Elvis plays Melbourne , Oct 10 '09
Elvis plays Melbourne , Oct 10 '09
Anyone here going?
Re: Elvis plays Melbourne , Oct 10 '09
John E posts to listserv-
Great show in Melbourne tonight. Elvis was very friendly and is fantastic
voice.
Setlist
1. Red Shoes
2. All Time Doll
3. Either Side Of The Same Town
4. Veronica (home of the song)
5. Down Among The Wines & Spirits
6. Brilliant Mistake
7. Good Year For The Roses
8. Black & White World
9. Ghost Train
10. Five Small Words / Not Fade Away
11. Everyday I Write The Book (Ron Sexsmith version)
12. Bedlam
13. She Handed Me The Mirror - final verse off mic
14. Complicated Shadow
15 Condemned Man
16. Watching The Detectives - freakout version
17. Suplhur To Sugarcane
18. Alison
19. In Another Room
Encore
20. Radio Sweetheart / JWS
Now for a special guest, as a chair and mic were set up - "it's me" (Elvis
was the "special guest")
Story about when they flew to Singapore on Concorde many years ago, and
"drank caviar, that how drunk we were". Then E said he was sharing a room
with "the bass player", this was back when we liked each other. He then went
out and bought a stuffed cobra & mongoose fighting and put it on the bedside
table while the bass player was sleeping.
21. All Or Nothing At All
22. She
23. She Was No Good
24. Red Cotton
25 PLU
The venue felt a bit sparse. Looked like many corporate seats were not used,
with banks of 10 seats empty.
EC looked very much like young Elvis from years ago, to me, being much
slimmer and thinner in the face than I have seen him in years. Similar
outfit to that he wore in Perth.
(Off to Hobart tomorrow).
http://www.elviscostello.info/wiki/inde ... _Melbourne
David Pannell -
I enjoyed this much better than the show in Fremantle two days ago. Elvis’s voice was in far better shape, and the sound system was much better. He was equally jovial and chatty. The audience response was wonderful. Features of this show included new songs “Five Small Words” and “Condemned Man”, a pair of relatively obscure Get Happy!! era songs, Black and White World (played like the demo version) and Ghost Train, his third-ever performance of “All Or Nothing At All” and a performance of “In Another Room”, a song previously only released on The Clarksdale Sessions.
Great show in Melbourne tonight. Elvis was very friendly and is fantastic
voice.
Setlist
1. Red Shoes
2. All Time Doll
3. Either Side Of The Same Town
4. Veronica (home of the song)
5. Down Among The Wines & Spirits
6. Brilliant Mistake
7. Good Year For The Roses
8. Black & White World
9. Ghost Train
10. Five Small Words / Not Fade Away
11. Everyday I Write The Book (Ron Sexsmith version)
12. Bedlam
13. She Handed Me The Mirror - final verse off mic
14. Complicated Shadow
15 Condemned Man
16. Watching The Detectives - freakout version
17. Suplhur To Sugarcane
18. Alison
19. In Another Room
Encore
20. Radio Sweetheart / JWS
Now for a special guest, as a chair and mic were set up - "it's me" (Elvis
was the "special guest")
Story about when they flew to Singapore on Concorde many years ago, and
"drank caviar, that how drunk we were". Then E said he was sharing a room
with "the bass player", this was back when we liked each other. He then went
out and bought a stuffed cobra & mongoose fighting and put it on the bedside
table while the bass player was sleeping.
21. All Or Nothing At All
22. She
23. She Was No Good
24. Red Cotton
25 PLU
The venue felt a bit sparse. Looked like many corporate seats were not used,
with banks of 10 seats empty.
EC looked very much like young Elvis from years ago, to me, being much
slimmer and thinner in the face than I have seen him in years. Similar
outfit to that he wore in Perth.
(Off to Hobart tomorrow).
http://www.elviscostello.info/wiki/inde ... _Melbourne
David Pannell -
I enjoyed this much better than the show in Fremantle two days ago. Elvis’s voice was in far better shape, and the sound system was much better. He was equally jovial and chatty. The audience response was wonderful. Features of this show included new songs “Five Small Words” and “Condemned Man”, a pair of relatively obscure Get Happy!! era songs, Black and White World (played like the demo version) and Ghost Train, his third-ever performance of “All Or Nothing At All” and a performance of “In Another Room”, a song previously only released on The Clarksdale Sessions.
-
And No Coffee Table
- Posts: 3524
- Joined: Thu Aug 21, 2003 2:57 pm
Re: Elvis plays Melbourne , Oct 10 '09
First performance in 28 years!johnfoyle wrote:8. Black & White World
http://www.elviscostello.info/wiki/inde ... _Francisco
Re: Elvis plays Melbourne , Oct 10 '09
http://www.heyheymymy.com.au/2009/10/11 ... he-palais/
Elvis Costello - The Palais
October 11, 2009
by Andrew Watt
Before moving on to Elvis Costello – a brief word about the opening act Shelley Harland. Possessed with a beguiling voice Harland offered a brief set of songs from her debut album Red Leaf. She managed to win the audience over easily simply by providing music that was both easy on the ear and, well, “musical”.
Let me explain. A lot of acoustic based singer-songwriter types manage to play the support act role successfully by being merely inoffensive. They come on, sing their songs, no-one gets either challenged nor particularly inspired and we are all able to move on to the headline act without anyone getting hurt. Shelley Harland went a bit beyond the standard opening act role by injecting her songs with some clever phrasing, some adventurous use of instrumentation (especially from the percussionist) and some interesting insights into the sources of her songs. She is an artist to watch with interest.
Elvis Costello has always been an artist to watch with interest.
He performed a solo concert – truly solo – to the extent that when a second microphone was set up by the road crew and he alluded to the impending arrival of a special guest it transpired that the special guest was “Elvis Costello” – seated!
In solo mode Costello seems to revert to the role of a troubadour playing the working men’s clubs in unfashionable cities in Britain in the 50’s and 60’s. He takes a genuine work ethic to his performance, his “job” is to entertain and engage and these songs are his tools of trade. This is musical performance as story telling and Costello managed to make the Palais feel like an intimate pub in a time when “pub” actually was an abbreviation of “public house”.
This approach seems to have emerged from the style and content of his new album Secret, Profane and Sugarcane. This album, a creative collaboration with T Bone Burnett, certainly evokes that style of performance and that sense of curatorial interest. A healthy number of songs from that album are performed and it is testament to their quality that the audience weren’t left pining for more excerpts from his extensive back catalogue.
The Secret, Profane and Sugarcane songs were among the highlights. The bawdy (haven’t used that word in a positive way since the Benny Hill show!) Sulphur To Sugarcane was hilarious as was She Was No Good, which captures the origins of musicians on tour misbehaving in a brilliant way (insert appropriate comma anywhere you like as any of the meanings are equally correct).
Of slightly darker overtones were My All Time Doll and Down Among The Wines And Spirits and especially She Handed Me A Mirror, a sad tale of the unrequited love Hans Christian Andersen had for Swedish singer Jenny Lind.
Perhaps the darkest fable of all was an even newer song which channelled the thoughts of a death row prisoner.
It’s unusual that the new songs of such a prolific artist should be the ones to provide the backbone of the show but this was true of this performance. However long time fans of Costello were well catered for. The show opened with (The Angels Want To Wear My) Red Shoes and other great Costello songs were sprinkled amongst the new songs. These included Veronica, King of America, a sublime version of What A Good Year For The Roses, Every Day I Write The Book, a segment of Alison and a chaotic feedback and guitar loop driven expedition starting at a base camp known as Watching The Detectives.
Two perhaps surprising but welcome inclusions were Black And White World from Get Happy and the obscure but wonderful Ghost Train that to my knowledge appears only on the Taking Liberties rarities collection.
Finishing with a fitting version of Nick Lowe’s (Whats So Funny About Peace Love and Understanding) this truly was an outstanding performance and worthy of the reaction it got from the capacity audience. With his artistic integrity completely intact Costello showed that he could be both a crowd pleasing “heritage artist” and a completely relevant current creative force.
Elvis Costello - The Palais
October 11, 2009
by Andrew Watt
Before moving on to Elvis Costello – a brief word about the opening act Shelley Harland. Possessed with a beguiling voice Harland offered a brief set of songs from her debut album Red Leaf. She managed to win the audience over easily simply by providing music that was both easy on the ear and, well, “musical”.
Let me explain. A lot of acoustic based singer-songwriter types manage to play the support act role successfully by being merely inoffensive. They come on, sing their songs, no-one gets either challenged nor particularly inspired and we are all able to move on to the headline act without anyone getting hurt. Shelley Harland went a bit beyond the standard opening act role by injecting her songs with some clever phrasing, some adventurous use of instrumentation (especially from the percussionist) and some interesting insights into the sources of her songs. She is an artist to watch with interest.
Elvis Costello has always been an artist to watch with interest.
He performed a solo concert – truly solo – to the extent that when a second microphone was set up by the road crew and he alluded to the impending arrival of a special guest it transpired that the special guest was “Elvis Costello” – seated!
In solo mode Costello seems to revert to the role of a troubadour playing the working men’s clubs in unfashionable cities in Britain in the 50’s and 60’s. He takes a genuine work ethic to his performance, his “job” is to entertain and engage and these songs are his tools of trade. This is musical performance as story telling and Costello managed to make the Palais feel like an intimate pub in a time when “pub” actually was an abbreviation of “public house”.
This approach seems to have emerged from the style and content of his new album Secret, Profane and Sugarcane. This album, a creative collaboration with T Bone Burnett, certainly evokes that style of performance and that sense of curatorial interest. A healthy number of songs from that album are performed and it is testament to their quality that the audience weren’t left pining for more excerpts from his extensive back catalogue.
The Secret, Profane and Sugarcane songs were among the highlights. The bawdy (haven’t used that word in a positive way since the Benny Hill show!) Sulphur To Sugarcane was hilarious as was She Was No Good, which captures the origins of musicians on tour misbehaving in a brilliant way (insert appropriate comma anywhere you like as any of the meanings are equally correct).
Of slightly darker overtones were My All Time Doll and Down Among The Wines And Spirits and especially She Handed Me A Mirror, a sad tale of the unrequited love Hans Christian Andersen had for Swedish singer Jenny Lind.
Perhaps the darkest fable of all was an even newer song which channelled the thoughts of a death row prisoner.
It’s unusual that the new songs of such a prolific artist should be the ones to provide the backbone of the show but this was true of this performance. However long time fans of Costello were well catered for. The show opened with (The Angels Want To Wear My) Red Shoes and other great Costello songs were sprinkled amongst the new songs. These included Veronica, King of America, a sublime version of What A Good Year For The Roses, Every Day I Write The Book, a segment of Alison and a chaotic feedback and guitar loop driven expedition starting at a base camp known as Watching The Detectives.
Two perhaps surprising but welcome inclusions were Black And White World from Get Happy and the obscure but wonderful Ghost Train that to my knowledge appears only on the Taking Liberties rarities collection.
Finishing with a fitting version of Nick Lowe’s (Whats So Funny About Peace Love and Understanding) this truly was an outstanding performance and worthy of the reaction it got from the capacity audience. With his artistic integrity completely intact Costello showed that he could be both a crowd pleasing “heritage artist” and a completely relevant current creative force.
Re: Elvis plays Melbourne , Oct 10 '09
http://www.theage.com.au/news/entertain ... 98431.html
Oct. 11 '09
Costello's voice needs no guitars
Michael Dwyer
GUITARS outnumbered Elvis Costello on his first solo visit in 25 years but each was outgunned in turn by a voice and body of work that barely needed accompaniment.
He skipped into an exuberant full house wearing a straw hat, charcoal suit and polka dot tie - and from the vaults soon barrelled Red Shoes, Veronica and Everyday I Write the Book, recalibrated to emphasise story and subtly recast melodies.
In high spirits, he shared recollections of his showman father's advice (''never look up at a note''), surreal snapshots of family life with twin three-year-old sons, and farcical memories of Concorde and caviar with the Attractions.
His main narrative thread was the Hans Christian Andersen/Jenny Lund (sic) obsession that binds his latest album, Secret, Profane and Sugarcane. The devastating pathos of She Handed Me a Mirror was a highlight. Nostalgia helped the peerless Alison resonate, but we were no less moved by In Another Room, which followed.
It was only when the guitar was featured - in a clumsily electrified Watching the Detectives - that Costello's limitations as an instrumentalist detracted from his boundless brilliance as a singer-songwriter.
Oct. 11 '09
Costello's voice needs no guitars
Michael Dwyer
GUITARS outnumbered Elvis Costello on his first solo visit in 25 years but each was outgunned in turn by a voice and body of work that barely needed accompaniment.
He skipped into an exuberant full house wearing a straw hat, charcoal suit and polka dot tie - and from the vaults soon barrelled Red Shoes, Veronica and Everyday I Write the Book, recalibrated to emphasise story and subtly recast melodies.
In high spirits, he shared recollections of his showman father's advice (''never look up at a note''), surreal snapshots of family life with twin three-year-old sons, and farcical memories of Concorde and caviar with the Attractions.
His main narrative thread was the Hans Christian Andersen/Jenny Lund (sic) obsession that binds his latest album, Secret, Profane and Sugarcane. The devastating pathos of She Handed Me a Mirror was a highlight. Nostalgia helped the peerless Alison resonate, but we were no less moved by In Another Room, which followed.
It was only when the guitar was featured - in a clumsily electrified Watching the Detectives - that Costello's limitations as an instrumentalist detracted from his boundless brilliance as a singer-songwriter.
Re: Elvis plays Melbourne , Oct 10 '09
I know what he means about the electric guitar. I'm always on the edge of my seat when the Little Hands of Concrete does any sort of guitar solo - I swear I break out into a cold sweat. He does some great stuff on record - some wonderful, brief little solos - but live, there's always an air of tension: will he manage to pull it off?
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sulky lad
- Posts: 2427
- Joined: Fri Jul 29, 2005 5:21 pm
- Location: Out of the kitchen,she's gone with the wind
Re: Elvis plays Melbourne , Oct 10 '09
Ghost train, I mean GHOST TRAIN ???!!!! 
There had just better be a recording of this appearing soon or I'll be over to Oz to re-institutionalise a few convict descendants
There had just better be a recording of this appearing soon or I'll be over to Oz to re-institutionalise a few convict descendants
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bronxapostle
- Posts: 4915
- Joined: Wed Jul 12, 2006 2:27 pm
Re: Elvis plays Melbourne , Oct 10 '09
sulky lad wrote:Ghost train, I mean GHOST TRAIN ???!!!!
There had just better be a recording of this appearing soon or I'll be over to Oz to re-institutionalise a few convict descendants
i've got it from the APOLLO! must get around to transferring it today!!!
Re: Elvis plays Melbourne , Oct 10 '09
John E. posts to listserv-
Herald Sun (Melbourne)
2009-10-12
Simon Plant
5 stars
Get this. For almost two hours, Elvis Costello stands on the stage of the grand old Palais and sings songs on guitar. That's it -- nothing else -- and he's brilliant.
Between the opening chords of *Red Shoes* and the thrumming idealism of the closer, *Peace, Love and Understanding*, Costello hammers out hits reaching back to the '70s as well as numbers from his new album *Secret,
Profane and Sugarcane*. There are singalongs and stories, too. Some about the clubs he used to play with his dad, others about the perfomers in the days of riverboats and cotton plantations.
Costello looks as if he just wandered in from the Mississippi Delta -- grey suit, spotted tie, a Stetson shading those trademark specs -- and tells us: "It's good to be back beside the seaside."
Good to hear that voice again. He sounds vinegary in *Veronica* and frenetic in *Bedlam*. He coaxes tenderness out of *Good Year For The Roses*and traps high notes in *Everyday I Write The Book*.
Saddling up with different guitars, Costello's musicianship is just as impressive. In *Condemned Man*, a new song about death row, his playing has the jolt of an electric shock. *Watching The Detectives* is even more aggressive with nifty pedalwork weaving a soundscape that all but peels paint off the walls.
Seasoned performer that he is, Costello knows how to vary his colours. So before the evening's out we get a jazz gem *(All Or Nothing At All)*, an Aznavour classic *(She)* and *Suplhur To Sugarcane* -- a picaresque journey through the saloons and sawdust of old-time America.
"My aim is true," Costello tells us in *Alison*. In his mid-50s, rock's great troubadour is still right on target.
Herald Sun (Melbourne)
2009-10-12
Simon Plant
5 stars
Get this. For almost two hours, Elvis Costello stands on the stage of the grand old Palais and sings songs on guitar. That's it -- nothing else -- and he's brilliant.
Between the opening chords of *Red Shoes* and the thrumming idealism of the closer, *Peace, Love and Understanding*, Costello hammers out hits reaching back to the '70s as well as numbers from his new album *Secret,
Profane and Sugarcane*. There are singalongs and stories, too. Some about the clubs he used to play with his dad, others about the perfomers in the days of riverboats and cotton plantations.
Costello looks as if he just wandered in from the Mississippi Delta -- grey suit, spotted tie, a Stetson shading those trademark specs -- and tells us: "It's good to be back beside the seaside."
Good to hear that voice again. He sounds vinegary in *Veronica* and frenetic in *Bedlam*. He coaxes tenderness out of *Good Year For The Roses*and traps high notes in *Everyday I Write The Book*.
Saddling up with different guitars, Costello's musicianship is just as impressive. In *Condemned Man*, a new song about death row, his playing has the jolt of an electric shock. *Watching The Detectives* is even more aggressive with nifty pedalwork weaving a soundscape that all but peels paint off the walls.
Seasoned performer that he is, Costello knows how to vary his colours. So before the evening's out we get a jazz gem *(All Or Nothing At All)*, an Aznavour classic *(She)* and *Suplhur To Sugarcane* -- a picaresque journey through the saloons and sawdust of old-time America.
"My aim is true," Costello tells us in *Alison*. In his mid-50s, rock's great troubadour is still right on target.
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sulky lad
- Posts: 2427
- Joined: Fri Jul 29, 2005 5:21 pm
- Location: Out of the kitchen,she's gone with the wind
Re: Elvis plays Melbourne , Oct 10 '09
If I had been given ovaries, they'd be available for you any time !!!i've got it from the APOLLO! must get around to transferring it today!!!
How exciting this is and maybe even a few Sugarcane shows to follow in 2010 in Blighty