as well.
- He introduced the 3 Lost in the river songs as songs Bob Dylan wrote but he doesn't know it. Also is Santa Cruz a new song?
- There were some terrific pictures of local people on the screen - Sting (whose picture was particularly funny and he teased Sting about the pose. Elvis said he shouldn't say too much as Sting is a pal); Alan Price; Paul Gascoigne (Elvis couldn't look at the picture as he kept laughing); and a cheeky picture of Peter Beardsley. But when he played for Liverpool);
- Larkin Poe provided great harmonies and were laughing at each other when doing their backing on Blame in on Cain
- Hoover factory was an audience request
- Mouth almighty and Don't let me be misunderstood were welcome bonuses - particularly as the latter was a straight run through which was on the setlist in the main set
There were about 15 people at the stage door and Elvis happily signed stuff and posed for photos.
I said to him that this tour had a great variety of venues. He agreed and said he really enjoys playing the Sage and he thought the Llandudno venue was really good. Also he said it was a good mix of well known and not so well known venues. I said there are plenty of other good venues around the country. I was going to mention it was great not to be going back to the Royal Albert Hall but I didn't want to push my luck
Thanks for uploading the photos John.
Sneaky feelings
Watch your step
Accidents will happen
Ascension Day
Santa Cruz
Church underground
Mouth almighty
Either side of the same town
Oliver's army
Shipbuilding (piano)
Walking my baby back home (seated)
Ghost train (seated)
She (seated)
When I write the book/Everyday (dedicated to Nick Lowe and Bobby Irwin)
With Larkin Poe - encore 1
Pads, paws and claws
Love field
Hidee ho
That's not the part of him you're leaving
Down on the bottom
Blame it on Cain
Inside TV - encore 2
Don't let me be misunderstood
Pump it up
Alison (unplugged, walking across the front of the stage)
Piano - encore 3
Side by side
I can't stand up for falling down
Hoover factory (audience request)
Jimmie standing in the rain/Brother can you spare a dime
With Larkin Poe - encore 4
Good year for the roses
Peace, love and understanding
Start 8.20pm
End 10.35pm
This was a fantastic show. With Larkin Poe joining him it was always going to be a different set because they have a fairly established mini set.
The key points
- Elvis' voice sounded fantastic and the sound in the venue was fantastic as well.
- He introduced the 3 Lost in the river songs as songs Bob Dylan wrote but he doesn't know it. Also is Santa Cruz a new song?
- There were some terrific pictures of local people on the screen - Sting (whose picture was particularly funny and he teased Sting about the pose. Elvis said he shouldn't say too much as Sting is a pal); Alan Price; Paul Gascoigne (Elvis couldn't look at the picture as he kept laughing); and a cheeky picture of Peter Beardsley. But when he played for Liverpool);
- Larkin Poe provided great harmonies and were laughing at each other when doing their backing on Blame in on Cain
- Hoover factory was an audience request
- Mouth almighty and Don't let me be misunderstood were welcome bonuses - particularly as the latter was a straight run through which was on the setlist in the main set
There were about 15 people at the stage door and Elvis happily signed stuff and posed for photos.
I said to him that this tour had a great variety of venues. He agreed and said he really enjoys playing the Sage and he thought the Llandudno venue was really good. Also he said it was a good mix of well known and not so well known venues. I said there are plenty of other good venues around the country. I was going to mention it was great not to be going back to the Royal Albert Hall but I didn't want to push my luck
Thanks for uploading the photos John.
Who’s this kid with his mumbo jumbo?
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And No Coffee Table
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Re: Elvis, solo, Gateshead, 9 June 2015
http://nemmblog.com/2015/06/11/elvis-co ... june-2015/
Elvis Costello at Sage, Gateshead on 9th June 2015
There’s a huge stage installation of a vintage TV set playing a back catalogue of Elvis’ videos when you enter the main hall – just a reminder, as if one were needed of the extraordinary output of a legendary career. It’s an impressive setting for a solo show and, surrounded by guitars, a baby grand piano and other items of musical miscellany, is a teasing preview of what is to come later.
A brief clip of supporting act, Larkin Poe, shows on the screen before they enter stage right. Sisters Rebecca and Megan Lovell play US roots rock with that lazy molasses style that seems to ooze from nearly every band that comes from the deep south. Drawing on country, blues and greasy rock ‘n’ roll with strong and harmonious vocal melodies, they’re a pleasing addition to the evening. Strangely, for such a big sound, they’re a little lost on a seated Sage audience where polite applause is de rigeur rather than the whiskey-fuelled cheering the performance deserves.
You’d worry then, that a solo performance from Costello might equally fail to fill such a large venue. This is a misplaced fear, as from the first bars of his opening number, there’s obviously no danger of this. As artists advance in years, it sometimes seems that their powers start to weaken but, if anything, Elvis is better. His vocal delivery, unfettered by the confines of a band structure, has strength and emotion that cuts through effortlessly without sounding overwrought. ‘Accidents Will Happen’ is a familiar old friend, worn by the years but with a vitality that you’ll always love and an early outing of ‘Oliver’s Army’ is rapturously received – and gets it out of the way, because it’s always a huge elephant in the room until it’s released.
Wearing an understated white Stetson, Elvis tells stories to the crowd in between songs. The stage setting, the hat and the understated reminiscences during the show has a weird feeling of a Vaudevillian side show act – something he alludes to himself while talking of his early days in music following his father’s career as a singer in the 60s.
Moving over to the piano to break up the singer-songwiter unplugged vibe that’s been going so far, ‘Almost Blue’ is performed well but strays into extended self-indulgence and it’s all a bit ‘Jazz Club’.
Throughout all this, the TV set on stage flickers occasionally to show photos of people from Elvis’ life – his father, his grandfather as a small child – and emphasises a tradition and history of musical legacy that reinforces more than just his own forty years of music. At times, the images are tailored to the locality; an image of Gazza and a ridiculous yoga picture of Sting that emphasises a togetherness with the crowd. It’s funny and it works.
Larkin Poe have backed Elvis Costello before and they return to make up a trio. The close harmonies along with slide guitar and mandolin accompaniment sound amazing and bring a new dimension to the performance and ‘Blame it on Cain’ is magnificent.
The lights dim and suddenly, he appears in the TV. Musically, tipping a knowing wink to the local audience, he blasts through an electric version of The Animals’ ‘Please Don’t Let Me Be Misunderstood’ and hey, isn’t that the guitar he uses in the video to ‘Pump it Up’? It is, and that’s what comes next. It still sounds fresh and vital in its homage to Dylan – who, incidentally has been referenced numerous times this evening.
Back down on the main stage, the amplification is turned off and he steps away from the microphone with a performance of ‘Alison’ completely stripped back with backing vocals provided by the crowd. People are on their feet at this point and that’s where they stay to applaud one of the greatest musical artists ever produced in this country. Not normally a fan of cliches, I’m going for one anyway. Forty years on, his aim is still true.
Reviewer and Photographer: Nick Wesson
Elvis Costello at Sage, Gateshead on 9th June 2015
There’s a huge stage installation of a vintage TV set playing a back catalogue of Elvis’ videos when you enter the main hall – just a reminder, as if one were needed of the extraordinary output of a legendary career. It’s an impressive setting for a solo show and, surrounded by guitars, a baby grand piano and other items of musical miscellany, is a teasing preview of what is to come later.
A brief clip of supporting act, Larkin Poe, shows on the screen before they enter stage right. Sisters Rebecca and Megan Lovell play US roots rock with that lazy molasses style that seems to ooze from nearly every band that comes from the deep south. Drawing on country, blues and greasy rock ‘n’ roll with strong and harmonious vocal melodies, they’re a pleasing addition to the evening. Strangely, for such a big sound, they’re a little lost on a seated Sage audience where polite applause is de rigeur rather than the whiskey-fuelled cheering the performance deserves.
You’d worry then, that a solo performance from Costello might equally fail to fill such a large venue. This is a misplaced fear, as from the first bars of his opening number, there’s obviously no danger of this. As artists advance in years, it sometimes seems that their powers start to weaken but, if anything, Elvis is better. His vocal delivery, unfettered by the confines of a band structure, has strength and emotion that cuts through effortlessly without sounding overwrought. ‘Accidents Will Happen’ is a familiar old friend, worn by the years but with a vitality that you’ll always love and an early outing of ‘Oliver’s Army’ is rapturously received – and gets it out of the way, because it’s always a huge elephant in the room until it’s released.
Wearing an understated white Stetson, Elvis tells stories to the crowd in between songs. The stage setting, the hat and the understated reminiscences during the show has a weird feeling of a Vaudevillian side show act – something he alludes to himself while talking of his early days in music following his father’s career as a singer in the 60s.
Moving over to the piano to break up the singer-songwiter unplugged vibe that’s been going so far, ‘Almost Blue’ is performed well but strays into extended self-indulgence and it’s all a bit ‘Jazz Club’.
Throughout all this, the TV set on stage flickers occasionally to show photos of people from Elvis’ life – his father, his grandfather as a small child – and emphasises a tradition and history of musical legacy that reinforces more than just his own forty years of music. At times, the images are tailored to the locality; an image of Gazza and a ridiculous yoga picture of Sting that emphasises a togetherness with the crowd. It’s funny and it works.
Larkin Poe have backed Elvis Costello before and they return to make up a trio. The close harmonies along with slide guitar and mandolin accompaniment sound amazing and bring a new dimension to the performance and ‘Blame it on Cain’ is magnificent.
The lights dim and suddenly, he appears in the TV. Musically, tipping a knowing wink to the local audience, he blasts through an electric version of The Animals’ ‘Please Don’t Let Me Be Misunderstood’ and hey, isn’t that the guitar he uses in the video to ‘Pump it Up’? It is, and that’s what comes next. It still sounds fresh and vital in its homage to Dylan – who, incidentally has been referenced numerous times this evening.
Back down on the main stage, the amplification is turned off and he steps away from the microphone with a performance of ‘Alison’ completely stripped back with backing vocals provided by the crowd. People are on their feet at this point and that’s where they stay to applaud one of the greatest musical artists ever produced in this country. Not normally a fan of cliches, I’m going for one anyway. Forty years on, his aim is still true.
Reviewer and Photographer: Nick Wesson
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Re: Elvis, solo, Gateshead, 9 June 2015
For the avoidance of any doubt, Almost Blue was definitely not played. Unless Colin Barratt and I were both asleep when we compiled our setlists!
Who’s this kid with his mumbo jumbo?
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Re: Elvis, solo, Gateshead, 9 June 2015
https://rockingmagpie.wordpress.com/201 ... gateshead/
Elvis Costello Detour Tour
Sage Gateshead
9th June 2015
As I first saw them play 5 years ago in the upstairs room of the Central Bar; which is about 200 yards away from Sage Gateshead I was really thrilled, and a little nervous to see Larkin Poe support Elvis Costello tonight.
I should have known better because in the intervening years the Lovell Sisters have grown into their undoubted talent; and treat their thirty-minute slot as if they were headliners.
Much like the previous three times I’ve seen them; the sisters played songs solely from their recent (debut) album Kin; and appear to have airbrushed their first four EP’s out of their history; which is a huge shame.
That said; the hauntingly Gothic opening song Hey Sinner certainly caught the attention of plenty of people in my eye line; especially when it slid into Black Betty.
Not for the first time the story that leads into the song about their Grandfather Jesse is nearly as good as the song itself; and that’s saying something; and their harmonies were as sweet as a Georgia peach.
Megan flawlessly made her funky slide guitar scream and squeal as the strings on Rebecca’s Fender Jaguar had smoke coming from them during their re-interpretation as an Alt-Country Murder Ballad during Cher’s Bang-Bang that closed the short set.
When you are a star of Mr. Costello’s magnitude you are entitled to a stage-set that wouldn’t look out of place in a Monty Python sketch and I stopped counting the amount of guitars he had, when I ran out of fingers; and to think I naively thought tonight’s programme was ‘about the songs;’ which it was of course.
EC virtually bounded onto the stage; looking very dapper in a three piece navy blue suit and white snap brim Fedora; that ended up at a particularly jaunty angle by the end of the evening. With a broad smile and a cheeky “Hiya,” he strapped on a guitar and let rip with an angry and angst ridden Sneaky Feelings, which closed with a roar of approval from the distinctly well-healed and middle-aged audience.
As the night progressed the giant TV set behind him broadcast a number of videos and images of local heroes; my favourite being long forgotten folk singer Alex Glasgow and his LP Alex Glasgow sings Geordie Folk Songs. This led Elvis into hinting at tales of debauchery on visits to the city in his youth; then blasting through Accidents Will Happen on his acoustic guitar.
This where the concert took a dramatic ‘left turn.’ Costello introduced the next song as originally being a Professor Longhair tune that he channeled through Allen Toussaint. What followed next was quite spellbinding. I own the album Ascension Day comes from; but don’t think I’ve listened to it more than twice; which is obviously my loss, as this song and Costello’s sparse guitar arrangement was much, much better than his recorded version.
None of the next few songs were given actual introductions, and the arrangements were so far removed from the originals I found myself playing ‘name that tune’ but quite a few people around me became restless.
Obviously with a back catalogue of 30+ studio albums he has nearly 1000 songs to choose from; but a few choices tonight were contrary to say the least but; and it’s a big BUT…..hearing him blasting out power chords on an acoustic guitar during Mouth Almighty will live with me forever and the last time I saw him perform Oliver’s Army we were both four stone lighter and I was so drunk I was pogoed (apparently) at the legendary Mayfair in Newcastle. There wasn’t any pogoing tonight – I’m far too sensible for such frivolities; but inside…..inside I was pogoing!
Another highlight; and I’m not even sure that word does it justice was his simple rendition of Shipbuilding; on the grand piano. Owing a debt to Robert Wyatt’s version; I had tears in my eyes as the final notes majestically echoed around the hall and as one we stood up to salute the most beautiful anti-war song ever written. Fact.
Dismissing the adulation with a wave of the hand he continued at the piano, regaling us with a jazzy Side by Side then deconstructing I Can’t Stand Up For Falling Down into a slow smoky Blues.
As the 90-minute mark came and went, I punched the air; to the bemusement of the man sitting next to me as the opening notes to Hoover Factory filtered through the air. While not the cry to arms of my youth; there was still plenty of venom in the deliveryman’s delivery.
After a near unrecognisable version of Every Day I Write the Book he left the stage; as a video of his father Ross singing a Calypso version of If I Had a Hammer filled the massive TV set while the crew re-set the stage.
As the final notes faded EC skipped back on stage accompanied by Larkin Poe; which was a pleasant surprise. The trio ripped right through Pads, Paws and Claws from the Great Lost Covers album before immediately slowing things down for a sumptuous version of In a Love Field; which had the Lovell Sisters delicious harmonies dripping all over it.
A couple of songs from the New Basement Tapes were very average to say the least; especially as a couple of latter day duets could have been perfect with either Rebecca or Megan taking the Emmylou or Lucinda roles. Just a thought.
Then; boom the trio rocked the joint for three power packed with Blame it on Cain then with a wave they ran off stage.
The lights were still off but plenty of people began filtering out of the hall. My neighbour tugged my sleeve, smiled and shook his head as I packed my note pad away.
As if by magic; the TV on the stage lit up and Elvis tore into Don’t Let Be Misunderstood (a nod to local legends the Animals?) then KABOOM – Pump it Up! Who knew one man and a guitar could make such a glorious noise; before waving goodbye and disappearing behind a curtain. Cue more people filtering out.
Ta Da! He appeared again from stage Left. By now he was making more comebacks than Sinatra!
Wandering to the front of the stage; he eschewed the microphones and you could have heard a pin drop as he serenaded us with a beautifully delicate version of Allison.
Surely that was it? Nope.
A picture of a boy soldier with a bugle appeared on the TV; and apparently this was his Grandfather Pat McManus; which led to Elvis/Declan crooning Jimmy Standing in the Rain which drew the second standing ovation of the evening.
Time for home? Nope.
The man in the hat came back on stage with Larkin Poe again. Two hours had flown by; but he still had the energy for a tip of the hat to the album that got me interested in Country/Americana music – Almost Blue. The trio had an absolute blast with Good Year for the Roses.
Even if he wasn’t; I was flagging now, but what else could Elvis Costello end the night with but; the English Folk standard What’s So Funny ‘Bout Peace Love and Understanding?
Our hero was in his element belting out the lyrics while thrashing his guitar strings while Megan and Rebecca nearly stole the show with their mandolin and slide guitar fills.
What a night. More hits than misses in two hours and twenty two minutes and there were probably another three hours of songs I’d like to have heard.
Sheer genius.
Elvis Costello Detour Tour
Sage Gateshead
9th June 2015
As I first saw them play 5 years ago in the upstairs room of the Central Bar; which is about 200 yards away from Sage Gateshead I was really thrilled, and a little nervous to see Larkin Poe support Elvis Costello tonight.
I should have known better because in the intervening years the Lovell Sisters have grown into their undoubted talent; and treat their thirty-minute slot as if they were headliners.
Much like the previous three times I’ve seen them; the sisters played songs solely from their recent (debut) album Kin; and appear to have airbrushed their first four EP’s out of their history; which is a huge shame.
That said; the hauntingly Gothic opening song Hey Sinner certainly caught the attention of plenty of people in my eye line; especially when it slid into Black Betty.
Not for the first time the story that leads into the song about their Grandfather Jesse is nearly as good as the song itself; and that’s saying something; and their harmonies were as sweet as a Georgia peach.
Megan flawlessly made her funky slide guitar scream and squeal as the strings on Rebecca’s Fender Jaguar had smoke coming from them during their re-interpretation as an Alt-Country Murder Ballad during Cher’s Bang-Bang that closed the short set.
When you are a star of Mr. Costello’s magnitude you are entitled to a stage-set that wouldn’t look out of place in a Monty Python sketch and I stopped counting the amount of guitars he had, when I ran out of fingers; and to think I naively thought tonight’s programme was ‘about the songs;’ which it was of course.
EC virtually bounded onto the stage; looking very dapper in a three piece navy blue suit and white snap brim Fedora; that ended up at a particularly jaunty angle by the end of the evening. With a broad smile and a cheeky “Hiya,” he strapped on a guitar and let rip with an angry and angst ridden Sneaky Feelings, which closed with a roar of approval from the distinctly well-healed and middle-aged audience.
As the night progressed the giant TV set behind him broadcast a number of videos and images of local heroes; my favourite being long forgotten folk singer Alex Glasgow and his LP Alex Glasgow sings Geordie Folk Songs. This led Elvis into hinting at tales of debauchery on visits to the city in his youth; then blasting through Accidents Will Happen on his acoustic guitar.
This where the concert took a dramatic ‘left turn.’ Costello introduced the next song as originally being a Professor Longhair tune that he channeled through Allen Toussaint. What followed next was quite spellbinding. I own the album Ascension Day comes from; but don’t think I’ve listened to it more than twice; which is obviously my loss, as this song and Costello’s sparse guitar arrangement was much, much better than his recorded version.
None of the next few songs were given actual introductions, and the arrangements were so far removed from the originals I found myself playing ‘name that tune’ but quite a few people around me became restless.
Obviously with a back catalogue of 30+ studio albums he has nearly 1000 songs to choose from; but a few choices tonight were contrary to say the least but; and it’s a big BUT…..hearing him blasting out power chords on an acoustic guitar during Mouth Almighty will live with me forever and the last time I saw him perform Oliver’s Army we were both four stone lighter and I was so drunk I was pogoed (apparently) at the legendary Mayfair in Newcastle. There wasn’t any pogoing tonight – I’m far too sensible for such frivolities; but inside…..inside I was pogoing!
Another highlight; and I’m not even sure that word does it justice was his simple rendition of Shipbuilding; on the grand piano. Owing a debt to Robert Wyatt’s version; I had tears in my eyes as the final notes majestically echoed around the hall and as one we stood up to salute the most beautiful anti-war song ever written. Fact.
Dismissing the adulation with a wave of the hand he continued at the piano, regaling us with a jazzy Side by Side then deconstructing I Can’t Stand Up For Falling Down into a slow smoky Blues.
As the 90-minute mark came and went, I punched the air; to the bemusement of the man sitting next to me as the opening notes to Hoover Factory filtered through the air. While not the cry to arms of my youth; there was still plenty of venom in the deliveryman’s delivery.
After a near unrecognisable version of Every Day I Write the Book he left the stage; as a video of his father Ross singing a Calypso version of If I Had a Hammer filled the massive TV set while the crew re-set the stage.
As the final notes faded EC skipped back on stage accompanied by Larkin Poe; which was a pleasant surprise. The trio ripped right through Pads, Paws and Claws from the Great Lost Covers album before immediately slowing things down for a sumptuous version of In a Love Field; which had the Lovell Sisters delicious harmonies dripping all over it.
A couple of songs from the New Basement Tapes were very average to say the least; especially as a couple of latter day duets could have been perfect with either Rebecca or Megan taking the Emmylou or Lucinda roles. Just a thought.
Then; boom the trio rocked the joint for three power packed with Blame it on Cain then with a wave they ran off stage.
The lights were still off but plenty of people began filtering out of the hall. My neighbour tugged my sleeve, smiled and shook his head as I packed my note pad away.
As if by magic; the TV on the stage lit up and Elvis tore into Don’t Let Be Misunderstood (a nod to local legends the Animals?) then KABOOM – Pump it Up! Who knew one man and a guitar could make such a glorious noise; before waving goodbye and disappearing behind a curtain. Cue more people filtering out.
Ta Da! He appeared again from stage Left. By now he was making more comebacks than Sinatra!
Wandering to the front of the stage; he eschewed the microphones and you could have heard a pin drop as he serenaded us with a beautifully delicate version of Allison.
Surely that was it? Nope.
A picture of a boy soldier with a bugle appeared on the TV; and apparently this was his Grandfather Pat McManus; which led to Elvis/Declan crooning Jimmy Standing in the Rain which drew the second standing ovation of the evening.
Time for home? Nope.
The man in the hat came back on stage with Larkin Poe again. Two hours had flown by; but he still had the energy for a tip of the hat to the album that got me interested in Country/Americana music – Almost Blue. The trio had an absolute blast with Good Year for the Roses.
Even if he wasn’t; I was flagging now, but what else could Elvis Costello end the night with but; the English Folk standard What’s So Funny ‘Bout Peace Love and Understanding?
Our hero was in his element belting out the lyrics while thrashing his guitar strings while Megan and Rebecca nearly stole the show with their mandolin and slide guitar fills.
What a night. More hits than misses in two hours and twenty two minutes and there were probably another three hours of songs I’d like to have heard.
Sheer genius.
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Re: Elvis, solo, Gateshead, 9 June 2015
Just to repeat an earlier question, does anyone know anything about the song Santa Cruz? Elvis introduced it effectively as a Lost in the River song ie "A song Bob Dylan wrote but he doesn't know it".
Who’s this kid with his mumbo jumbo?