Elvis & The Imposters , Washington DC, Nov. 3 2016

Pretty self-explanatory
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johnfoyle
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Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by johnfoyle »

Who's going?
blureu
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by blureu »

Looking for a single ticket if anyone has a spare.
johnfoyle
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by johnfoyle »

johnfoyle
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by johnfoyle »

Who's going ?
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And No Coffee Table
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by And No Coffee Table »

Periscope video of "Everyday I Write The Book": https://www.periscope.tv/JoeHeim/1kvJpqdnjnXxE

YahZarah is back.
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And No Coffee Table
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by And No Coffee Table »

http://www.elviscostello.info/wiki/inde ... Washington

01. The Town Where Time Stood Still
02. Lipstick Vogue
03. On Your Way Down
04. The Loved Ones
05. Accidents Will Happen
06. You'll Never Be A Man
07. Tears Before Bedtime
08. Moods For Moderns
09. Shabby Doll
10. Green Shirt
11. Human Hands
12. Watching The Detectives
13. The Long Honeymoon
14. This House Is Empty Now
15. Pills And Soap
16. Hand In Hand
17. High Fidelity
18. You Little Fool
19. Pidgin English
Encore 1
20. Alison
21. Shot With His Own Gun
22. Almost Blue
23. Kid About It
24. ...And In Every Home
25. Beyond Belief
26. Man Out Of Time
Encore 2
27. Town Cryer
28. Everyday I Write The Book
29. Blood & Hot Sauce
30. A Face In The Crowd
31. American Mirror
32. (I Don't Want To Go To) Chelsea
33. Pump It Up
34. (What's So Funny 'Bout) Peace, Love And Understanding?
CraigatCoF
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by CraigatCoF »

So glad I didn't read reviews or check setlists before the show, as I was completely surprised by some of the "other Chambers". Loved this show so much! Great audience, too. Came up from NOLA for this, and worth every penny spent. 3 hours, 34 songs. Anyway, the setlist:

The Town Where Time Stood Still
Lipstick Vogue
On Your Way Down
The Loved Ones
Accidents Will Happen
You'll Never Be a Man
Tears Before Bedtime
Moods for Moderns
This House Is Empty Now
Shabby Doll
Green Shirt
Human Hands
Watching the Detectives
The Long Honeymoon
Pills and Soap
Hand in Hand
High Fidelity
You Little Fool
Pidgin English

1st encore
Alison
Shot With His Own Gun
Almost Blue
Kid About It
...And in Every Home
Beyond Belief
Man Out of Time

2nd encore
Town Cryer
Everyday I Write the Book

3rd encore
Blood & Hot Sauce
A Face in the Crowd
American Mirror
(I Don't Want to Go to) Chelsea
Pump It Up
(What's So Funny 'bout) Peace, Love and Understanding
joseph pennington
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by joseph pennington »

Fantastic show in all respects -- one of the best I have seen. And a real marathon. For the record, show started at 8:10 and ended at 11:06. Imperial Bedroom songs were the highlight, but much more that was memorable. Bravo!
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verbal gymnastics
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by verbal gymnastics »

Wow - what a show. I hope the sound was good for each of those 34 songs!
Who’s this kid with his mumbo jumbo?
sweetest punch
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by sweetest punch »

https://www.washingtonpost.com/entertai ... story.html

Elvis Costello returns to the Warner Theatre 38 years after a legendary performance

Elvis Costello endures. Early into his wondrous Thursday appearance at Warner Theatre, the Liverpool legend reminded the crowd that he’d played the same venue once before — “38 years ago,” he said.

To Costello’s hardcore flock, that 1978 Warner concert, which came on his first U.S. tour, remains a gig for the ages. The show was broadcast live locally on WHFS, a long-dead FM station but back then the coolest alternative rock outlet the D.C. market had ever had. One critic from the George Washington University student newspaper, in a review that has been making the rounds on Costello fan websites since the Internet appeared, presciently predicted after the show that the “new star on the rock scene has enough material to stick it out a few years.” (Not so prescient: The same critic in that same review appended “unlike Bruce Springsteen” to his prediction.) And Costello cemented the Warner show’s immortality in 2008 by officially releasing the recording as a live album on its 30-year anniversary.

So if Costello had a lot to live up to on his return visit, he more than filled the bill. His 2-hour 45-minute set both wore out the fans in the packed house, most of whom were old enough to have also attended that vintage set, and left them wanting more.

He now calls his backup combo the Imposters, a group that has keyboardist Steve Nieve and drummer Pete Thomas, who’ve toured with him since the 1970s and still rock as hard as ever. Costello spent most of the evening looking back, though slightly less far back than ’78: The current tour is concentrating on material from “Imperial Bedroom,” his brilliant 1982 album produced by Beatles engineer Geoff Emerick. As the performance reminded fans, Costello reached new heights in lyrical cleverness on this record. One basic example: “Shabby Doll” had the cute couplet “There’s a girl in this dress/There’s always a girl in distress.” But on that tune and so much of “Imperial Bedroom,” Costello’s wordplay and wordiness were wonderfully overwhelmed by melody; “You Little Fool,” “Beyond Belief” “Man Out of Time,” “Human Hands,” and, heck, pretty much everything he performed from that collection were blessed with hooks so memorable they took fans right back to that time they first heard them.

Costello, a much happier guy in middle age, told tales of the inspiration for some of his old songs that weren’t off “Imperial Bedroom.” “Accidents Will Happen,” he said with dubious factuality, was actually written immediately after and about a brief, booze-fueled romance with a cab driver in Tucson. And “Watching the Detectives” was a tale of a woman actually watching a TV show about law enforcement in 1976. “It was probably ‘Starsky & Hutch,’” he said, as if the night wasn’t already loaded with enough period-piece touchstones.

He ended the evening with a trio of classics. The retro-proto-neo-ska-rocker “(I Don’t Want to Go to) Chelsea” and just-plain-rocker “Pump It Up,” both of which were also played at his 1978 Warner show, incited mobs of fans to form at the front of the stage and loads of others to dance in the aisles throughout the theater. The proceedings hit a kinetic level not often seen at concerts headlined by performers of Costello’s vintage with the epic closer, “(What’s So Funny ’Bout) Peace, Love and Understanding.” Just as he had last time he filled this room, Costello looked like he’s going to stick around a while. Heck, maybe even longer than Springsteen.

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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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docinwestchester
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by docinwestchester »

"WHFS, a long-dead FM station but back then the coolest alternative rock outlet the D.C. market had ever had."

The best rock radio station ever. Miss those days.
FAVEHOUR
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by FAVEHOUR »

The Post talks like this is the first time he's been back to the Warner. It isn't.

dave
(at both shows discussed)
MOJO
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by MOJO »

Wow, nice setlist. I wish I was on the east coast right now. NYC shows should be epic.
johnfoyle
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by johnfoyle »

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krm
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by krm »

FAVEHOUR wrote:The Post talks like this is the first time he's been back to the Warner. It isn't.

dave
(at both shows discussed)
I reacted to that as well so I had to check it up.
http://www.elviscostello.info/wiki/inde ... er_Theatre
johnfoyle
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Re: Elvis & The Imposters , Washington DC, Nov. 3 2016

Post by johnfoyle »

http://www.thevinyldistrict.com/dc/2016 ... eater-113/


TVD Live: Elvis Costello & the Imposters at the Warner Theater, 11/3

BY ROGER CATLIN

NOVEMBER 7, 2016


When Elvis Costello has ventured out without an album to support, the super-prolific songwriter has left his setlist’s fate to his always-entertaining Spinning Songbook wheel of songs. Currently, he’s taken the wheel himself, by featuring one fabled album from his career and building a show around that in a tour titled “Imperial Bedroom and Other Chambers.”

While he manages to cover the bulk of notable work, which his record company labeled “Masterpiece” upon release (to his embarrassment), Costello varied from other recent full-album recitals from Brian Wilson to Bruce Springsteen, by dropping a couple of its 15 tracks and spreading them around a very generous set that offset the contemplative Bedroom songs with early career blasts and crowd favorites.

Most all of it stayed well into the past. Aside from a trio of fascinating songs from an as yet unproduced new musical based on Budd Shulberg’s A Face in the Crowd, his newest recorded offering was one from his decade-old collaboration album with Allen Toussaint. Nostalgia might have been a little on the mind of the performer, as he bounded on stage in red hat to match his red Gibson guitar, fronting a lean trio that featured two of his longtime Attractions Steve Nieve and Pete Thomas as well as two backup singers.

“It’s been 38 years since we last played the Warner,” he said early in the set, referencing a set so significant, it was released on CD three decades later. “Back then we’d play 25 minutes of music that on a good night we’d get down to 15.” He made up with it Thursday with a near-Springsteen sized set of three straight hours and 34 songs all-told, from the rarity that opened it, “The Town Where Time Stood Still,” to the anthem that closed it, “(What’s So Funny ‘Bout) Peace, Love & Understanding” — his one cover song of the night that he had also long since made his own.


The nuances and turns of the brooding Imperial Bedroom collection were certainly on board, with standout versions of “Long Honeymoon” (described as a sequel to “Watching the Detectives” that preceded it), the sublime “Town Cryer,” and the timeless “Almost Blue” with acoustic guitar and Nieve on his purple Steinbeck grand piano. The supplementary songs didn’t literally connect with Imperial Bedroom—there were hits to be played, from “Allison” to “Everyday I Write the Book.” But many often did, such as “This House is Empty Now,” from his 1998 collaboration with Burt Bacharach.

Costello said he joined Bacharach to create another dozen songs five years ago, but those haven’t come to light. He did reveal three songs from a proposed musical based on the book and movie A Face in the Crowd, with a book written by Sarah Ruhl. Playing these songs largely solo on the purple Steinway, Costello conveyed a kind of New Orleans roll like that of Randy Newman if not Toussaint; the title song itself coming off akin to the Preservation era of the Kinks (who also wrote a song called “(A) Face in the Crowd”).

A thoughtful and accomplished songwriter, Costello at 62 could find himself in a late career purgatory of trying to keep up with the intricately complex wordplay he put to a furious pace as a young man, the words flashing by on a monitor meant to look like a music stand. But bolstered by his top rate musicians from the old days, the prestigiously talented Nieve and the endless rat-a-tat of Thomas, he kept on top of this game, revving it up as needed at the end with things like “(I Don’t Want to Go to) Chelsea” and “Pump It Up.”

The house mix did no favors to Costello’s lone guitar, distorting it when it could be heard at all. And his strong croon doesn’t venture as high as it once did, so it was smart to have bassist Davey Faragher arrange appropriate vocal harmonies from a pair of soulful backing singers, Kitten Kuroi and Yahzarah. Nieve was busy, too, creating backing tracks, arranging and playing piano to things like the string-heavy “Town Cryer” for live performance.

One thing that bound the show together were the painting backdrops that adapted many familiar Costello album covers into the kind of playful, Picasso-inspired work that the artist Barney Bubbles used on the iconic cover of Imperial Bedroom. If the songs didn’t always sonically sync, the visual approach certainly did.

And instead of buzzing out of the theater after 15 minutes, Costello seemed happy to stay and keep playing, picking up top hat and cane before it was over as if to underscore his status as “beloved entertainer.”
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