Elvis plays Boston, May 15 '07

Pretty self-explanatory
johnfoyle
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Elvis plays Boston, May 15 '07

Postby johnfoyle » Fri Mar 09, 2007 1:40 pm

http://www.ticketmaster.com/event/01003 ... orcatid=60


Elvis Costello and the Imposters
Avalon, Boston, MA
Tue, May 15, 2007 08:00 PM

just a lackey
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Postby just a lackey » Mon Mar 12, 2007 8:54 am

What's a Visa Signature card? My Visa card has my signature on the back. Is that good enough?

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Who Shot Sam?
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Postby Who Shot Sam? » Mon Mar 12, 2007 9:32 am

You need to have a passcode as well. I hate this "exclusive for cardholders" crap.
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johnfoyle
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Postby johnfoyle » Mon May 14, 2007 1:12 pm

Who's going?

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Poppet
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Postby Poppet » Tue May 15, 2007 12:06 pm

not me.

i'm broke. stupid 'merit' pay increase NEVER comes close to the cost of living, and april sucked. spent my vacation week mourning my cat, for which i spent over $600 to get him stabilized so he wouldn't be in pain, had a day with him at home, then he got bad again and we sent him on. death ain't cheap.

perfectly crappy. he was 16, so he had a full life, but i miss him.


anybody wanna give me a ticket?

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mood swung
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Postby mood swung » Tue May 15, 2007 12:11 pm

hugs for poppet. if I had a ticket, I'd give it to you. :D
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Poppet
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Postby Poppet » Tue May 15, 2007 12:19 pm

tks for the good thought moody!
... name the stars and constellations,
count the cars and watch the seasons....

just a lackey
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Postby just a lackey » Tue May 15, 2007 1:37 pm

I'm going. Wish the Sox were out of town so parking wouldn't be so scarce. No opening act, so it'll probably go off right at 8 to allow for the late disco crowd. 2:15 set time means we'll be joining 36000 sox fans going home.

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And No Coffee Table
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Postby And No Coffee Table » Tue May 15, 2007 11:38 pm

The setlist was posted by Jim Fournier to the wiki site:

01. Welcome To The Working Week
02. Shabby Doll
03. The Beat
04. Lovers Walk
05. Secondary Modern
06. Strict Time
07. Big Tears
08. Either Side Of The Same Town
09. Clubland
10. Beyond Belief
11. Alibi
12. Watching The Detectives
13. American Gangster Time
14. Lipstick Vogue

Encore 1
15. Man Out Of Time
16. High Fidelity
17. (I Don't Want To Go To) Chelsea
18. Uncomplicated
19. Radio, Radio
20. The Imposter

Encore 2
21. Alison - EC solo
22. All I've Got To Do
23. Little Triggers
24. Hey Bulldog
25. Pump It Up
26. (What's So Funny 'Bout) Peace, Love And Understanding?

johnfoyle
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Postby johnfoyle » Thu May 17, 2007 1:33 pm

http://theedge.bostonherald.com/musicNe ... id=1001616

Pumped-up Costello takes fans on frantic, heavenly ride

By Jed Gottlieb/ Music Review

Thursday, May 17, 2007

Standing stock-still onstage in a finely cut black suit, Elvis Costello was a statue of steadfast rock cool as he stared down the sold-out Avalon through his standard black shades. Having just finished a mighty and vicious "Radio, Radio," his fifth encore, he seemed to be saying, "Come on, I dare you to dare me to blow your mind yet again."

Tuesday’s crowd took the bait and feverishly rooted him on to a frenzied "The Imposter" and six more encore songs.

Costello’s reputation as a guy who’s become more interested in Tin Pan Alley adult pop than rock ’n’ roll was erased as he and the Imposters -- Attractions keyboardist Steve Nieve and drummer Pete Thomas plus bassist Davey Faragher -- spent 100 minutes stomping through his early catalog.

With a pair of new 22-song compilations focused on his first 11 albums to promote, the show was an Elvis-ophile’s dream. Missing that old-guy paunch but breaking a sweat early, Costello opened with "Welcome to the Working Week" -- the first cut off his first album -- and played as if he was getting paid by the song with 10 tracks in 40-minutes including "Lovers’ Walk," "Clubland" and "Beyond Belief."

At first it seemed Costello’s sweat-beaded brow indicated exhaustion. Instead he was like an athlete whose perspiration proves he’s just warming up. The first 10 songs, none of them hits, were a prelude to a four-song main set finale and a 12-song, Energizer Bunny encore that just kept going and going.

"Alibi Factory" elevated the show to transcendence. Costello sung his great tell-offs with a mix of vitriol and good humor in front of his unexpected avant-garde guitar licks and Nieve’s violent theremin and keyboard blips and bleeps. From there he pushed the band into a risky, rewarding space with a chaotic, complex "Watching the Detectives" and a punchy "Lipstick Vogue" to close the main set.

Costello returned for the big, organ-propelled ballad "Man Out of Time" and a version of "(I Don’t Want to Go to) Chelsea" that missed the snarl with which the band approached the song in ’78.

For his second encore Costello returned with only an acoustic guitar to do a version of "Alison" twisted enough to thwart would-be singers looking for the originally melody. The show climaxed at a fever pitch with "Pump It Up" and "(What’s So Funny ’Bout) Peace, Love & Understanding?" with the added lyrics, "Bring the boys back home/ Bring ’em back alive."

Costello will likely team with Burt Bacharach, Anne Sofie von Otter or some other adult talent on his next project, so it was rewarding to see he’s still got that juvenile rock kid in him. Let’s hope his inner tyke kicks and claws its way free from Costello’s debonair maturity more often.


http://www.boston.com/ae/music/articles ... l_deliver/


Costello can still deliver

By Joan Anderman, Globe Staff

May 17, 2007

It's been about 30 years since Elvis Costello released his first album, "My Aim Is True," a prickly pastiche of pop classicism, punk ferocity, and literary wit. Since then, he's become a genre-spanning Renaissance man, but Costello is marking the career milestone with a handful of reissues and a 10-city tour that stopped on Tuesday at Avalon, where Costello and his crack cohorts the Imposters revisited the back catalog.

Dressed shades to shoes in black, Costello opened the show with "Welcome to the Working Week," leading a packed house of middle-age fans to believe this would be a hits-saturated set. But Costello wouldn't get around to another blockbuster -- "Watching the Detectives" -- until the show was half over, instead delivering blistering renditions of album cuts like "Shabby Doll," "The Beat," "Strict Time," and "Big Tears." Costello's voice -- never a pretty instrument -- has grown stronger and warmer. He sang a mournful version of "Either Side of the Same Town," a blues he wrote for soul singer Howard Tate, and burrowed into the ornate, Latin-flavored art-pop song "Clubland" with great heart.

It wasn't (yet) a fist-pumping singalong, but it was a first-rate rock show that accomplished that rare feat of fusing advanced craft and raw passion. While Costello's newer material packs a subtler punch, his energy as a performer has hardly dimmed three decades in, and the Imposters provided potent support. Longtime keyboardist Steve Nieve, who seems to be revisiting his love of prog, executed spacey flybys on the lumbering rocker "Alibi" and made liberal use of his theremin.

It would be an understatement to say Costello's show was backloaded. The set's final stretch included a glorious recasting of "Alison" as a solo acoustic ballad but otherwise unfurled at a cartoonishly hopped-up pace: "Radio Radio," "Pump It Up," a knockout cover of the Beatles' "Hey Bulldog," and a show-closing, show-stopping take on Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding?"

That evergreen anthem felt still more timely thanks to a new couplet, which doubled as Costello's parting words: "Bring the boys home/ bring them back alive."


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