Elvis plays Irvine, CA, Oct. 2, 2012

Pretty self-explanatory
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And No Coffee Table
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Elvis plays Irvine, CA, Oct. 2, 2012

Postby And No Coffee Table » Thu Jun 07, 2012 8:48 pm

This show doesn't seem to have been announced officially yet, but there is a charity auction for tickets to a concert October 2 at the Irvine Barclay Theatre.

http://www.joinred.com/music/?artist=6294&event=24560

So that's now four shows in California.

FAVEHOUR
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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby FAVEHOUR » Sat Jun 09, 2012 7:49 am

Got the following from Artist Arena:

Hi Elvis Fans!

We're excited to announced that Elvis Costello is coming back to Northern California to play a string of intimate solo dates. That's right, just Elvis and his guitars. The first date that you'll be able to purchase tickets for is as follows:

10/02/12 - Irvine Barclay Theatre (Irvine, CA)

Because you have been such loyal fans, you'll have early access to presale tickets and VIP packages before they go on-sale to the public. The presale will begin tomorrow, Saturday, 6/9/12 at 10am PST. To access the presale, please visit the ticketing site below:

http://tixx1.artistarena.com/elviscostello

Username: elvis
Password: costello


It's the usual regular and premium tickets.

So far doesn't look good for us East Coasters.

Dave

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby Man out of Time » Sat Jun 09, 2012 9:20 am

FAVEHOUR wrote:So far doesn't look good for us East Coasters.

Dave


I asked Elvis after the Eindhoven show whether he would be doing a full week of shows in California in September. The gist of his reply (after he had got his head round an Englishman in Holland asking about dates in California) was that he had people who made his bookings for him and they did not always keep him up to date on what they had planned.

As I said on another thread, I think that touring is now Elvis's livelihood (in so far as he needs to earn a living, given that Diana works too) and he will play when and where it pays to do so. He is not touring to promote his latest album, which gives him freedom to play songs from all across his career. If it is convenient to play a week's dates in California, rather than travelling further afield, he will do that. I would not rule out a run of shows at the Beacon Theatre either though...

MOOT

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby woz » Sat Jun 09, 2012 12:14 pm

Anyone have luck getting tix? I've been trying since 9:59 on and it just says "Presale Sold Out" which is just nuts as it didn't sell out that quickly. I've opened and closed the internet browser and still nothing. Oh well, just venting. Cheers all.

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby johnfoyle » Wed Jun 13, 2012 7:07 am

Preview -

http://www.ocregister.com/entertainment ... oards.html

(extract)

Irvine isn’t the only oft-overlooked California location he’ll see this time around, either. Costello also plays Sept. 24 at the Cascade Theatre in Redding, Sept. 25 at Laxson Auditorium in Chico, and Sept. 29 at the Christopher Cohan Performing Arts Center in San Luis Obispo, the only repeat venue from his spring 2010 run.

Tickets for the Barclay show became available to the general public a minute after midnight Tuesday … and by the time you read this Wednesday morning, they likely will be gone. (Much of the hall was snatched up during an under-the-radar pre-sale.)

I just scored a single fifth-row seat on the aisle, then noticed that there are already less than 50 other spots remaining downstairs. The balcony has closer to 75 still available. Act immediately. They’re certain to disappear fast. Prices are mostly $85, with some balcony tickets selling for $70 and $55

MOJO
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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby MOJO » Wed Jun 13, 2012 2:52 pm

Still waiting/hoping EC plays Henry Miller Library (Big Sur,CA). That would be a killer show.

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby sweetest punch » Thu Jun 14, 2012 1:10 pm

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 plays Irvine, CA, Oct. 2, 2012

Postby johnfoyle » Fri Sep 21, 2012 5:07 pm

Who's going?

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby woz » Sun Sep 23, 2012 10:00 pm

I'll be here to. Not looking forward to the traffic and having to get to Orange County, but such is life.

Cheers.


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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby And No Coffee Table » Wed Oct 03, 2012 2:01 am

Setlist:

01. (The Angels Wanna Wear My) Red Shoes
02. When I Paint My Masterpiece
03. King Horse
04. Poison Moon
05. My Little Blue Window
06. Accidents Will Happen
07. Stations Of The Cross
08. Everyday I Write The Book
09. Bedlam
10. All Or Nothing At All
11. Ghost Train
12. Walkin' My Baby Back Home
13. Watching The Detectives
14. Dr. Watson, I Presume
15. Veronica
16. Shipbuilding - on keyboard
Encore 1
17. A Slow Drag With Josephine
18. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
19. Suit Of Lights
20. My Three Sons
21. Running Out Of Fools - on keyboard
22. For More Tears - on keyboard
23. (What's So Funny 'Bout) Peace, Love And Understanding?
Encore 2
24. I Know Why (And So Do You) - on ukulele and without glasses!!!
25. Alison - off-mic
26. I Hope - off-mic

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby Azmuda » Wed Oct 03, 2012 8:37 am


sweetest punch
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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby sweetest punch » Wed Oct 03, 2012 1:18 pm

http://www.latimes.com/entertainment/mu ... 5259.story

Review: Elvis Costello solo at Irvine Barclay Theatre
By Randy Lewis

Elvis Costello’s been part of the pop music landscape for so long now, and has written and recorded so much, it can be hard at times to remember what it was like before he elevated the game with his razor wit, impeccable compositional skills and kiln-hot passion.

The pre-Elvis age probably feels like another era to many -- as indeed it was before his explosive debut in 1977 -- and that may be the inspiration for the cheeky title of his current solo tour that stopped Tuesday night at the Irvine Barclay Theatre: “2054 -- the Centenary Tour.”

But even though 100 years haven’t passed literally for the often-brilliant, engaging English singer and songwriter, he did tip his stylish raffia boater hat to nearly a century’s worth of musical tradition. His performance in a lot of ways was the B-side to his dazzling “Spinning Songbook” tour, which played the Wiltern Theatre in L.A. in May, and which was brimming with production value and the expansive musical contributions of his longtime bandmates the Imposters.

For the solo performance, he came onto a stage outfitted with half a dozen guitars -- all hollow-body acoustics or acoustic-electrics, until the encore segment, when his guitar tech brought out his signature Fender Jazzmaster solid body instrument, which nevertheless went unused. He also had at his disposal an electric keyboard that he played for a couple of songs and a ukulele that he gently plinked on toward the end of the set.

He opened with “(The Angels Wanna Wear My) Red Shoes,” frenetically strummed as though he were Pete Townshend, a technique employed periodically through the show. He messed liberally with melodies as well as with the chord progressions of his better-known songs, injecting surprising changes into songs that heightened the sense of in-the-moment freshness.

If there was a downside to a consistently inspiring choice of material and arrangements, it was the curious intonation deficiency in his vocals.

Costello is one of rock’s most expressive singers, but Tuesday he sang consistently about a quarter-tone flat, suggesting some technical idiosyncracy of the in-ear monitor system he was using. When, on a couple of occasions, he stepped away from the microphone and sound system, the melodies were back in the pitch range they should have been in all night.

As for the scope of the evening, Costello not only touched on cornerstone numbers and obscurities of his own, but he also dipped back to pre-Elvis, pre-Beatles, pre-the-other-Elvis and prewar tunes that illustrated his familial roots in the riches of both the Great American Songbook and England’s dance hall and music theater traditions.

In some of the most engaging moments of the show, he spoke about his father -- a hard-gigging trumpeter -- and his grandfather, a vaudeville-era singer and instrumentalist who, as Costello told it, was left basically unemployed when talkies arrived in the late '20s and did away with the need for the live musicians who typically provided the musical accompaniment during the exhibition of silent films.

“My grandmother hated Al Jolson,” Costello said. “She single-handedly blamed him for putting my grandfather out of work.

“You may have noticed a theme of revenge in some of my songs,” he said, drawing gentle laughs from the sold-out house. “But compared to my grandmother, I’m an amateur.”

That led into his moving 1989 song inspired by her, “Veronica.” Family also figured prominently in another of the night’s most touching moments, one that did make it seem briefly possible that he’s a century down the line -- emotionally speaking, anyway -- from where he started out as the angry young man of the new wave movement.

“Day is closing/Old men and infants are dozing/That’s the kind of life I’ve chosen/To see what I’ve become/the humble father of my three sons,” he sang without a trace of irony or cynicism in reference to the latter-day family he and his wife, jazz singer-pianist Diana Krall, have created in the last few years.

He picked up the uke and dropped his delivery to a near whisper on a straight-from-the-heart, old-school love song that seemed targeted to her: “I Know Why (And So Do You),” a Harry Warren-Mack Gordon hit for Glenn Miller in 1941. Costello said he had scored the sheet music for the number, which he showed off, a few days earlier in a thrift shop as the Centenary Tour took him through Arcata in northern California.

This is the man who famously sang out of the gate 35 years ago, “Oh I used to be disgusted/Now I try to be amused.” Obviously, he hasn’t lost his ability to slice and dice targets of scorn wherever he finds them. But today, he seems equally as fascinated with exploring how to love, and be loved. It’s been a long time coming.
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 plays Irvine, CA, Oct. 2, 2012

Postby And No Coffee Table » Wed Oct 03, 2012 3:25 pm

I think this reviewer likes the wiki site.

Live review: Elvis Costello’s solo acoustic show breathtaking at the Barclay
October 3rd, 2012, 11:05 am
posted by BEN WENER, THE ORANGE COUNTY REGISTER

You’d have to be a pretty serious Elvis Costello fan to appreciate just how special his performance was Tuesday night at the Irvine Barclay Theatre. Frankly, you’d need to have been that simply to have scored one of 750 tickets, it seems, or at least have a really good friend who’s a Barclay subscriber, doesn’t know Imperial Bedroom from Imperial Highway and was willing to sell his seat.

Costello, who should rank high on any plausible list of the greatest songwriters ever, has rarely played Orange County, and almost always in Irvine, apart from a lone Pacific gig in ’91 (not long before that place closed for a decade) and, if this counts, that time at the Pond in January 2003, when he, then-girlfriend Diana Krall, Ray Charles, Brian Wilson and a bunch more joined Elton John for “Crocodile Rock” at a NAMM fundraiser.

He used to come to “the Kingdom of Orange,” as he put it Tuesday, quite regularly in the ’80s – even attracted thousands to Irvine Meadows three summers in a row back when “Everyday I Write the Book” and “The Only Flame in Town” landed him on MTV. But he hasn’t been back to the Safest City in California in nine years, when he opened for Neil Young at what’s now Verizon Wireless Amphitheater, and he hasn’t headlined a show in O.C. since he and the Attractions last gave it a go behind Brutal Youth in 1994.

So it was a big deal that Costello returned not for another special occasion in L.A. (like his magnificent Spinning Songbook shows at the Wiltern in April and the previous May) but instead a solo acoustic show just a short drive away, the capper on a brief swing from Redding down to UCI. Naturally, tickets for the Barclay gig on this mockingly dubbed 2054 Centenary Tour (better now than on his 100th birthday, right?) sold out faster than you can name five women in his song titles.

The question is: Did everyone who leapt at the chance for an intimate encounter get what they came for?

Undoubtedly the answer is yes for ardent Costellophiles, but perhaps no in a good many other cases, particularly subscriber types who might have hoped for more “hits” on the order of those that bookended this set, “(The Angels Wanna Wear My) Red Shoes” and “Alison,” or who simply don’t find the raw nakedness of such a richly distinctive voice quite so riveting.

Costello was certainly a vocal powerhouse at many points in the performance, his simmering samba feel for the standard “All or Nothing at All” bubbling from tender whispers to rousing romance, his wail mighty like a rose for the finish of “Veronica.” At other times, however, you could notice the toll a week-long one-man tour can take on a singer, often detectable during his best-known tunes: “Accidents Will Happen” was especially ragged, “Red Shoes” too rushed, and at the end of “Everyday I Write the Book,” superbly recast in a finger-picked Ron Sexsmith mold, his falsetto flat-out failed him.

Yet those fissures – along with a feeling during infrequently attempted covers (like Dylan’s “When I Paint My Masterpiece”) and unreleased material (the potent “For More Tears”) that maybe Costello was too loosely rehearsed – all grew increasingly fascinating as this two-hour show wore on. When supported by the Imposters, the cracks in Costello’s voice can get covered by the passion of the playing. Stripped bare, you hear him warts and all – veering under the notes sometimes, adopting his soft soulful sound one minute and a more biting tone the next, his storytelling emotionally spiked but plainspoken enough to be savored as folk poetry.

Mesmerizing as that was in the moment – and never more so than during the final encore – I still sat seven rows back foolishly awaiting something more, bowled over by his literal nearness but not entirely aware (until later) how unique much of this performance was. I kept expecting favorites like those he’d dropped in Davis and Chico: “Brilliant Mistake,” “New Amsterdam,” “Our Little Angel,” “Blue Chair,” “Beyond Belief.” I probably shouldn’t have inspected the Santa Barbara set list, where he really went all out – 29 songs, including exclusive takes on “American Without Tears,” “Last Boat Leaving,” “Black and White World” and, to close, “I Want You.”

In Irvine, apart from a somewhat reworded version of “King Horse” that took my breath away early on, most gems were harder to recognize – like “Poison Moon,” a mid-’70s, pre-My Aim Is True bedroom demo he had performed only a half-dozen times before Tuesday, or the mod jangle of “My Little Blue Window,” revived roughly twice as often since entering his catalog a decade ago via When I Was Cruel. Likewise, the Rogers & Ahlert nugget “Running Out of Fools,” one of a handful of selections he played at his Kawai keyboard, hadn’t been dusted off since 2005, after initially surfacing on his covers collection Kojak Variety 10 years earlier.

Then there was the marvelous “Ghost Train,” teenage Declan McManus’ view of fading show-biz stars, among the oldest of his own compositions offered here and a centerpiece at every stop on this Centenary run after only being attempted live for the first time on his Sundance chat-and-play series Spectacle three years ago. Along with “Suit of Lights” in the first encore, it served as a means to tell tales of his dear departed dad, another in a long line of performing McManuses, just as “Veronica” gave him room to recollect how his grandmother “hated Al Jolsen for putting my grandfather out of business” when talkies left silent-movie musicians jobless.

Littered with stray salutes (like “Doctor Watson, I Presume,” for the late Doc Watson) and reflective material (a haunting “Shipbuilding” to dramatically conclude the main set), this was a sentimental excursion to be sure, despite show-stopping moments that seemed to break from the theme.

Some of those detours were compact, like a darling rendition of “Walkin’ My Baby Back Home,” dedicated to his missus on the day her new album Glad Rag Doll dropped. Others were out-there, like the wildly de-tuned funk stutter of “Bedlam,” highly recommended to Dave Matthews Band as an offbeat cover they could jam the bejabbers out of. A few segments were unexpectedly grand, like the loop-building feedback fantasia he brought to a radical handling of “Watching the Detectives,” steeped so thickly in circular squalls of Neil Young noise, it’s no wonder that at other shows he departed from his own sinister tune for a dip into “Down by the River.”

But nothing compared to the finale, which quelled any sneaky feelings that we missed out on better bits. Sitting stage-left, the dapper entertainer pulled out some yellowed sheet music he’d acquired the week before, doffed his trademark glasses (“the way very few people ever see me,” he admitted) so he could follow the changes, and indulged a hesitant but lovely reading of “I Know Why (And So Do You),” an oldie he’s apparently played just once before, at a 2006 appearance with Marian McPartland for her Piano Jazz show on NPR.

Then, stepping to the front of the Barclay stage, ahead of his mic and monitors, Costello went completely unplugged to perform “Alison,” the room so still you could hear the proverbial pin drop, apart from the sole chorus when he invited the audience to add their voices. Time stood still for a gripping moment, many of us undoubtedly feeling like Costello had just gotten up in our living room to sing his most famous song.

Who else of his caliber but maybe Springsteen would dare such an astonishing move? Like the rest of his performance, only magnified hundredfold, it was spellbinding – and ended much too soon.

Setlist: Elvis Costello at the Irvine Barclay Theatre, Oct. 2, 2012
Main set:
(The Angels Wanna Wear My) Red Shoes / When I Paint My Masterpiece (Bob Dylan cover) / King Horse / Poison Moon / My Little Blue Window / Accidents Will Happen / Stations of the Cross / Everyday I Write the Book / Bedlam / All or Nothing at All (Lawrence & Altman standard) / Ghost Train / Walkin’ My Baby Back Home (Turk & Ahlert standard) / Watching the Detectives / Dr. Watson, I Presume / Veronica / Shipbuilding (on keyboard)
First encore: A Slow Drag with Josephine / Jimmie Standing in the Rain (including Brother, Can You Spare a Dime?) / Suit of Lights / My Three Sons / Running out of Fools (Rogers & Ahlert cover, keyboard) / For More Tears (keyboard) / (What’s So Funny ‘Bout) Peace, Love and Understanding? (penned by Nick Lowe, of course)
Second encore: I Know Why (And So Do You) (on ukulele) / Alison (off-mic) > I Hope (Bobby Charles tune by Guidry & Lewis) (off-mic)

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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby Darkhorse » Thu Oct 04, 2012 7:05 pm


sweetest punch
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Re: Elvis plays Irvine, CA, Oct. 2, 2012

Postby sweetest punch » Wed Oct 10, 2012 4:39 pm

WTD / Doctor Watson, I Presume: http://www.youtube.com/watch?v=O_VOfwZ5SvQ
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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