Elvis 'Detour', Odense (Denmark), March 5, 2017

Pretty self-explanatory
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Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby sweetest punch » Thu Aug 18, 2016 10:56 am

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 'Detour', Odense (Denmark), March 5, 2017

Postby krm » Thu Aug 18, 2016 11:41 am


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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby Man out of Time » Wed Aug 31, 2016 7:17 pm

Preview by Simon Staun published in Fyens Stiftstidende on 17 August 2016:

"Costello er første store attraktion i Odeon

Den irsk-engelske rockmusiker Elvis Costello får æren af at være den første udenlandske musiker på Odeons store scene søndag den 5. marts.

Odense: 1740 tilskuere er formodentlig på plads på de spritnye sæder, når Elvis Costello optræder solo i Odeon 5. marts. Den 61-årige musiker fra Paddington i London bliver første udenlandske navn blot fire dage efter åbningen.

- Elvis Costello er en kunstner, vi har drømt om at præsentere i mange år. Denne gang passede det perfekt, da han er i Danmark for at gennemføre en koncert i Aalborg, der blev aflyst i foråret. Han optræder også i København, men vi er sikre på, at interessen vil være stor i Odense, fordi der både er tale om et stort, internationalt navn og muligheden for at høre en koncert i Odeon som nogen af de allerførste, siger Hans Quistgaard fra Culture-Club.

Kollegaen Hans Thomsen bakker op. Elvis Costello er en våd drøm, der endelig bliver til virkelighed takket være Odeon.

- Uden Odeon havde vi ikke kunnet arrangere denne koncert. Odense Koncerthus, som vi har arrangeret mange koncerter i, har for få pladser til, at det kunne løbe rundt. Og Magasinet er også for småt til et navn af den kaliber. Nu har vi en koncertsal med plads til 1740 siddende gæster. Det betyder, at man kan købe billet til Elvis Costello for 440 kroner. Det, synes vi, er en yderst fair pris for en kunster med det format. Vi har naturligvis også et ønske om at vise huset frem til flest mulige og indlede med en udsolgt koncert, siger Hans Thomsen.

Åbningen af Odeon falder tilfældigvis sammen med, at Falconer Salen i København skal bygges om. Dermed mangler hovedstaden en af sine vigtigste brikker i koncertlandskabet.

Bands fra øverste hylde
- Falconer har lavet enormt mange af den type koncerter, vi drømmer om at lave i Odense. Nu er muligheden til stede for, at vi kan tilbyde bands af samme kaliber at optræde i Odeon i stedet. Jeg er overbevist om, at vi kommer til at præsentere mange navne fra øverste hylde. Det rygtes hurtigt i branchen, at det her musikhus bliver noget ud over det sædvanlige, siger Hans Thomsen

Den store sal bliver udstyret med et "plug and play"-anlæg, som er en kæmpe fordel af flere grunde. For det første betyder det, at alle bands og forestillinger kører på musikhusets udstyr, der er perfekt tilpasset rummets indretning og materialer. For det andet gør det ethvert arrangement langt billigere, da man ikke skal leje og sætte lydudstyr op.

- Det kan let løbe op i 50.000 kroner at leje lydanlæg, bygge en rig op og sætte anlægget op. Det er voldsomt omkostningstungt. I Odeon kommer man ind og mere eller mindre sætter sit stik i og spiller. Det er en kæmpe fordel for alle parter, siger Hans Thomsen.

Begge Hanser er overbevist om, at der er plads til Odeon i Odense.

- Naturligvis bliver Odeon en ny stor spiller med plads til 1740 siddende og 3000 stående gæster. Men vi er sikre på, at Odeon ikke kommer til at ødelægge det gode samarbejde mellem spillestederne i byen. Vi tror i højere grad, at Odeon kommer til at trække nogle kunstnere til, som ellers ville have valgt København, Aarhus eller Aalborg. Præcis som i tilfældet med Elvis Costello, siger Hans Thomsen.

Billetter til koncerten sælges på Ticketmaster fra mandag 22. august klokken 10"

Or in "English" via Google Translate

"Costello's first major attraction in Odeon

The Irish-English rock musician Elvis Costello will have the honor of being the first foreign musician at the Odeon big stage Sunday, March 5.

Odense 1740 spectators probably in place on the all-new seats when Elvis Costello performs solo in Odeon March 5. The 61-year-old musician from Paddington in London will be the first foreign name just four days after opening.

- Elvis Costello is an artist, we have dreamed of presenting for many years. This time it suited perfectly, as he is in Denmark to conduct a concert in Aalborg, which was canceled in the spring. He also performs in Copenhagen, but we are sure that the interest will be great in Odense, because it is both a large, international name and the opportunity to hear a concert at the Odeon as any of the first, says Hans Quistgaard from Culture Club.

His colleague Hans Thomsen supports. Elvis Costello is a wet dream finally becomes reality thanks to Odeon.

- Without Odeon had we not been able to organize this concert. Odense Concert Hall, we have organized many concerts, have too few seats to that it could run around. And the magazine is also too small for a name of the caliber. Now we have a concert hall with capacity for 1,740 seated guests. This means that you can buy tickets for Elvis Costello for 440 kroner. What we think is a very fair price for an artist with the format. Naturally, we also wish to show the house you the most and start with a sold-out concert, says Hans Thomsen.

The opening of Odeon falls happen with that Falconer Salen in Copenhagen to be built on. Thus lacking the capital one of its most important pieces in the concert landscape.

Bands from top shelf
- Falconer has made an enormous amount of the type of concerts, we dream about doing in Odense. Now is the opportunity to present that we can offer bands of the same caliber to perform in Odeon instead. I am convinced that we are going to present many names from the top shelf. Islanders heard in the industry that this concert hall will be something out of the ordinary, says Hans Thomsen

The large room is equipped with a "plug and play" plant which is a huge advantage for several reasons. Firstly, it means that all bands and performances running on music house equipment that is perfectly adapted to the room's decor and materials. Second, it makes it any event much cheaper when not to rent and set up audio equipment.

- It can easily amount to 50,000 kroner to rent sound system, build a rig up and put the plant up. It is tremendously cost-intensive. In Odeon get in and more or less puts his plug in and play. It is a huge advantage for all parties, says Hans Thomsen.

Both Hanser is convinced that there is room for Odeon in Odense.

- Naturally Odeon a new big player with capacity for 1,740 seated and 3,000 standing guests. But we are sure that the Odeon is not going to destroy the good cooperation between the venues in the city. We believe increasingly that Odeon going to pull some artists that otherwise would have chosen Copenhagen, Aarhus and Aalborg. Just as in the case with Elvis Costello, says Hans Thomsen.

Tickets for the concert sold on Ticketmaster from Monday, August 22 at 10 am"

MOOT

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Fri Feb 17, 2017 6:28 am

Who's going?

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby VonOfterdingen » Mon Feb 20, 2017 5:48 am

I'm not but convinced my sister and brother-in-law to go.
I'm not buying my share of souvenirs

johnfoyle
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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Sun Mar 05, 2017 6:04 am

Nearly time for this .

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Sun Mar 05, 2017 6:19 am


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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby krm » Sun Mar 05, 2017 11:46 am

I wonder if he will play anything from the Secret SOngs tonight? I just noticed that it is the first show ever for him in Odense and being the birthplace for HC ANdersen it would be an opportunity?
http://www.elviscostello.info/wiki/inde ... cret_Songs

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby VonOfterdingen » Sun Mar 05, 2017 3:58 pm

Looks like it.
https://instagram.com/p/BRRSrzYh_GY/

krm wrote:I wonder if he will play anything from the Secret SOngs tonight? I just noticed that it is the first show ever for him in Odense and being the birthplace for HC ANdersen it would be an opportunity?
http://www.elviscostello.info/wiki/inde ... cret_Songs
I'm not buying my share of souvenirs

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krm
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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby krm » Sun Mar 05, 2017 4:03 pm

:D :D :D

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby VonOfterdingen » Sun Mar 05, 2017 4:46 pm

Well my sister and brother-in-law was at their first EC concert and she just texted this:

"A short status - It was so great and much better than expected"

He also played inside the tv this time.

https://instagram.com/p/BRRYzOmh1C6/
I'm not buying my share of souvenirs

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Sun Mar 05, 2017 6:56 pm

Henrik Busborg's photos, via Facebook

Image

Image

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VonOfterdingen
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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby VonOfterdingen » Mon Mar 06, 2017 2:31 am

https://jyllands-posten.dk/protected/pr ... on-odense/

Elvis lever.
Altså Elvis Costello - og man er undskyldt, hvis man var kommet i tvivl.

Den engelske singer/songwriter har ikke længere det store behov for at lade høre fra sig med nye udspil, og da han skulle optræde i Aalborg sidste forår, måtte han melde afbud på grund af sygdom.

Men sangeren med den karakteristiske skærebrænder-vibrato revancherede sig lørdag aften i Aalborg, og søndag var han et af de første optrædende musiknavne i Odeon i Odense: Det nye musik-, teater- og konferencehus, der blev indviet for nylig og som sammen med bl.a. festivalen Tinderbox kan være med til at relancere Fyn som musikalsk mødested. Som det var tilfældet i 80'erne og 90'erne, da Midtfyns Festival gav øen kulturelle muskler.

Den afgørende test for Odeon bliver, hvorvidt stedet kan klare sig i den heftige danske konkurrence mellem spillesteder, festivaler og kulturhuse.

Der var ikke udsolgt ved søndagens koncert, hvor ca. 1.100 gæster dukkede op.

Mondænt og pænt

Men Odeon fungerer i hvert fald som koncertsted. Er man odenseaner er det imposante nybyggeri dejlig centralt placeret. Kommer man udefra, skal man en tur helt ind til bymidten, hvor skiltningen til stedet desværre er mangelfuld. Der er rimelige parkeringsmuligheder, men ved udsolgte koncerter må man forvente kamp om pladserne, så det gælder om at komme i god tid.

Selve Odeons ”Store Sal” har klassiske dimensioner med to balkonafsnit, sidebalkoner og plads til 1.740 bænkede gæster. Man kan snildt føle sig hensat til et fynsk svar på en tur i Operaen eller DR Koncerthuset i København. Prisen for drikkevarer i Odeon minder desværre også om hovedstads-niveauet.

Lyden var glimrende i salen, og oplevelsen var i retning af det mondæne, pæne og kultiverede. Nogenlunde som med aftenens hovedperson, der ellers i 1970’erne lancerede sig selv som en original sidegevinst til punken.

I Odeon hørte man brudstykker af den indignerede og mutte tone i flere af de gamle klassikere. De blev leveret af en anekdotisk sprudlende Elvis Costello, som var mutters alene på scenen. Så sangene, stemmen og nærværet skulle bære koncerten igennem, og det gik ret godt.

Ulykker undervejs

Den fine gamle paranoia-ballade ”Watch Your Step” holdt sig godt med en universel fortælling om familie-knas, øl-bøller i byen, ensomhed og andre lumpne glasstumper, der lurer i det tilsyneladende grønne græs. ”Accidents Will Happen” var også et gedigent genhør, og den skønne alternative pop illustrerede fint Costellos tummelumske melodi-forståelse og frasering.

Sangeren fik rundet flere af sine bedste numre og fortabte sig ikke i et slowmotion-orgie af andægtige ballader og kammermusikalske stiløvelser som ved en søvndyssende dansk koncert i 2003.

Der var dog optræk til monotoni og band-savn i energimatte passager, hvor kedsomheden sneg sig ind. Sangeren var også magelig på kanten til det distræte i publikums-pleaseren ”She”: en ærkeromantisk Charles Aznavours-sang, som Costello har adopteret, og den gjorde igen tro tjeneste.

En nocturne-følsom og dekonstrueret udgave af den smertelige ”Shipbuilding” lyste omvendt af vaklende magi. Og da en overstadig Costello impulsivt udførte en serie excentriske dansetrin, blev vi mindet om, at vi var i selskab med en sand musikalsk outsider.

Google Translate:

Elvis lives.
So Elvis Costello - and you are excused if you had come into question.

The English singer / songwriter has no longer the great need to let hear from the new album, and when he had to perform in Aalborg last spring, he had to cancel because of illness.

However, the singer with the distinctive cutting torch-vibrato revenge himself on Saturday night in Aalborg, and Sunday he was one of the first performers of music names in the Odeon in Odense: The new music, theater and conference venue which was inaugurated recently and which together with bl .a. festival Tinderbox can help to relaunch Fyn as a musical venue. As was the case in the 80s and 90s when midtfyns festival gave the island its cultural muscles.

The decisive test for Odeon is whether the site can cope with the fierce Danish competition between venues, festivals and cultural centers.

There was not sold out by Sunday's concert, where about 1,100 guests showed up.

Fashionably and nicely

But Odeon serves at least as a concert venue. Are you odense idea is the imposing new building lovely centrally located. Coming from outside, make a trip all the way into the city center where the signs to the place sadly deficient. There is reasonable parking facilities, but at sold-out concerts to be expected battle for places, so it is important to come in good time.

The Odeon's "Great Hall" has classic dimensions with two balcony section, sidebalkoner and space for 1,740 seated guests. You could quite easily feel transported to a Funen response to a tour of the Opera House and DR Concert Hall in Copenhagen. The price of drinks at the Odeon memories never stopped on capital levels.

The sound was excellent in the hall, and the experience was towards the fashionable, neat and cultured. Fairly as the evening's main character, otherwise in the 1970s launched himself as an original side benefit to punk.

The Odeon was heard snatches of the indignant and sullen tone in several of the old classics. They were supplied by bubbling an anecdotal Elvis Costello, who is the only one on the stage. So the songs, the voice and presence would bear the concert through and it went pretty well.

Accidents on the way

The fine old paranoia-ballad "Watch Your Step" held up well with a universal tale of family-crunch beer thugs in the city, loneliness and other lumpen glass pieces that lurks in the seemingly green grass. "Accidents Will Happen" was also inspired by that genuine renditions, and the delightful alternative pop illustrated fine Costello giddy tune-understanding and phrasing.

The singer had rounded several of his best songs and was lost not in a slow motion orgy of pious ballads and chamber musical style exercises at a soporific Danish concert in 2003.

There was brewing monotony and band-sawing in energy dull passages where boredom crept in. The singer was also too comfortable on the edge of the absent-minded in the audience-pleaseren "She" means an arch romantic Charles Aznavours song, Costello has adopted, and it did again faithful service.

A nocturne-sensitive and deconstructed version of the painful "Shipbuilding" called reverse of faltering magic. And since a rollicking Costello impulsively performed a series of eccentric dance moves, we were reminded that we were in the company of a true musical outsider.
I'm not buying my share of souvenirs

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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Mon Mar 06, 2017 3:14 am

Sætliste:
Watch Your Step
Accidents Will Happen
Church Underground
Stella Hurt
Everyday I Write The Book
Shipbuilding
Deep Dark Truthful Mirror
She Handed Me A Mirror
A Face In The Crowd
Walkin' My Baby Back Home
Ghost Train
This Year's Model
Allison
Blood & Hot Sauce
No Man's Woman
I Can't Stand Up For Falling Down
Pump It Up
Veronica
Jimmie Standing In The Rain
Vitajex
She
(What's So Funny 'Bout) Peace, Love, & Understanding


http://gaffa.dk/anmeldelse/115350/den-o ... -dynamite/

Elvis Costello, Odeon, Odense
Den oprindelige Napoleon Dynamite


Anmeldt af Morten Gottschalck | GAFFA

Flere billeder fra koncerten følger snarest

Costellos "Detour" pløjer sig igennem hele Europa i denne tid. I Danmark er vi blevet begavet med tre koncerter; Aalborg og Odense, og til sidst en udsolgt koncert i København.

Odeon i Odense blev indviet tidligere på ugen, og endnu er der hverken knirkende stole eller tyggegummi underneden. Folk maser af sted for at komme ind og få måsene i sædet, og mørket sænker sig.

Iført knaldrød hat og med et bragende bifald i ryggen kommer Costello ind, griber en guitar og sætter i gang med Watch Your Step fra det lige netop 36 år gamle album Trust – udgivet i januar 1981.

Costello er solo, med en hær af især guitarer, men også en banjo og et stort sort flygel indenfor rækkevidde. Midt på scenen står en gigantisk kasse af et fjernsyn, som viser stillfotos – og senere lidt video - af venner, bekendte og familie i en falmet fortid.

Alle remedier kørt i stilling
Manden er 62 år, og man kan nok argumentere for, at han altid har været lidt rusten i halsen. Rusten har bredt sig en smule med alderen, men han rammer stadig de høje toner. Der springes ikke mere over det lave gærde, end hvad alderen rent praktisk dikterer. Lyden i Odeon er en fornøjelse.

Et langt musikalsk liv med omkring 30 album (plus opsamlinger og livealbum), et hav af samarbejdspartnere og hele opvæksten med en meget musikalsk far har skabt en showman, som drysser krydderi over hele aftenen som en kok, der elsker hver en ret. Costello er lige præcis, hvor gerne han vil være.

Mange numre indledes med en anekdote, som stort set hver gang rammer plet. Hist og her føles det en kende forberedt, når anekdoten serveres med indlagt kunstpause til latter og bifald. Især i starten af koncerten reagerer publikum med abrupt høflig latter. Men vi tør hurtigt op i selskab med den brandvarme løve, som også har optrådt en del som skuespiller og har været forbi musicalafdelingen flere gange. Han kender sine virkemidler.

Enlig mand med stor effekt
Det første store bifald kommer med Church Underground, hvor Costello leger med det høje uh-uh-uh. Det bifald bliver gjort til skamme, da Everyday I Write The Book klinger ud. Folk pifter og hujer. En eller anden i nærheden begynder nærmest at græde.

Det var satans, mumler jeg for mig selv, mens bifaldet gjalder. Costello tager disse kompositioner, som er skrevet til at blive fremført af et band, og lægger dem ud som en singer-songwriter uden frygt, uden skam, og med åben hals. Jeg har set og hørt forsøget gjort før af andre etablerede musikere, og ofte bliver det en halvbagt affære. Men Costello har virkelig fat i den lange ende.

På Shipbuilding får vi til gengæld den største samling falske toner på ét sted under den samlede koncert. Med bund i årtiers slæbende vokal stryger Costello dog erfarent videre og modtager salens tordnende hyldest. Han kan næsten ikke gøre noget forkert i aften. Næsten.

Bag tangenterne
Nu sidder han bag klaveret, og her bliver vokalen indimellem en kende skinger. Række på række af stillesiddende nakker foran mig nyder det musikalske stormløb fra den hattebeklædte og småkvapsede Costello, som vist er begyndt at skovle flødebagte kartofler og en ekstra skefuld dessert indenbords. Måske forkæler konen Diana Krall ham. Jeg synes at kunne spore de ekstra pund på den karakteristiske glød i stemmen, som flæskbeklædte sangere ofte modtager. Det klæder Costellos stemme, ligesom det klæder mange andre. Spis du bare op, gamle dreng.

En blændende Walkin' My Baby Back Home baner vej for en mindeværdig anekdote om Costellos far, som muligvis ikke var den store faderfigur, men til gengæld grundlagde en musikalsk levevej i sin søn. Costello Senior (som bar navnet Ross McManus) tævede endda The Beatles i popularitet tidligt i sidstnævntes karriere, men det var alligevel ham Lennon, som med en frisk replik scorede flest point næste dag i formiddagsbladene. Typisk.

Declan Patrick McManus gik altså i faderens fodspor, og engang i 70'erne transformerede han sig om til Elvis Costello. Der har også været andre kunstnernavne undervejs – deriblandt det ikoniske Napoleon Dynamite, som siden har fundet sit eget publikum i form af en anbefalelsesværdig film af samme navn.

Tilbage til Costello, som leverer Allison helt uden mikrofon eller strøm. Bifaldet vælter ind over salen, så det sorter for øjnene. Dette nummer er for Costello, hvad The Needle And The Damage Done er for Neil Young.

På vej mod tinderne
Costello afslutter en glimrende koncert med en række højdepunkter i Pump It Up (udført elektrisk fra indersiden af det store fjernsyn), Veronica og She. Det meste af salen rejser sig, i den tro at She er sidste nummer, og står dermed fastlåst i oprejst stilling af sociale forventninger, da Costello fortsætter ind i klassikeren (What's So Funny 'Bout) Peace, Love, & Understanding, som bliver en smule mere elektrisk end nødvendigt. Det bliver en afslutning, som kunne have været en my bedre.

Costello har valgt at være solo, men flere steder bevæger han sig alligevel halvvejs ind i bandlyden ved at sætte strøm på sin guitar. Man kommer let til at ønske endnu et instrument til at gøre de støjende strenge selskab, og som resultat placerer nogle dele af koncerten sig mellem to stole. Resten af koncerten ligger et sted mellem glimrende og fremragende. En rigtig flot præstation, som de færreste kan gøre efter.

Som bonusinfo kan jeg tilføje, at et medlem af publikum mente, at Costello havde haft en helt anden sætliste i Aalborg aftenen før. Så København, glæd jer til mandag aften.

Google translate -

Elvis Costello, Odeon, Odense
The original Napoleon Dynamite


Reviewed by Morten Gottschalck | GAFFA

More photos from the concert will follow soon

Costello's "Detour" plows through all of Europe at this time. In Denmark, we have been gifted with three concerts; Aalborg and Odense, and finally out show in Copenhagen.

Odeon in Odense was inaugurated earlier this week, and yet there is no creaking chairs or gum underneath. People maser off to get in and get måsene in the seat, and darkness descends.

Wearing bright red hat with a thunderous applause in the back comes Costello in, grabs a guitar and starts to move with Watch Your Step from just 36 years old album Trust - published in JANUARY 1981.

Costello's solo, with an army of particular guitars, but also a banjo and a big black grand piano within reach. In the middle of the stage stands a giant box of a television showing still photographs - and later a little video - of friends, acquaintances and family in a faded past.

All paraphernalia deployed
The man is 62 years old, and you can probably argue that he has always been a little rusty throat. The rust has spread a bit with age, but he still hit the high notes. To go no more than the low fence than age practically dictates. The sound of the Odeon is a pleasure.

A long musical life by about 30 albums (plus compilations and live albums), a sea of ​​collaborators and the entire childhood with a very musical father has created a showman who sprinkles spice throughout the evening as a chef who loves every right. Costello's exactly how much he will be.

Many numbers begin with an anecdote that virtually every spot on. Here and there it feels a trifle prepared when the anecdote served with inlaid art pause for laughter and applause. Especially at the beginning of the concert audience reacts with abrupt polite laughter. But we dry up quickly in the company of the fire hot lion, who also has appeared a part as an actor and has been past musical department several times. He knows his tools.

Single man of great power
The first big applause comes with Church Underground, where Costello playing with the high uh-uh-uh. The applause are put to shame because Everyday I Write The Book blades out. People whistles and hoots. Someone near begins almost crying.

It was Satan, I mumble to myself, while the applause echoes. Costello takes these compositions, written to be performed by a band and put them out as a singer-songwriter without fear, without shame, and with open neck. I have seen and heard experiment done before by other established musicians, and often becomes a half-baked affair. But Costello has truly grasp the long end.

On Shipbuilding we get in return the largest collection false notes in one place during the entire concert. With base in decades drawling vocals string Costello, however, experienced on and receiving the hall's thunderous tribute. He can hardly do anything wrong tonight. Almost.

Behind the keyboard
Now he sits behind the piano, and here the vocals sometimes a trifle shrill. Row after row of sedentary necks in front of me enjoying the musical onslaught from the hat clad and småkvapsede Costello as shown has begun to shovel creamy potatoes and an extra spoonful of dessert inboard. Perhaps pampers his wife Diana Krall him. I seem to be able to track the extra pounds on the characteristic glow in his voice, as pork clad singers often receive. The garments Costello's voice, as it suits many others. Eat just up, old boy.

A dazzling Walkin 'My Baby Back Home paves the way for a memorable anecdote about Costello's father, who may not have been the great father figure, but then founded a musical career of his son. Costello Senior (which bore the name Ross McManus) beating even The Beatles in popularity early in the latter's career, but it was still him Lennon, with a fresh replication scored the most points the next day in the tabloids. Typical.

Declan Patrick McManus went all in his father's footsteps, and even in the 70s transformed himself into Elvis Costello. There have also been other artist names along the way - including the iconic Napoleon Dynamite, who has since found its audience in the form of a commendable film of the same name.

Back to Costello, which supplies Allison without any microphone or current. The applause pouring into the hall, so it sort of eyes. This number is for Costello what The Needle And The Damage Done is for Neil Young.

Towards the peaks
Costello completes an excellent concert with a number of highlights in Pump It Up (performed electrically from the inside of the large television), Veronica and Hon. Most of the room rises, in the belief that She is the last issue, and is thus locked in the upright position of social expectations as Costello continues into classic (What's So Funny 'Bout) Peace, Love, & Understanding, which becomes a bit more electric than necessary. It is one of

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VonOfterdingen
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Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby VonOfterdingen » Mon Mar 06, 2017 8:23 am

http://www.fyens.dk/kultur/Koncertanmel ... el/3129001

Den første koncert med et internationalt navn i Odeon stod britiske Elvis Costello for søndag aften. Ene mand tryllebandt han publikum med sange fra 40 års vidt forskellige udgivelser.

I forhold til den første koncert i Odeon med Burhan G er der tale om en diametral modsætning med Elvis Costello. Hvor den danske popsanger havde allieret sig med 15 musikere, troppede Elvis Costello op ene mand. Mens Burhan G's tekster er temmeligt banale og uden lyrisk swung, er Elvis Costellos tekster litterære lækkerbiskner, som får engelskundervisere på landets gymnasier til at slikke sig begejstret om munden. Hvor der var uheldige udfald i lyden under Burhan G, er der gudesmuk og helt igennem fejlfri lyd under Elvis Costellos to timer lange seance.

Selv fra balkonen føles det, som om Elvis Costello står få meter foran mig og synger. Det er ekstremt nærværende og intimt. Der er på nær et par uskyldige host komplet tyst i den store sal under hele koncerten, hvor Elvis Costello vælger og vrager mellem sange fra et bagkatalog med flere genremæssige afstikkere, end de fleste musikere kan prale af. Der er sange med slægtskab til både punk-, country-, rock- og soulmusik. Præsenteret med otte forskellige guitarer samt flygel er variationen i udtrykket i sig selv fascinerende.

Hver gang, Elvis Costello kaster sig over en ny sang, sidder jeg og forbløffes over, at samme mand det ene øjeblik kan synge næsten hviskende for øjeblikket efter at eksplodere i et snerrende brøl. Præcis som hans guitarspil varierer fra poetiske anslag på spansk guitar til aggressive slag på elektrisk guitar.

Da jeg interviewede Elvis Costello for et par måneder siden, sagde han, at turnéen "Detour" byder på mange interessante oplevelser for ham, da han føler, at han genopdager sangene på scenen. At det føles, som om han spiller dem for første gang. På den måde er vi lidt i samme båd, da jeg kun kender omkring 8-10 sange ud af de flere end 20 på sætlisten.

"Accidents Will Happen" kender jeg, og det gør ikke sangen mindre interessant, at Elvis Costello varmer op til den med en morsom anekdote om en hæsblæsende forelskelse i en taxichauffør i Tucson. Jeg kender kun versionen med Costellos tidligere band The Attractions, og det er lige som med hovedparten af de øvrige sange spændende at notere, hvordan han fremfører den solo. Sangene er omarrangeret markant, hvilket næsten giver sig selv, når man har skåret bandet væk.

En sang om Hans Christian
Midt på scenen står der et gigantisk tv, der spiller en vital rolle i showet. Her vises der familiebilleder, som understøtter de gribende og hylemorsomme fortællinger om Elvis Costellos musikalske far og farfar. Det cementerer også indtrykket af en mand med så meget musik i blodet, at hans skæbne nærmest var bestemt på forhånd.

Flygelet har dog også en hovedrolle, da det giver et afbræk i de guitarbårne sange."Shipbuilding", som jeg hører for første gang, er en sørgmodig perle. Og et af mange eksempler på Costellos format som sangskriver.

"Deep Dark Truthfull Mirror" efterfølges af "She Handed Me a Mirror" og udgør et lille spejltema. Sidstnævnte skrev Costello til H.C.Andersen-operaen "The Secret Songs", der aldrig blev færdiggjort. H.C. Andersen kipper med sin høje hat på tv'et, da Elvis Costello runder den smertefulde sang af om den fynske digters ugengældte forelskelse i svenske Jenny Lind.

Elvis Costello præsenterer også flere sange fra et projekt, der kom i mål. Sangene fra musicalen "A Face in the Crowd" står stærkt. Ikke mindst fordi omdrejningspunktet er en demagog i 1950'ernes USA, der har markante lighedspunkter med den nuværende præsident.

Sangen om hende
Elvis Costellos sko knirker på scenegulvet. Man kan næsten høre hans åndedræt i den anden ende af salen. Derfor virker det oplagt, at han dropper mikrofon og forstærkere, da han spiller et af sine mest kendte numre som foreløbigt punktum. "Alison" svæver elegant ud i hele den store sal. Og det får mig til at tænke på, at både Burhan G og Elvis Costellos største sange bærer pigenavne som "Lucy", "Diana", "Veronica" og altså "Alison". Medmindre man slet og ret kalder drømmekvinden for "She". Costellos vel mest populære sang er i øvrigt også et cover. Den blev skrevet af Charles Aznavour og Herbert Kretzmer i 1974.

Mine personlige højdepunkter er "Church Underground" fra Nashville-albummet "National Ransom" fra 2010. Samt den nedtonede udgave af Sam & Dave-coveret "I Can´t Stand Up For Falling Down", som blev indspillet med The Attractions i 1980. Den serveres med et diametralt andet udtryk end på plade. I Odeon har den en gospel-klang og minder lidt om Simon & Garfunkels "Bridge Over Troubled Water".

Det er svært at holde styr på, hvor mange gange Elvis Costello forlader scenen mod slutningen. Derfor er det umuligt at bedømme, om han giver to, tre eller fire omgange ekstranumre. Sikkert er det dog, at sidste sang som forventet er "(What's So Funny 'Bout) Peace, Love and Understanding". Den får alt, hvad den kan trække med volumeknappen i bund og fuld smadder på den elektriske guitar.

Der vil sikkert være dem, der kedede sig bravt under koncerten. Men jeg kan ikke fortrænge, at én mand, én stemme og én guitar (ad gangen) kan skabe så megen musikalsk magi. Den første koncert med et internationalt navn i Odeon må siges at være en succes.

Om koncerten

Odense, Odeon, Store Sal, søndag 5. marts: Elvis Costello "Detour"

Google translate:

The first concert with an international name in the Odeon stood British Elvis Costello for Sunday evening. One man enthralled his audience with songs from 40 years of different releases.

Compared to the first concert in Odeon with Burhan G, there is a diametrically opposed with Elvis Costello. Where the Danish pop singer had teamed up with 15 musicians trooped Elvis Costello up one man. While Burhan G's lyrics are pretty banal and without lyrical swung, Elvis Costello texts literary delicacies that makes English teachers at high schools to lick themselves enthusiastically at the mouth. Where was unfortunate outcome of the sound during Burhan G, there is handsome but and utterly flawless sound during Elvis Costello's two-hour session.

Even from the balcony it feels as if Elvis Costello stands a few meters in front of me and sing. It is extremely close and intimate. There are but a few innocent host complete silence in the Great Hall during the entire concert where Elvis Costello pick and choose songs from a catalog with more genre diversions, than most musicians can boast of. There are songs with affinity for both punk, country-, rock and soul music. Presented with eight different guitars and piano, the variation of the term itself fascinating.

Each time, Elvis Costello throws himself on a new song, I sit and marvel at that same man one moment can sing almost whispering the moment after exploding into a snarling roar. Just as his guitar playing varies from poetic stop on the Spanish guitar to aggressive blow to the electric guitar.

When I interviewed Elvis Costello for a couple of months ago, he said that the tour "Detour" offers many interesting experiences for him as he feels that he rediscovers songs on stage. It feels as if he's playing them for the first time. In this way we are a bit in the same boat as I know only about 8-10 songs out of the more than 20 on the set list.

"Accidents Will Happen" I know, and it does not make the song less interesting that Elvis Costello warms up for it with an amusing anecdote about a breathless love for a taxi driver in Tucson. I only know the version with Costello's previous band The Attractions, and it's just like with most of the other songs interesting to note how he feeds the solo. The songs are rearranged significantly, which almost goes without saying when you cut the band off.

A song about Hans Christian
In the middle of the stage stands a giant television that plays a vital role in the show. This shows that family photos that supports the poignant and hilarious stories of Elvis Costello's musical father and grandfather. It also cements the impression of a man with so much music in the blood that his fate was virtually predetermined.

The grand piano has also a key role, as it provides a break from the guitar-borne songs. "Shipbuilding", which I hear for the first time, a melancholy gem. And one of many examples of Costello's format as a songwriter.

"Deep Dark Truth Full Mirror" followed by "She Handed Me a Mirror" and represents a small mirror theme. The latter wrote Costello to H.C.Andersen-opera "The Secret Songs" that was never completed. H. C. Andersen kipper with his top hat on the TV when Elvis Costello rounds the painful song of the Funen poet's unrequited infatuation with Swedish Jenny Lind.

Elvis Costello also presents several songs from a project that came into the net. The songs from the musical "A Face in the Crowd" is strong. Not least because the centerpiece is a demagogue in the 1950s in the United States, which has significant similarities with the current president.

The song about her
Elvis Costello's shoes squeak on the stage floor. You can almost hear his breathing on the other end of the hall. Therefore, it seems obvious that he drop the microphone and amplifiers, as he played one of his best-known numbers as temporary end. "Alison" floats elegantly out across the great hall. And it makes me think that both Burhan G and Elvis Costello's greatest songs bear girl names such as "Lucy," "Diana," "Veronica" and hence "Alison". Unless you simply call the dream woman for "She". Costello's probably the most popular song is also one cover. It was written by Charles Aznavour and Herbert Kretzmer in 1974th

My personal highlights are "Church Underground" from Nashville album "National Ransom" from 2010. As well as the toned-down version of Sam & Dave-cover "I Can't Stand Up For Falling Down," which was recorded with The Attractions for 1980. it is served with a diametrically different expression than on record. In Odeon has a gospel-sounding and slightly reminiscent of Simon & Garfunkel's "Bridge Over Troubled Water".

It's hard to keep track of how many times Elvis Costello leaving the scene towards the end. Therefore, it is impossible to judge whether he allows two, three or four laps encores. It is certain, however, that last song as expected "(What's So Funny 'Bout) Peace, Love and Understanding". It gets everything it can pull with volume knob and full awfully on the electric guitar. There will certainly be those who were bored bravely during the concert. But I can not displace that one man, one voice and one guitar (at a time) can create so much musical magic. The first concert with an international name in Odeon is said to be a success. About the concert Odense, Odeon, Great Hall, Sunday, March 5: Elvis Costello "Detour"
I'm not buying my share of souvenirs

johnfoyle
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Location: Dublin , Ireland

Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Mon Mar 06, 2017 9:41 am

Huh?

http://gaffa.dk/anmeldelse/115350/den-o ... -dynamite/

(extract)

Costello as shown has begun to shovel creamy potatoes and an extra spoonful of dessert inboard. Perhaps pampers his wife Diana Krall him. I seem to be able to track the extra pounds on the characteristic glow in his voice, as pork clad singers often receive. The garments Costello's voice, as it suits many others. Eat just up, old boy.

johnfoyle
Posts: 14135
Joined: Wed Jun 04, 2003 4:37 pm
Location: Dublin , Ireland

Re: Elvis 'Detour', Odense (Denmark), March 5, 2017

Postby johnfoyle » Mon Mar 06, 2017 11:34 am



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