Elvis & The Imposters , Barcelona, Spain June 20 2018

Pretty self-explanatory
johnfoyle
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Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby johnfoyle » Thu Mar 22, 2018 8:53 am


johnfoyle
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby johnfoyle » Sat Jun 09, 2018 4:32 am


johnfoyle
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby johnfoyle » Thu Jun 14, 2018 5:59 pm

Who's going ?

Eugene
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby Eugene » Wed Jun 20, 2018 5:10 pm

Is the show over, or did it start at 12AM 21/06 to celebrate the Solstice? :D

bronxapostle
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby bronxapostle » Wed Jun 20, 2018 6:30 pm

johnfoyle wrote:Who's going ?


Thought you were touring the world??? When i retire, let's follow in USA firstly, then the world. :D

sweetest punch
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby sweetest punch » Wed Jun 20, 2018 11:28 pm

https://www.elperiodico.com/es/ocio-y-c ... es-6896620

Elvis Costello, la lección de un grande del pop

El músico británico ofreció un vivificante repaso a sus cuatro décadas de trayectoria en el Festival de Pedralbes, combinando registros rockeros y de 'crooner' intimista

Después de ocho años sin publicar un disco a su nombre (dejemos de lado la colaboración con los raperos The Roots), Elvis Costello ha dado estos días la sorpresa anunciando un álbum con canciones de estreno para otoño. Celebremos que haya recuperado las ganas de grabar pese a que, como lamentaba tiempo atrás, sus nuevas canciones estén destinadas al consumo gratuito, o casi, en la Red. Pero mientras llega el día de ese alumbramiento, es tiempo de agitar su panorámico repertorio en conciertos catedralicios como el que ofreció este miércoles en el Festival Jardins de Pedralbes.

Elvis Costello, en una versión todoterreno y de amplio espectro, arropado por The Imposters, banda heredera de The Attractions, y con el inusual plus de dos coristas femeninas que subrayaron perfiles soul en la misma canción de apertura, ‘Wonder woman’. El pianista de la grabación original, Allen Toussaint, nos dejó hace tres años, pero para cubrir no solo su vacío sino todos los planos sónicos estaba esa fiera llamada Steve Nieve. Completando la alineación, otro ex’attraction’, el batería Pete Thomas, y el bajista Davey Faragher (exCracker), base rítmica que propulsó el rock crudo de ‘Girls talk’, una canción que muchos conocieron allá por 1980 en la voz de Linda Ronstadt.

Rock’n’roll mestizo

A lo largo de más de 40 años de carrera, Costello se ha movido entre el pop británico y las esencias norteamericanas, y ha trabajado con cuartetos de cuerda, sopranos operísticas y maestros del ‘easy listening’. Pero hay un sonido que ha asumido como troncal y que es fruto de un airado mestizaje de rock’n’roll, fibras negras y el brillo melódico de un pop con antecedentes ‘power’, el menú que desplegó sobre todo en la primera parte del concierto de Pedralbes. Luciendo intuición melódica y mala uva, y citando el fondo soul de ‘Tears before bedtime’ con el balanceo jamaicano ‘(I don’t want to go to) Chelsea’ y ‘Watching the detectives’, esta tocada por efectos electrónicos de ciencia ficción.

Un Costello capaz de adoptar un modo ‘crooner’, valiéndose de un micrófono ‘vintage’, en ‘You shouldn’t look at me that way’, entre referencias a la actriz Gloria Grahame, y de combinar la encantadora ligereza ‘funky’ de ‘Everyday I write a book’, elevada por los coros y con guiños de ‘tumbao’ latino por parte de Nieve, con el pop arrollador de ‘Pump it up’. Mucho disfrute en las instrumentaciones, mil y un matices discretos siempre al servicio de las canciones, jugando con ellas.

Tras una hora de concierto, Costello dejó el escenario para regresar con otra tanda de canciones que no sabríamos si calificar de segunda parte de la noche o de largo bis. No importa: valiéndose de la guitarra y arropado por las coristas, viajó hasta ‘Alison’, y sentado a piano brindó una dramática pieza inedita, ‘A face in the crowd’. Nieve le relevó al teclado en ‘Shot with his own gun’ y una de las canciones del disco con Burt Bacharach, ‘I still have that other girl’.

Tándem de etiqueta y un microconcierto en sí mismo, trayendo a la memoria histórica noche de la pareja en el Tívoli (1999), dilatando la complicidad con un fogoso ‘Accidents will happen’ y la versión de ‘She’, de Charles Aznavour, camino de ese ‘Adieu Paris’, que compuso para Johnny Hallyday. Y la estremecedora, antibelicista, ‘Shilbuilding’. Otro Costello, de distancia corta y refinamiento melódico y vocal, crecido en el bis a través de un largo y tortuoso 'I want you' antes de que el rock’n’roll volviera a tomar cuerpo en Pedralbes con su célebre versión de ‘(What’s so funny ‘bout) Peace, love and understanding’, de Nick Lowe, rubricando una noche de altos vuelos.

——————————
Google translation:

Elvis Costello, the lesson of a pop major

The British musician offered a revival of his four decades of experience at the Festival de Pedralbes, combining rock and intimate 'crooner' records

After eight years without publishing an album in his name (let's leave aside the collaboration with rappers The Roots), Elvis Costello has given these days the surprise by announcing an album with songs premiere for autumn. Let's celebrate that he has recovered the desire to record despite, as he regretted long ago, his new songs are intended for free consumption, or almost on the Net. But as the day of that birth arrives, it's time to shake his panoramic repertoire in cathedral concerts like the one offered this Wednesday at the Jardins de Pedralbes Festival.

Elvis Costello, in an all-terrain and broad-spectrum version, wrapped by The Imposters, the heiress band of The Attractions, and with the unusual plus of two female choristers who highlighted soul profiles in the same opening song, 'Wonder woman'. The pianist of the original recording, Allen Toussaint, left us three years ago, but to cover not only his vacuum but all the sonic planes was that fierce named Steve Snow. Completing the lineup, another ex'attraction ', drummer Pete Thomas, and bassist Davey Faragher (exCracker), rhythmic base that propelled the raw rock of' Girls talk ', a song that many knew back in 1980 in the voice of Linda Ronstadt.

Rock'n'roll mestizo

Throughout more than 40 years of career, Costello has moved between British pop and American essences, and has worked with string quartets, operatic sopranos and easy listening masters. But there is a sound that has assumed as a backbone and that is the result of an angry mestizaje of rock'n'roll, black fibers and the melodic shine of a pop with a 'power' background, the menu that he displayed especially in the first part of concert of Pedralbes. Showing off melodic intuition and bad grape, and citing the soulful background of 'Tears before bedtime' with the Jamaican swing '(I do not want to go to) Chelsea' and 'Watching the detectives', is played by sci-fi electronic effects .

A Costello able to adopt a 'crooner' mode, using a 'vintage' microphone, in 'You should not look at me that way', between references to the actress Gloria Grahame, and to combine the charming 'funky' lightness of 'Everyday I write a book', elevated by the choruses and with winks of 'tumbao' Latin by Nieve, with the overwhelming pop of 'Pump it up'. Much enjoyment in the instrumentations, a thousand and one discreet shades always at the service of the songs, playing with them.

After an hour of concert, Costello left the stage to return with another round of songs that we would not know whether to qualify as the second part of the night or the long encore. It does not matter: using the guitar and wrapped up by the choristers, he traveled to 'Alison', and sitting at the piano he gave a dramatic piece, 'A face in the crowd'. Snow relieved the keyboard in 'Shot with his own gun' and one of the songs on the album with Burt Bacharach, 'I still have that other girl'.

Tandem etiquette and a microconcert in itself, bringing to the historical memory of the couple's night in the Tivoli (1999), delaying the complicity with a fiery 'Accidents will happen' and the version of 'She', by Charles Aznavour, way of that 'Adieu Paris', which he composed for Johnny Hallyday. And the shocking, anti-war, 'Shilbuilding'. Another Costello, short distance and melodic and vocal refinement, grown in the bis through a long and tortuous' I want you 'before the rock'n'roll returned to take shape in Pedralbes with his famous version of' ( What's so funny 'bout) Peace, love and understanding', by Nick Lowe, marking a night of high flying.

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sweetest punch
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby sweetest punch » Wed Jun 20, 2018 11:41 pm

Elvis Costello repassa tota la seva trajectòria als Jardins de Pedralbes

El londinenc va actuar a Barcelona després de cinc anys sense visitar la ciutat

Considerat un dels grans músics pop de tots els temps i un heroi de la new-wave, Elvis Costello no ha tingut un idil·li especialment reeixit ni a les llistes d'èxit –mai ha tingut un senzill al número 1– ni amb el públic català en particular. Cinc anys després del seu últim concert a Barcelona, ahir tampoc van omplir-se els Jardins de Pedralbes, tot i l'anunciada mirada als seus quaranta anys de trajectòria, una carrera marcada pels tombs estilístics i una ànima marcadament negre on hi pot cabre quasi tot.

Amb un so que va anar guanyant en groove (l'inici va ser extremadament fluix), el londinenc va llençar un degoteig de peces icòniques des del primer acord de la musculosa 'Wonder Woman', rock & roll canònic extret del disc conjunt de Costello amb el desaparegut Allen Toussaint, l'any 2006. Era l'inici d'un concert on el músic s'abraçaria al seu passat més reconeixible de cançons que traslladaven als seus pics de popularitat i rebel·lia, aconseguits entre finals dels anys setanta i principis dels vuitanta. De 'King Horse' a l'aroma 2Tone de 'Watching the Detectives', del seu disc de debut, l'històric 'My aim is true'.

D'aquella època hi havia a l'escenari de Pedralbes un parell dels músics - Steve Nieve i Pete Thomas– del seu grup clàssic, els Attractions, ara batejats com a The Imposters i acompanyats de dues brillants i imponents coristes. Majestuositat pop, aproximacions a l'ska-revival i abraçades amoroses al northern soul en una primera part on la veu de Costello no va ser l'òptima, però que va obsequiar amb el seu repertori més seminal. Per si algú necessitava graus de nostàlgia, el de Londres va acabar la primera hora de concert tocant la immortal 'Pump it up'.

Ja als bisos, pràcticament tan llargs com el mateix concert, Elvis Costello va encarar una segona part més intima, posant-se el vestit de 'crooner' i baixant revolucions, i músics, a l'escenari. "Hi ha molta gent que em coneix com el tipus que canta 'She'" ha repetit més d'una ocasió el britànic. I aquesta versió de Charles Aznavour, popular a escala planetària per ser inclosa a la comèdia romàtica 'Notting Hill', va coincidir amb la millor actuació vocal de Costello. Mentre el públic anava desfilant a poc a poc del recinte, coincidint amb el tancament del transport públic, el londinenc va tancar el bloc més nuu amb 'Adieu Paris', dedicada a Johnny Hallyday.

Era el preludi del final, culminat amb 'I want you' i '(What's So Funny 'bout) Peace, Love and Understanding', provocant que la gent s'aixequés de la cadira per fer un últim ball abans de marxar esquivant paradetes dels múltiples patrocinadors del festival.

———————
Google translation:

Elvis Costello reviews all his career in the Pedralbes Gardens

The Londoner acted in Barcelona after five years without visiting the city

Considered one of the great pop musicians of all time and a hero of the new wave, Elvis Costello has not had an especially successful idyll or successful lists-he has had a simple number 1 or even Catalan public in particular. Five years after its last concert in Barcelona, ​​neither Jardines de Pedralbes was filled in yesterday, despite the announced look at its forty years of career, a career marked by stylistic tombs and a markedly black soul that can fit almost all.

With a sound that was gaining in groove (the start was extremely weak), the Londoner threw a trickle of iconic pieces from the first agreement of the muscular 'Wonder Woman', a canonical rock & roll from Costello's disks with the disappeared Allen Toussaint, in 2006. It was the beginning of a concert where the musician would embrace his most recognizable past of songs that moved to his peaks of popularity and rebellion, achieved between the late seventies and early eighties. From 'King Horse' to the aroma 2Tone of 'Watching the Detectives', from his debut album, the historic 'My aim is true'.

From that time on, Pedralbes had a couple of musicians - Steve Nieve and Pete Thomas - from their classical group, the Attractions, now christened The Imposters and accompanied by two brilliant and imposing coristas. Pop majesty, approaches to the ska-revival and love hugs in the northern soul in a first part where Costello's voice was not the best, but he flattered his most seminal repertoire. In case anyone needed degrees of nostalgia, that of London finished the first hour of concert playing the immortal 'Pump it up'.

Already at the gates, practically as long as the same concert, Elvis Costello faced a second more intimate part, putting on the crooner costume and lowering revolutions, and musicians on the stage. "There are many people who know me as the guy who sings 'She'" repeated more than once the British. And this version of Charles Aznavour, popular on a planetary scale to be included in the romantic comedy 'Notting Hill', coincided with Costello's best vocal performance. While the public was slowly parading down the grounds, coinciding with the closure of the public transport, the Londoner closed the busiest block with 'Farewell Paris', dedicated to Johnny Hallyday.

It was the prelude to the end, culminated with 'I want you' and 'What's So Funny' bout Peace, Love and Understanding ', causing people to get up from the chair to make a last ball before leaving dodging the multiple sponsors of the festival.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
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Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby sweetest punch » Thu Jun 21, 2018 11:49 am

https://www.setlist.fm/setlist/elvis-co ... ac09b.html

Setlist

01. Wonder Woman
02. Girls Talk
03. King Horse
04. Tears Before Bedtime
05. (I Don't Want to Go to) Chelsea
06. Come the Meantimes
07. Green Shirt
08. Watching the Detectives
09. You Shouldn't Look At Me That Way
10. Town Cryer
11. Everyday I Write the Book
12. Pump It Up

Encore:
13. Alison
14. A Face in the Crowd
15. Shot With His Own Gun
16. I Still Have That Other Girl
17. Accidents Will Happen
18. She
19. Adieu Paris (L'Envie Des Etoiles)
20. Shipbuilding
21. This Year's Girl
22. Beyond Belief
23. I Want You
24. (What's So Funny 'bout) Peace, Love and Understanding
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 & The Imposters , Barcelona, Spain June 20 2018

Postby Man out of Time » Sat Jul 07, 2018 3:11 pm

Review by Miquel Jurado in El Pais https://elpais.com/ccaa/2018/06/21/catalunya/1529578444_319598.html on June 21, 2018.

"Elvis Costello desplegó sus mil caras en Pedralbes

El partido del Mundial de fútbol no afectó a los seguidores del músico, en estado de gracia

Noche grande en el Festival Jardins de Pedrables con un Elvis Costello en estado de gracia mostrando sin recato todo su arsenal musical, que es mucho, y compartiéndolo generosamente con un público que, aunque comenzó algo frio, acabó bailando entusiasmado.

FESTIVAL JARDINS DE PEDRALBES
Elvis Costello and the Imposters
Palacio Real, Barcelona, 20 de junio

El partido mundialista de España contra Irán no pareció afectar a los seguidores de Costello. Olvidando la pequeña pantalla, o la grande si uno se desplaza hasta el estadio del Europa, prefirieron dejarse seducir por la bonanza climática en unos jardines que de noche lucen impresionantes y una oferta musical que le puede a cualquier balón por estratosférico que sea su diseño.

Y no se equivocaron porque el británico se entregó a tope y mostró sus mil caras en un concierto tan intenso como cambiante. Del más desenfadado rock and roll a los toques electrónicos, del soul al reggae y al pop bien entendido, del crooner engominado a la canción politizada, solo, en dúo con un impresionante Steve Nieve, en grupo, luciendo su guitarreo o mostrándose como un competente pianista, del cabaret a la pista de baile y más,... Todo en una misma noche y sin que pareciera que iba dando saltos.

Escondido tras sus enormes gafas, Costello hizo su amago de chico malo, que había sido punki con corbata, y desconcertó a los presentes despidiéndose tras apenas una hora de actuación con un apabullante Pump it up que olía a final. Abandonó el escenario con todos sus músicos y, respondiendo a los aplausos, retornó para una tanda de bises, doce en total, de mayor duración que el propio concierto. Claro que fueron unos bises sospechosos porque el cantante no abandonó el escenario y no esperó a que el público pidiera más para empalmar la siguiente canción. A la salida la gente se preguntaba si había sido un concierto muy corto con un exceso de bises o un concierto largo sin ningún bis. Fuera lo que fuera, la velada tuvo esas dos partes muy diferenciadas y el propia Costello las quiso diferenciar luciendo en la teórica tanda de bises un sombrerito rojo.

Comenzó fuerte con una potente Wonder Woman traicionada por una sonorización algo sucia que rápidamente mejoró. Con una banda mínima (tres músicos y dos coristas) encadenó mucha música negra con acentos jamaicanos y buceó en su repertorio más conocido: Tears before bedtime, (I don’t want to go to) Chelsea, Watching the detectives, Everyday I write a book,... Como único guitarrista sobre el entarimado se mostró solvente en todos sus solos mientras que su voz, ya bastante rota, enganchaba por su convicción.

Pasado el dudoso final, regresó para un nuevo concierto, totalmente diferente. Guitarra acústica en mano, con sus dos coristas, bordó un soberbio Alison a trío. Una maravilla a la que siguieron varios temas con la única compañía de su pianista, el gran Steve Nieve esa noche tocado con gorra de ferroviario. Se transmutó en cabaretero y de ahí en crooner sofisticado, versionó a Charles Aznavour (She) y cantó en francés desde el piano Adieu Paris antes de poner su cara más dura y recuperar en una versión sobria, algo dura, aquel Shipbuilding escrito durante la guerra de las Malvinas contra la política de Margaret Thatcher. Ya con toda la banda enfiló una recta final de pura montaña rusa. Un largo y penetrante I Want You (soberbias sus dos vocalistas) acabó con su versión multicolor de Peace, love and understanding de Nick Lowe.

Y al final, como no podía ser de otra manera, todo el público acabó bailando alborozado."

2018-06-21 Barcelona.jpg
2018-06-20 Barcelona
2018-06-21 Barcelona.jpg (83.74 KiB) Viewed 488 times


Or in "English" via Google Translate:

"Elvis Costello unfolded his thousand faces in Pedralbes

The match of the World Cup did not affect the followers of the musician, in a state of grace

Big night at the Jardins de Pedrables Festival with an Elvis Costello in a state of grace showing his entire musical arsenal, which is a lot, and sharing it generously with an audience that, although it started something cold, ended up dancing enthusiastically.

FESTIVAL JARDINS DE PEDRALBES
Elvis Costello and the Imposters
Royal Palace, Barcelona, ​​June 20

Spain's World Cup against Iran did not seem to affect the followers of Costello. Forgetting the small screen, or the big one if one moves to the stadium of Europe, they preferred to be seduced by the climate bonanza in gardens that at night look impressive and a musical offer that can match any stratospheric ball that is its design.

And they were not wrong because the Briton gave himself up and showed his thousand faces in a concert as intense as changing. From the most casual rock and roll to electronic touches, from soul to reggae and well-understood pop, from the crooner to the politicized song, alone, in duo with an impressive Steve Nieve, in a group, showing off his guitar or showing himself as a competent pianist, from the cabaret to the dance floor and more, ... All in the same night and without it seemed like I was jumping.

Hidden behind his huge glasses, Costello made his bad boy threat, which had been punk with tie, and disconcerted those present by saying goodbye after just one hour of performance with an overwhelming Pump it up that smelled of end. He left the stage with all his musicians and, responding to the applause, he returned for a batch of encores, twelve in total, of longer duration than the concert itself. Of course they were suspects because the singer did not leave the stage and did not wait for the audience to ask for more to splice the next song. At the exit people wondered if it had been a very short concert with an excess of encores or a long concert without any encore. Whatever it was, the evening had those two parts very differentiated and Costello himself wanted to differentiate them by wearing a red hat in the theoretical tandem of encores.

It started strong with a powerful Wonder Woman betrayed by a somewhat dirty sound that quickly improved. With a minimal band (three musicians and two choristers) he played a lot of black music with Jamaican accents and dived into his most famous repertoire: Tears before bedtime, (I do not want to go to) Chelsea, Watching the detectives, Everyday I write a book, ... As the only guitarist on the floor he was solvent in all his solos while his voice, already quite broken, hooked by his conviction.

After the dubious end, he returned for a new concert, totally different. Acoustic guitar in hand, with its two choristers, a superb Alison embellished a trio. A marvel that was followed by several songs with the only company of his pianist, the great Steve Nieve that night wearing a train cap. He transmuted himself into a cabaret singer and from there into a sophisticated crooner, covered Charles Aznavour (She) and sang in French from the piano Adieu Paris before putting on his tougher face and recovering in a sober, somewhat harsh version, that Shipbuilding written during the war of the Falklands against the policy of Margaret Thatcher. Already with the whole band headed a final stretch of pure roller coaster. A long and penetrating I Want You (superb his two vocalists) ended with his multi-colored version of Peace, love and understanding by Nick Lowe.

And in the end, how could it be otherwise, the entire audience ended up dancing elated. "


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