Elvis plays Madrid (Spain), June 5th 2016

Pretty self-explanatory
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Man out of Time
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Elvis plays Madrid (Spain), June 5th 2016

Postby Man out of Time » Mon May 09, 2016 12:48 pm

Preview of this show and two other Spanish shows from November 25, 2015 at Madrid Out in Spanish:

"El "Elvis Costello Detour" estará en Madrid el 5 de junio de 2016

El “Elvis Costello Detour” pasará por España en junio de 2016: Zaragoza, el día 4 de ese mes, en la Sala Mozart; Madrid, el 5 en el Teatro Monumental; y San Sebastián, el 6, en el Kursaal.

Lo que ofrece el venerable rockero en esta gira son conciertos cálidos, íntimos, divertidos e informales. Con la mayoría de su repertorio interpretado con la compañía de una guitarra, y en algunos casos el piano, incluso sus canciones más conocidas se convierten en nuevas personas. De tal manera que estándares insolentes o descarados de su primera época, como por ejemplo “(The Angels Wanna Wear My) Red Shoes”, “Watch Your Step”, “Watching The Detectives” y “Pump It Up” -que seguramente interpretará en junio, sino todos si alguno/s de ellos- son reconstruidos y devienen piezas con más matices y otra tonalidad, menos provocativas.

Por supuesto, para ofrecer una actuación de este tipo la personalidad cuenta mucho y de eso Elvis anda sobrado. Lo demuestra mientras va salpicando las interpretaciones con recuerdos y anécdotas, al tiempo que detrás suyo un pantalla con forma de televisión antigua gigante va mostrando imágenes de su infancia y de sus influencias musicales y culturales, así como viejas fotografías de su familia.

El concepto funciona perfectamente. Pruebas del algodón, las que queramos:“como cantautor, su habilidad para conjurar tanto un tiempo concreto como la emoción es lo que comanda el espectáculo” (The Independent); “su voz madura coge las canciones y se las lleva a alturas incluso más altas” (The Artsdesk); “Costello ofreció algo más: su inagotable, exigente e íntimo compromiso con sus canciones, las viejas y las nuevas” (The New York Times). Aparcando la rabia justificada por una profundidad veterana, Elvis ofrece una de las propuestas más aventureras de su ilustre carrera. Brillante, claro que sí."

Or in "English" via Google Translate:

"The "Elvis Costello Detour" will be in Madrid on June 5, 2016

The "Elvis Costello Detour" will pass through Spain in June 2016: Zaragoza, on the 4th of this month, in the Sala Mozart; Madrid, 5 at the Monumental Theatre; and San Sebastian, 6, in the Kursaal.

What offers the venerable rocker on this tour are warm, intimate, fun and informal concerts. With most of his repertoire with the company played a guitar, and piano in some cases, even their best-known songs become new people. So that insolent or impudent of his early standards, such as "(The Angels Wanna Wear My) Red Shoes," "Watch Your Step", "Watching The Detectives" and "Pump It Up" which surely will play in June, but all if any / s of them are rebuilt and become more nuanced parts and other hue, less provocative.

Of course, to offer a performance of this type of personality that counts for a lot and left over Elvis walks. Demonstrated while going peppering interpretations with memories and anecdotes, while behind him a shell-shaped giant old television is showing images of his childhood and his musical and cultural influences, as well as old photographs of his family.

The concept works perfectly. Tests cotton, we want "as a songwriter, his ability to conjure either a specific time and emotion is what commands the show" (The Independent); "Your voice gets mature songs and leads to even higher heights" (The Artsdesk); "Costello offered something else: his inexhaustible, demanding and intimate engagement with their songs, old and new" (The New York Times). Rabies parked justified by a veteran depth, Elvis offers one of the most adventurous proposals of his illustrious career. Brilliant, yes. "

Anyone else going to the show in Madrid?

MOOT

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby johnfoyle » Wed May 18, 2016 6:11 am

http://cultura.elpais.com/cultura/2016/ ... 27270.html


Elvis Costello: "Companies now seek only selling"


The musician, who has published an incisive autobiography reinforced by an anthology in a double album, touring Spain in June

DIEGO A. MANRIQUE

Madrid 18 MAY 2016


In 2015, he published an incisive autobiography, Unfaithful Music & Disappearing Ink , reinforced by a double CD anthology. At the same impulse response Detour , a show where it occurs alone, which in June reached Spain. The visit is the excuse for a pleasant phone conversation is cut unexpectedly.

Q. In this decade, has released two albums, National Ransom (2010) and Wise up ghost (2013), with The Roots. Compared to earlier times, it seems that the source had dried.

R. The inspiration, you mean? There is no such thing: no work done with a creative purpose. I'm composing. What happens is that you try hard and when you look at the sales figures, you find that there is no correlation between the energy expended and got retribution. At this point, you do not expect gold records but you ask yourself if there are better ways to use your time.

Q. For example?

R. In caring for my children. My wife [singer and pianist Diana Krall] gets a lot of turns and someone has to care for the twins. I do not say bad (laughs).

Q. But do not miss the adventure of going out to play with other musicians? In 2007, he visited Spain with Allen Toussaint and his troop of New Orleans ...

R. 's the first thing I thought when I heard that Allen had died after a concert in Madrid. We live magical moments: he was a man of recording studios me but rediscovered the pleasure of playing live.



Q. I have been checking his concerts. For example, Glastonbury. Do you mind having to resort to still songbook of his first years, Costello's new wave ?

R. One meets in every situation. At a festival, you can not wait to hear your repertoire more complex, there are too many stimuli competing with the music. It is certainly more satisfying to play in other venues. One of my best professional experiences was rotated with the Brodsky Quartet by audiences of Castilla-La Mancha. Speak heart, I warn you .

Q. Now, now. We were surprised to find a song with lyrics in Spanish, Five minutes with you , on his latest album.

R. It is the payment of a debt. I've always been proud of Shipbuilding, my song about the Falkland [originally recorded by Robert Wyatt], which raised the paradox that the war was welcomed in British cities with shipyards, from which also came many of the soldiers who were going to die . I thought I should do a song that portray the other side. I speak of the end of the dictatorship in Argentina: a girl waiting for her father, unaware that has been killed by the military. The Spanish part is sung by the Marisoul a vocalist of Los Angeles. It is well understood in Spain?

P. Well ... that part of the letter sounds strange.

R. That worries me!

Q. Never mind, do not think that's going to ask. She would ask him about his record strategy. In general, it has been concerned to republish their albums with bonus tracks, sometimes doubling their duration.

A. I think any artist should take care of his legacy: if you do not you, you will do others. What would have thought Jimi Hendrix of the dozens of albums released after his death? Or those records where Elvis Presley change the original accompaniment. I would like to continue monitoring my reissues, but now no longer makes economic sense.

Q. I'm surprised, we thought we had the record to its service industry. Universal let you get your work in different labels: Verve, Deutsche Grammophon, Island, Lost Highway, Blue Note ...

R . Well, if you destine a disc to a particular market sector, using specific channels. But companies now seek only selling. And my curriculum is rare: successes but never had a number one. In some countries, I'm the guy who sings She [Ballad of Charles Aznavour]. In others, they remember me for having written songs with Paul McCartney.

Q. And is the artist who refuses to perform in Israel, for its treatment of the Palestinian population.

A. I was told that this would be a conversation about music. Right now, I do not need political polemics. Sorry, I 'd rather not talk.

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby verbal gymnastics » Wed May 18, 2016 9:26 am

Ouch!
international laughing stock...

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby sweetest punch » Wed May 18, 2016 11:56 am

johnfoyle wrote:http://cultura.elpais.com/cultura/2016/05/17/actualidad/1463488431_027270.html


Elvis Costello: "Companies now seek only selling"



Q. Never mind, do not think that's going to ask. She would ask him about his record strategy. In general, it has been concerned to republish their albums with bonus tracks, sometimes doubling their duration.

A. I think any artist should take care of his legacy: if you do not you, you will do others. What would have thought Jimi Hendrix of the dozens of albums released after his death? Or those records where Elvis Presley change the original accompaniment. I would like to continue monitoring my reissues, but now no longer makes economic sense.

Q. I'm surprised, we thought we had the record to its service industry. Universal let you get your work in different labels: Verve, Deutsche Grammophon, Island, Lost Highway, Blue Note ...

R . Well, if you destine a disc to a particular market sector, using specific channels. But companies now seek only selling. And my curriculum is rare: successes but never had a number one. In some countries, I'm the guy who sings She [Ballad of Charles Aznavour]. In others, they remember me for having written songs with Paul McCartney.



The next batch of reissues seems more and more unlikely.
That's a real shame.
Hope he will release them without worrying about the money.
He must take care of his legacy after all!!
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 plays Madrid (Spain), June 5th 2016

Postby johnfoyle » Sun Jun 05, 2016 2:41 pm

MOOT is on the scene -

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby MOJO » Sun Jun 05, 2016 6:13 pm

It's lame the journalist asked that last question and they also published it. People suck.

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby Man out of Time » Sun Jun 05, 2016 6:20 pm

Setlist:

1. Hurry Down Doomsday (The Bugs Are Taking Over)
2. I Can't Turn It Off
3. Accident Will Happen
4. Ascension Day
5. Church Underground
6. Everyday I Write The Book
7. She's Pulling Out The Pin
8. Shipbuilding - on piano
9. Freedom For The Stallion - on piano
10. A Face In The Crowd - on piano
11. Walkin' My Baby Back Home - seated
12. Little White Lies - seated
13. Vitajex - on Ukulele
14. Toledo - seated
15. Ghost Train - seated
16. She - seated
17. Watching The Detectives
Encore One
18. Side By Side - on piano
19. Blood & Hot Sauce - on piano
20. Alison - unplugged and sans microphone including a "walkabout" in the auditorium
21. Veronica
22. Jimmie Standing In The Rain + Brother Can You Spare A Dime?
Encore Two
23. The Greatest Love - recording shown on the TV screen - EC and AT from the TV show "Treme".
24. I Want You

Nice to have a drink with ecsongbysong after the show. Elvis in good voice. Told a story about meeting Mohammed Ali.

MOOT

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby And No Coffee Table » Sun Jun 05, 2016 7:01 pm

Man out of Time wrote:Told a story about meeting Mohammed Ali.


Here it is, as told by ecsongbysong:

EC did offer a sweet story about the time he met Muhammad Ali: "I introduced my wife to him, and a little smile came across his face..."


"He had taste! He didn't care for me so much, but her..."


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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby johnfoyle » Mon Jun 06, 2016 2:31 am

Photos via Twitter

Image

https://www.instagram.com/p/BGSZR5art5e/

Jorge T. Gómez



The rest from various posters -

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby johnfoyle » Mon Jun 06, 2016 7:45 am

https://twitter.com/ecsongbysong/status ... 8716208128

ecsongbysong
‏@ecsongbysong

Madrid, 6/5/16: the now-obligatory “Alison” stroll.


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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby Man out of Time » Tue Jun 07, 2016 6:05 pm

Review by Sergio Ariza Lázaro at Diariocritico.com published on 6 June 2016:

"Elvis Costello en Madrid: un repaso autobiográfico a su carrera

Hace menos de un año Elvis Costello presentaba al mundo su autobiografía, 'Unfaithful Music & Disappearing Ink', un hecho que parece que ha influído, y mucho, a su última gira, Detour. Un espectáculo que recaló este domingo en el Teatro Monumental de Madrid y en el que Costello aprovecha para ir intercalando anécdotas sobre su vida y milagros entre medias de un repertorio espectacular interpretado de forma austera, con la única ayuda de la guitarra o el piano. Un formato espartano que crea una atmósfera íntima con el espectador perfecta para un espectáculo a medio camino entre concierto y monólogo.

Cuando su amigo y productor de sus primeros discos Nick Lowe tocó en Madrid hace tres años con un formato similar decía que "lo bueno de escuchar las canciones al descubierto, en su más primitivo esqueleto, es que es como la prueba del algodón, las que pasan la prueba demuestran que detrás de ellas hay un gran compositor", Bien, pues ateniéndome a mis propias palabras, el algodón no engaña y Elvis Costello es uno de los grandes compositores de todos los tiempos, con gemas como 'Alison', 'Accidents will happen', 'Shipbuilding', 'Watching the detectives', 'Veronica' o 'I want you' como ejemplos, todas ellas sonaron anoche en un concierto en el que también quedaron claras otras cosas. El hombre que nació con el nombre de Declan Mcmanus es también un gran intérprete y un excelente contador de historias, como ya sabíamos gracias a sus letras.

En Detour, una gran parte del espectáculo es él contando historias al público, casi como si fuera una obra de teatro. Hubo tiempo para recordar como conoció a Allen Toussaint y como terminó comiendo brócoli con él, como el piano que lleva en esta gira es de su mujer Diana Krall y tiene que volver a casa sin un rasguño, también lo hubo para hablar de sus tiempos como el cabreado 'Rey de la Nueva Ola' y como quiso acabar con el alcohol bebiéndoselo todo, y también para recordar que viene de una familia de músicos, con un padre que fue el cantante de la orquesta de Joe Loss y tocó en el mismo concierto para la Reina en el que John Lennon dijo aquello de "los que estén en los asientos baratos que den palmas, el resto que hagan sonar sus joyas", o un abuelo que acabó tocando en una esquina y pasando la gorra.

Las imágenes de Ross McManus, su padre, cantando 'If I had a hammer' son impagables y nos llevan a otro de los grandes triunfos de su espectáculo, la televisión retro gigante. Un elemento que añade profundidad, y nostalgia, al espectáculo, ya sea poniendo imágenes de películas de cine negro (de las que se ha declarado fan) en 'Watching the detectives', fotografías de su abuelo en la sentida 'Jimmie standing in the rain' o una fotografía de su abuela para la gloriosa 'Veronica', co escrita por Paul McCartney, del que se ha vuelto a declarar fan y ha reconocido que estuvo en el Calderón viéndole hace unos días. Ésa misma canción, basada en los problemas de su abuela con el Alzheimer, le ha servido también para recordar al gran Mohammed Ali.

Del suspiro al grito

Durante todo el concierto Costello se ha movido perfectamente del suspiro al grito, con una magnífica rendición al piano de 'Shipbuilding' como ejemplo de lo primero y una versión con loop de guitarras incluído de 'Watching the detectives' como ejemplo de lo segundo. Pero también ha hecho confesiones sorprendentes como que odia 'Everyday I write the book', a pesar de ser una de sus canciones más conocidas, y que le costó solo 10 minutos escribirla. A pesar de todo, la ha tocado y en su nuevo arreglo acústico ha vuelto a sonar a gloria. Claro que se le ha visto mucho más a gusto cuando ha tocado varias canciones nuevas de un musical que está preparando llamado 'A face in the crowd', se le ha notado feliz ante la respuesta del público y ha alargado el concierto hasta las dos horas y cuarto. Eso sí, el momento más emocionante ha sido cuando ha sonado 'Alison' en una versión intimista con Costello bajándose a la platea a cantarla entre el público.

Antes de terminar ha puesto un video de él junto a Allen Toussaint tocando 'The greatest love' que ha servido para volver a recordar el triste hecho de que el excelente compositor, productor y arreglista falleció en Madrid hace menos de un año. Como colofón ha llegado un intenso 'I want you' que ha servido de gran ejemplo de como contar con precisión una historia con palabras y música, algo de lo que Elvis Costello es un verdadero maestro, como ha vuelto a quedar de manifiesto."

Or in "English" via Google Translate:

"Elvis Costello in Madrid: an autobiographical look at his career

Less than a year ago Elvis Costello introduced the world to his autobiography, 'Unfaithful Music & Disappearing Ink', a fact that seems to have influenced, and much, his last tour, Detour. A show that made landfall Sunday at the Teatro Monumental in Madrid and in which Costello takes to go interspersing anecdotes about his life and miracles in between a spectacular repertoire performed in an austere, with only the help of the guitar or the piano. A Spartan format that creates an intimate atmosphere with the perfect audience for a show halfway between concert and monologue.

When his friend and producer of his first records Nick Lowe played in Madrid three years ago with a similar format saying that "good to hear the songs revealed in its most primitive skeleton is that it is like the smell test, which They pass the test show that behind them there is a great composer, "Well, ateniéndome my own words, cotton does not deceive and Elvis Costello is one of the greatest composers of all time, with gems like 'Alison', 'Accidents will happen ',' Shipbuilding ',' Watching the detectives', 'Veronica' or 'I want you' as examples, all sounded last night in a concert that also became clear other things. The man born with the name Declan McManus is also a great performer and a great storyteller, as we already knew thanks to his lyrics.

In Detour, a large part of the show is he telling stories to the public, almost as if it were a play. There was time to remember how he met Allen Toussaint and as he finished eating broccoli with him, as the piano takes on this tour is his wife Diana Krall and has to go home without a scratch, so there was to talk about his time as the mad 'King of the New Wave' and as wanted to end alcohol bebiéndoselo all, and also to remember that comes from a musical family, with a father who was the singer orchestra Joe Loss and played at the same concert for the Queen in which John Lennon said that of "those in the cheap seats to give palms, the rest rattle your jewelry" or a grandfather who ended up playing in a corner and passing the hat.

Images of Ross McManus, his father, singing 'If I had a hammer' are unpayable and lead us to another of the great triumphs of his show, giant retro television. One element that adds depth, and nostalgia, to show either putting pictures of black films (of which it has declared fan) in 'Watching the Detectives', photographs of his grandfather's heartfelt' Jimmie standing in the rain 'or a photograph of her grandmother to the glorious' Veronica', co-written by Paul McCartney, which has become a fan declared and acknowledged that at the Calderon was watching him a few days ago. That same song, based on the problems of his grandmother with Alzheimer's, has also served to remind the great Mohammed Ali.

Sigh shouting

Throughout the concert Costello has moved to cry sigh perfectly with a magnificent piano rendition of 'Shipbuilding' as an example of the former and a version with guitar loop included in 'Watching the Detectives' as an example of the latter. But it has also made startling confessions as he hates 'Everyday I write the book', despite being one of his best known songs, and that cost him 10 minutes to write. Nevertheless, he has played and in his new acoustic arrangement rang again to glory. Of course it has seen much more at ease when he has played several new songs from a music that is preparing called 'A face in the crowd', has noticed you happy with the response from the public and has extended the concert until two hours and a quarter. Of course, the most exciting moment was when sounded 'Alison' in an intimate version Costello moving down to the audience to sing with the public.

Before finishing has put a video of him playing with Allen Toussaint 'The Greatest Love' which has served to recall the sad fact that the great composer, producer and arranger died in Madrid less than a year ago. As a postscript has come an intense 'I want you' that has served as a great example of how accurately tell a story with words and music, something that Elvis Costello is a true master, as was once again revealed. "

Someone at least was happy with the "walkabout" unplugged version of Alison in Madrid.

MOOT

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby Man out of Time » Tue Jun 07, 2016 6:46 pm

Shorter anonymous review posted to Muzikalia.com on 7 June 2016:

"ELVIS COSTELLO (TEATRO MONUMENTAL) MADRID 05/06/16

La desnudez es a veces la mejor manera de demostrar cuán bien uno sabe vestirse para la ocasión. Esto es aplicable al rotundo directo que Elvis Costello ofreció a un patio de butacas atento a su figura. Él, su voz, unas guitarras, un piano y muchos matices.

Soberbio. Sólo así se puede calificar su paso por Madrid.

Una gran pantalla, a modo de televisor antiguo ocupaba el centro de un escenario que luego dio cobijo a varias guitarras flanqueadas a la izquierda por un piano y a la derecha por una silla, dos guitarras y un sombrero que anticipaba la presencia de un Costello pletórico y ducho en el arte de saber hacer que poco, y muy poco, sea tanto y más.

Y así fue, la jukebox llena de videos de toda su carrera, de pronto perfiló una sombra que, guitarra en ciernes, empezó a cantar con la única luz de las imágenes y quedó claro que la noche iba a brindar algo más que un acústico. Fuera del cliché, Costello repasó su larguísimo cancionero hilvanando historias de su vida con la continuidad argumental de los recuerdos. Unos recuerdos que salían en la pantalla en forma de fotos antiguas, en las que entrabamos en el salón de la familia McManus donde un pequeño Declan Patrick crecía lleno de contrastes que le marcarían hasta hoy.

Porque lo que vimos los presentes fue un libro abierto en el que las historias se silban, se transmiten de boca en boca y se dejan acompañar por melodías. Por eso los saltos de tiempo, protagonistas a lo largo de toda su carrera mantuvieron un hilo conductor que permaneció fuerte hasta la última canción. Así fue, sin aspavientos ni retoques. Directo, tal cual.

En esa distancia corta la garganta de Costello, temblorosa, elocuente, resbaladiza y potente, se movía en ese registro expresivo que con los años muestra confianza, experiencia y a la vez cautela. Como sabiendo que para que llegue el momento adecuado hay que saber esperar y luego dar. Y bien que dio. Desde los rastros del recuerdo con su abuelo que contaba muchas historias de la guerra y su padre cantando en orquestas en Blackpool, las épocas vibrantes de pub rock y new wave con sus Attractions, con trajines por clubes y hoteles de inciertas aventuras, y los pasos hacia horizontes más amplios donde el destino le llevaría a conocer a Paul McCartney, Burt Bacharach o Allen Toussaint, fallecido hace unos meses en Madrid, a quien recordó en varias ocasiones.

En ese paseo de vida, con volúmenes, acordes y silencios, Costello presento su gira “Detour”, que también es el título de una película de cine negro rodada en 1945 y dirigida por Edgar G. Ulmer, en el que su garganta y sus manos dejaron salir títulos como “Shipbuilding”, “Toledo”, “I want you”, “Everyday I write a book”, “Veronica”, “Accidents will happen”, “She” y muchas más, enlazando ecos del pasado, comentarios y ritmos que desde un ukelele a un pedal de loops dejaron entrever a un compositor trenzado con ese pasado que le ha servido para construir un presente que apunta cotas notables. Tanto como este concierto, completamente notable. Así fue."

Or in "English" via Google Translate:

"ELVIS COSTELLO (MONUMENTAL THEATER) MADRID 06/05/16

Nudity is sometimes the best way to show how well you know how to dress for the occasion. This applies to direct Elvis Costello resounding offered a patio attentive to her figure seats. He, his voice, guitars, a piano and many nuances.

Superb. Only then you can qualify its Madrid.

A large screen, like an old TV occupied the center of a scenario that then gave shelter to several guitars flanked on the left by a piano and right by a chair, two guitars and a hat that anticipated the presence of an ebullient Costello and versed in the art of making little, too little is much and more.

And so, the jukebox full of videos of his career, suddenly he outlined a shadow, guitar budding began singing with the only light in the images and it became clear that the night would provide more than an acoustic. Outside the cliché, Costello went over his lengthy songbook tacking stories of his life with the plot continuity of memories. Memories that came out on the screen in the form of old photos, which we entered the hall of the McManus family where a small Declan Patrick grew full of contrasts that mark today.

Because what we saw these was an open book in which the stories whistle, transmitted by word of mouth and left accompanied by melodies. That is why the time jumps, protagonists throughout his career maintained a thread that remained strong until the last song. So, without fuss or tinkering. Direct, exactly.

In that short distance Costello's throat, trembling, eloquent, slick and powerful, moving at that expressive record over the years shows confidence, experience and while caution. As for knowing that the time is right we must know how to wait and then give. Well he gave. Since traces of memories with her grandfather told many stories of war and his father singing in orchestras in Blackpool, vibrant times of pub rock and new wave with Attractions, with trajines by clubs and hotels uncertain adventures, and steps towards wider horizons where fate would lead him to meet Paul McCartney, Burt Bacharach and Allen Toussaint, he died a few months ago in Madrid, who recalled on several occasions.

In this walk of life, with volumes, chords and silences, Costello presented her "Detour", which is also the title of a film of black cinema filmed in 1945 and directed by Edgar G. Ulmer in his throat and his hands let out titles like "Shipbuilding", "Toledo", "I want you", "Everyday I write a book," "Veronica" "Accidents will happen", "She" and many more, linking echoes of the past, comments and rhythms from a ukulele to a pedal loops hinted a composer twisted past that has helped him build a present aimed remarkable heights. As much as this concert, quite remarkable. That's how it went."

MOOT

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Re: Elvis plays Madrid (Spain), June 5th 2016

Postby Man out of Time » Mon Aug 07, 2017 12:31 pm

Review by David Perez in Spanish magazine Efe Eme from 7 June 2016:

"Elvis Costello o como amar la música y vivir para contarlo

“Sin micro, acústica en mano, se baja del escenario y canta entre el público una ‘Alison’ que ojalá, sino estuviste allí, puedas experimentar alguna vez en la vida”

El pasado domingo, Elvis Costello trajo a Madrid su gira “Detour” en un directo que encaró sin más acompañamiento que su guitarra y su voz. En el Teatro Monumental estuvo David Pérez.

Elvis Costello
Teatro Monumental, de Madrid
5 de junio de 2016


Tras el baño de masas de Sir Paul McCartney en el Calderón, bajo el huracán de un Primavera Sound que absorbe todos los focos y abre la veda de los grandes festivales, una repentina suerte de eclipse nos brinda la oportunidad de escapar a ninguna parte (durante poco más de dos horas), saboreando las raíces y la vida que brota de la música popular. Elvis Costello llega al Teatro Monumental de Madrid (segunda parada de tres en nuestro país), con su autobiografía bajo el brazo, “Música infiel y tinta invisible”, dispuesto a seguir desnudándose en esta gira “Detour” (filme de serie B de Edgar G. Ulmer), donde al más puro estilo “Storytellers”, intercala historias personales y desgrana a su antojo, tan solo acompañando de su voz, guitarra o piano, su oceánico cancionero.

De entre las sombras, con puntualidad inglesa, Mr. Costello aparece de elegante negro, gafas de sol incluidas y se hace la magia. Tarda escasos minutos en poner el teatro patas arriba con ‘(The angels wanna wear my) Red shoes’ o ‘Accidents will happen’, que suenan más vivas que nunca, arriesgando en cada fraseo y demostrando que, además de ser uno de los mejores contadores de historias de los últimos cuarenta años, posee una de las voces más genuinas y valientes del rock.

Le sobra carisma y tiene madera de “showman”, entre tema y tema se mueve como pez en el agua, no olvidemos que tuvo su propio programa en el canal Sundance (“Spectacle: Elvis Costello with…”). La puesta en escena es sencilla, cálida y efectiva: piano de cola a la izquierda, abanico de guitarras alrededor, una bufanda del Liverpool, una silla de la que cuelga un sombrero y un par de luminosos que anuncian la gira y “ON AIR”. En la parte central trasera, una gigantesca televisión retro que nos ilustra en todo momento con imágenes de décadas pasadas, de la infancia del pequeño Declan McManus, familia o amigos. Y no tardan en aparecer instantáneas de su querido Allen Toussaint, siempre presente de una manera u otra durante toda la velada, comentando Costello: “Cuando era un crío oía discos que sonaban diferentes a los demás, y en todos estaba el sello de Allen Toussaint, producidos, arreglados o interpretados por él. Y aquí estamos, en la ciudad donde le perdimos”. Los que tuvimos la suerte de estar en aquel último concierto de Toussaint en el Teatro Lara, aún nos frotamos los ojos para intentar borrar el final de ese mal sueño. Elvis le dedica una interpretación con guitarra de “Ascension day” en la que, a duras penas, conseguimos que no se nos fugue el corazón por la boca.

Siguen las anécdotas, los recuerdos y fotogramas impagables, como el de su padre, que cantaba en los bares de Blackpool y quedó por delante de los Beatles en un concurso de talentos, o la primera vez que llegó a Estados unidos y fantaseaba encontrarse con la “femmes fatales” que veía en las películas de “cine noir”… Suena ‘Church underground’ y tras darle algún que otro “zasca” a Donald Trump, se acerca con mucho cuidado al piano y nos cuenta que es de su mujer (Diana Krall), que se lo ha dejado y ha prometido devolvérselo sin ningún rasguño. Magistrales a las teclas ‘Shipbuilding’ y ‘Freedom for the stallion’, del revisitado “The river in reverse”, de 2006, que grabó junto a Toussaint.

Retoma las seis cuerdas y hasta rasga como nadie un ukelele. Termina por calar el lado izquierdo del pecho de la ciudad con una intimísima y hermosa ‘She’, ya más suya que de Aznavour, y nos electrifica para siempre con una apoteósica ‘Watching the detectives’ que pone al teatro en pie, aplaudiendo como sino hubiera mañana.

Un pequeño respiro y Costello reaparece como los grandes, bailando y con chaqueta nueva. La conexión con el público es total, mires donde mires se adivinan sonrisas en la oscuridad. Le brinda a su abuela ‘Veronica’ y se vacía en ‘Jimmie standing in the rain’, y sin micro, acústica en mano, se baja del escenario y canta entre el público una ‘Alison’ que ojalá, sino estuviste allí, puedas experimentar alguna vez en la vida.

Y aunque fantaseamos con que Costello se cuelgue la Jazzmaster que luce al fondo y haga estallar todo con ‘(What’s so funny’bout) Peace, love and understanding’ de Nick Lowe, sabemos que es imposible tras haberse dejado el alma en una interpretación a tumba abierta de ‘I want you’. No se puede pedir ni dar más, esto es amar la música y lo demás es tontería."

Or in "English" via Google Translate:

Elvis Costello or how to love music and live to tell it

"Without micro, acoustic in hand, he leaves the stage and sings among the audience an 'Alison' that I wish, if you were there, you could experience sometime in life"

Last Sunday, Elvis Costello brought to Madrid his tour "Detour" in a live that faced with no more accompaniment than his guitar and his voice. In the Monumental Theater was David Perez.

Elvis Costello
Monumental Theater, Madrid
June 5, 2016


After the mass bath of Sir Paul McCartney in the Calderón, under the hurricane of a Primavera Sound that absorbs all the foci and opens the closure of the great festivals, a sudden luck of eclipse gives us the opportunity to escape nowhere (duringlLittle more than two hours), savoring the roots and life that springs from popular music. Elvis Costello arrives at the Monumental Theater in Madrid (second stop of three in our country), with his autobiography under his arm, "Music infidel and invisible ink", ready to continue undressing in this tour "Detour" G. Ulmer), where the style "Storytellers", interweaves personal stories and scatters at will, only accompanying his voice, guitar or piano, his oceanic songbook.

From the shadows, with English punctuality, Mr. Costello appears in elegant black, sunglasses included and magic is done. It takes a few minutes to put the theater upside down with 'The Red Angels wanna wear my' or 'Accidents will happen', which sounds more alive than ever, risking every phrase and proving that, besides being one of the best Storytellers of the last forty years, has one of the most genuine and brave voices of rock.

He has a lot of charisma and has "showman" wood, between theme and subject moves like fish in the water, do not forget that he had his own show on the Sundance channel ("Spectacle: Elvis Costello with ..."). The staging is simple, warm and effective: grand piano on the left, fan of guitars around, a scarf from Liverpool, a chair from which hangs a hat and a pair of luminous announcing the tour and "ON AIR" . In the back center, a gigantic retro TV that illustrates us at all times with images from decades past, the childhood of the little Declan McManus, family or friends. And soon there are snapshots of his beloved Allen Toussaint, always present in one way or another throughout the evening, commented Costello: "When I was a kid I heard records that sounded different to each other, and in all was the seal of Allen Toussaint , Produced, arranged or interpreted by him. And here we are, in the city where we lost him. " Those of us who were lucky enough to be at Toussaint's last concert at the Lara Theater, still rubbed our eyes to try to erase the end of that bad dream. Elvis dedicates an interpretation with guitar of "Ascension day" in which, to barely, we get that we do not leak our heart by the mouth.

Anecdotes, memories and unrecognizable frames, such as that of his father, who sang in the bars of Blackpool and stayed ahead of the Beatles in a talent contest, or the first time he came to the United States and fantasized about meeting the "Femmes fatales" that he saw in the movies of "cinema noir" ... It sounds 'Church underground' and after giving some zasca to Donald Trump, he approaches the piano very carefully and tells us that it is his wife (Diana Krall), who has left it and has promised to return it without any scratch. Masterpieces to the keys 'Shipbuilding' and 'Freedom for the stallion', from the revisited 'The river in reverse', 2006, which he recorded with Toussaint.

He picks up the six strings and even rips like a ukulele. He ends up sticking the left side of the city chest with a very beautiful and beautiful 'She', more of his own than Aznavour, and electrifies us forever with an apotheosis 'Watching the detectives' that puts the theater on its feet, applauding as a bell There would be tomorrow.

A little respite and Costello reappears like the big ones, dancing and wearing a new jacket. The connection with the public is total, look where you look smiles in the dark. He gives his grandmother 'Veronica' and empties himself into 'Jimmie standing in the rain', and without micro, acoustic in hand, gets off the stage and sings among the audience an 'Alison' that I wish, if you were there, you can experiment Sometime in life.

And even if we fantasize about Costello hanging the Jazzmaster that shines in the background and blows everything up with Nick Lowe's (What's so funny'bout) Peace, love and understanding, we know that it's impossible after having left the soul in an interpretation to Open tomb of 'I want you'. You can not ask or give more, this is to love music and the rest is silly. "

MOOT


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