As the Spinning Wheel goes of the road for a bit , it's time to look at the statistics
The album scorecard
http://www.elviscostello.info/wiki/inde ... _scorecard
The 238 songs played
http://www.elviscostello.info/wiki/inde ... _stats_box
The setlists and dates
http://www.elviscostello.info/wiki/inde ... olver_Tour
Elvis UK Tour 2013
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bronxapostle
- Posts: 4915
- Joined: Wed Jul 12, 2006 2:27 pm
Re: Elvis UK Tour 2013
AWESOME link John! thanks, bennyjohnfoyle wrote:As the Spinning Wheel goes of the road for a bit , it's time to look at the statistics
The album scorecard
http://www.elviscostello.info/wiki/inde ... _scorecard
The 238 songs played
http://www.elviscostello.info/wiki/inde ... _stats_box
The setlists and dates
http://www.elviscostello.info/wiki/inde ... olver_Tour
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verbal gymnastics
- Posts: 13648
- Joined: Wed Jun 11, 2003 6:44 am
- Location: Magic lantern land
Re: Elvis UK Tour 2013
These are magnificent pieces of work. I thought I liked Elvis but this is on a whole different scale.
Who knows, it might even leave johnfoyle speechless...
...only for a few seconds though!
Grateful thanks to all those involved.
Who knows, it might even leave johnfoyle speechless...
...only for a few seconds though!
Grateful thanks to all those involved.
Who’s this kid with his mumbo jumbo?
Re: Elvis UK Tour 2013
I can only agree! WOnderful piece of work. Thanks for the efforts of putting this together. ....and to all contributors of course! All of you are great.
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Man out of Time
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Re: Elvis UK Tour 2013
From Elviscostello.com: Napoleon's Farewell:
We couldn’t have done it without you.
In the last weeks, we’ve learned that beneath the calm exterior of many an Englishwoman (and even some Englishmen) there beats the seething heart of a Go-Go Dancer and don’t even get me started about the girls in Cardiff and the interlopers in Edinburgh.
Whether you were there to spin the Wheel, swing the Hammer Of Song or simply listen to the music, it was good to see you. We thank you for the opportunity to play all of these songs, whether by chance or intention.
The Imposters and I would also like to raise a chaste glass and yell, “Skol!”, “Salute!” and “Slainte!” to, your guide from your place in the stalls to your place in the stars, The Mysterious Josephine and our fashion and travel correspondent, Melissa a.k.a. Miss Dixie for their unfailing good humour, vim, verve and élan .
Undying, undimming thanks go to each of our special guests, firstly, Kendal Carson, who steadied the rocking ship with her beautiful harmonies and fiddle on the first night at the Royal Albert Hall, an evening when all our amplifiers blew up at once. We were happy to “go acoustic” with you.
We were also delighted to see our pal, Chris Difford again, for “Take Me I’m Yours” in Brighton and welcome John Harle, who illuminated our last night in Canterbury with his alto saxophone and his setting of Shakespeare’s “O Mistress Mine”, before Dixie and Josephine surprised us with their dance routine for that other Shakespearean ditty, “Willie and The Hand Jive”….
Today, we travel to Ireland for the first of three shows, while the Wheel boards a slowboat to the Port Of Baltimore. We will be at Glastonbury on Saturday with Screaming Primals and Rolling Stones, where we hope to see you and that you won’t need your pac-a-mac…
Yours through showbusiness. Napoleon Dynamite
http://www.elviscostello.com/#/news/nap ... rewell/435
MOOT
We couldn’t have done it without you.
In the last weeks, we’ve learned that beneath the calm exterior of many an Englishwoman (and even some Englishmen) there beats the seething heart of a Go-Go Dancer and don’t even get me started about the girls in Cardiff and the interlopers in Edinburgh.
Whether you were there to spin the Wheel, swing the Hammer Of Song or simply listen to the music, it was good to see you. We thank you for the opportunity to play all of these songs, whether by chance or intention.
The Imposters and I would also like to raise a chaste glass and yell, “Skol!”, “Salute!” and “Slainte!” to, your guide from your place in the stalls to your place in the stars, The Mysterious Josephine and our fashion and travel correspondent, Melissa a.k.a. Miss Dixie for their unfailing good humour, vim, verve and élan .
Undying, undimming thanks go to each of our special guests, firstly, Kendal Carson, who steadied the rocking ship with her beautiful harmonies and fiddle on the first night at the Royal Albert Hall, an evening when all our amplifiers blew up at once. We were happy to “go acoustic” with you.
We were also delighted to see our pal, Chris Difford again, for “Take Me I’m Yours” in Brighton and welcome John Harle, who illuminated our last night in Canterbury with his alto saxophone and his setting of Shakespeare’s “O Mistress Mine”, before Dixie and Josephine surprised us with their dance routine for that other Shakespearean ditty, “Willie and The Hand Jive”….
Today, we travel to Ireland for the first of three shows, while the Wheel boards a slowboat to the Port Of Baltimore. We will be at Glastonbury on Saturday with Screaming Primals and Rolling Stones, where we hope to see you and that you won’t need your pac-a-mac…
Yours through showbusiness. Napoleon Dynamite
http://www.elviscostello.com/#/news/nap ... rewell/435
MOOT
Re: Elvis UK Tour 2013
Port of Baltimore? That's not in Japan! 
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Man out of Time
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- Contact:
Re: Elvis UK Tour 2013
Not wishing to rain on your parade, so to speak, but there is a danger of taking Elvis too literally on these occasions. When promoting the UK Revolver Tour in 2012, Elvis cheerfully told anyone who would listen that he had donated the original Spinning Songbook wheel to the Hartlepool Museum Of Showbusiness Machinery and that a new one has been reconstructed from the original blueprints. I have to tell you that there is no museum of Showbusiness Machinery in Hartlepool, and that the wheel is rather less than 150ft tall despite Elvis' frequent assertions that it is.migdd wrote:Port of Baltimore? That's not in Japan
On the other hand, it is also the case that a boat sailing from (say) Dover to Japan, could go either East or West. One route might be to sail West to Baltimore then to offload its cargo onto a train or truck to cross North America, then load onto a ship again to continue its journey by sea. Given that no Japanese dates have yet been announced, speed is not exactly of the essence.
MOOT
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verbal gymnastics
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Re: Elvis UK Tour 2013
I'm pretty sure Willie and the Hand Jive is not a Shakespearean ditty too
Who’s this kid with his mumbo jumbo?
Re: Elvis UK Tour 2013
I guess I got my dander in an uproar for nothing. In my excitement in the potential for another Spectacular Spinning Songbook tour on this side of the pond, I forgot to refer to my Elvis Costello/English translation dictionary. If I had done so, I would have known that:
"Port of Baltimore" = a port somewhere in the world . . maybe. . . or not.
"Hartlepool Museum Of Showbusiness Machinery" = the junkyard.
What a pitiful fool I was to believe in the dream. I'm embarrassed and ashamed. When will I ever learn?
"Port of Baltimore" = a port somewhere in the world . . maybe. . . or not.
"Hartlepool Museum Of Showbusiness Machinery" = the junkyard.
What a pitiful fool I was to believe in the dream. I'm embarrassed and ashamed. When will I ever learn?
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bronxapostle
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- Joined: Wed Jul 12, 2006 2:27 pm
Re: Elvis UK Tour 2013
migdd wrote:I guess I got my dander in an uproar for nothing. In my excitement in the potential for another Spectacular Spinning Songbook tour on this side of the pond, I forgot to refer to my Elvis Costello/English translation dictionary. If I had done so, I would have known that:
"Port of Baltimore" = a port somewhere in the world . . maybe. . . or not.
"Hartlepool Museum Of Showbusiness Machinery" = the junkyard.
What a pitiful fool I was to believe in the dream. I'm embarrassed and ashamed. When will I ever learn?
KEEP THE FAITH for that North Carolina date (your neighborhood!) and MORE! I AM....
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Goon Squad
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Re: Elvis UK Tour 2013
Brilliant ! Fantastic pieces of work !johnfoyle wrote:As the Spinning Wheel goes of the road for a bit , it's time to look at the statistics
The album scorecard
http://www.elviscostello.info/wiki/inde ... _scorecard
The 238 songs played
http://www.elviscostello.info/wiki/inde ... _stats_box
The setlists and dates
http://www.elviscostello.info/wiki/inde ... olver_Tour
Very interesting and informative. Top marks to all the compilers !
Re: Elvis UK Tour 2013
http://livedesignonline.com/adlib-suppl ... -tour-2013
ADLIB Supplies Sound and Lighting to Elvis Costello Tour 2013
Jul. 1, 2013
Leading UK technical solutions and rental specialist Adlib is supplying lighting, sound, rigging equipment & crew for the current Elvis Costello and The Imposters ‘Revolver’ UK and European tour.
It's the first time that the Liverpool based company has worked with the highly acclaimed musician and songwriter who cut his teeth on the bleeding edge of the London pub rock, punk and new wave scene in the 1970s. His hugely successful, dynamic and colorful career has seen numerous awards & accolades, he has been hailed as a great innovator as well and an incisive social commentator.
Adlib’s Account Handler Phil Stoker states, “Working with someone of Elvis’s stature is fantastic and production manager Milo Lewis & engineers Fern & Nathan have been great to deal with all along the way”.
Sound
The format of the show is that there’s no formal set list. Songs are chosen –enough to fill nearly three hours of performance –largely by audience members invited up onstage to spin a giant wheel bearing different song titles. There is a pool of over 100 potential numbers in total.
This concept of spontaneity and anticipation has been a massive hit and keeps everyone on their toes.
One of ADLIB’s JBL VerTec systems was specified, chosen for its versatility and ability to be easily ground stacked as well as flown. Playing primarily high-end theatre and concert hall venues - including three sold out nights at London's Royal Albert Hall - not all of these offer full flying facilities, so it’s been a good system to cater for a variety of scenarios.
ADLIBs Steve "Patto" Pattison and Pete Seddon are FOH and monitor system engineers respectively, ensuring that Costello's engineers Fernando "Fern" Alvarez and Nathan Payne achieve the best possible results with the system each day.
The standard set up is 12 x VerTec 4889 elements per-side with 3 or 4 x VT4880A subs ground stacked. For the Albert Hall, 28 additional 4889 boxes were added to the rig taking the main hangs to 14 a-side with additional side hangs of 11 each.
The 4889s are being driven by Camco Vortex 6 amps which Adlib has found to be a winning combination. For the RAH, the side hangs were powered by the new Crown ITECH 4x3500HDs.
For front/lip fills they are using Adlib AA281s to cover the very front seats, and for the corner spots of the room, there are 3 x L-Acoustics ARCS boxes a-side.
Alvarez specified an Avid Profile, his console of choice for around nine years, on which he is using all the onboard effects. It’s a clean, straightforward no-nonsense show that is essentially an updated version of what would have been the ‘classic’set up back in the heyday of punk.
For system processing and EQ they are using four Lake LM26s.
Onstage, monitor world is overseen by Adlib’s Pete Seddon, who ensures that Nathan Payne’s days are as painless as possible.
The randomism introduced by the wheel means they must be prepared for guests appearing suddenly, depending on where the wheel lands.
Payne uses a DiGiCo SD 10 console, picked for its channel count. Costello plus his three band members are all on IEMs –they are running a Shure PSM1000 wireless system, complete with Sennheiser 3732 hand-held mics and Shure Q5s for the guest vocalists.
The move to in-ears is relatively new, so there are still a few wedges –ADLIB’s popular low profile MP4s –dotted around, for Elvis at strategic moments when he removes an ear and for guests onstage & even for the dancers in the go-go cage.
Payne records the monitors each night so they can do a virtual soundcheck if needed. The inputs from the SD10 go out via MADI to hard drive recorders, which are then played back via the console running in MADI mode, giving him access to everyone’s mix - with the mics replaced by the recordings.
Being accomplished and experienced musicians, they are very thorough, detailed and easy to work with in that respect. They know their stuff when it comes to audio and also what they want and need to hear. “Everyone is a joy to work with on this tour,”enthuses Seddon.
Lighting
Adlib was able to offer a great package to Production Manager Milo Lewis combining both lighting and sound, with all the advantages that having a single source supplier brings to a production.
Adlib’s Neil Holloway created the lighting design using a careful blend of classic and contemporary.
The band chose the backdrop, which they have used previously and really like –a faded old fashioned TV set - and there are a series of quirky circus style props onstage, the most prominent of which is the song wheel.
Holloway wanted to lose some of the PAR 64s from their previous rig and make it a bit more tourable and less power hungry, so he replaced all those that were on the front truss with 10 x ETC Source Fours (a mix of 19 and 25-50 degree lenses) and 4 x Martin MAC Aura LED washes.
The back truss –trimmed just at the top of the backdrop, is made up of five sections of pre-rig, loaded with seven bars of PARs plus four MAC 700 Spots for some rear key light and solo pick-ups and general contrast in light.
On the floor are another eight MAC Auras, which happen to be a personal favourite of Holloway and are also liked by the band. For some eye-candy and adding to the general idiosyncrasy of the stage, are four JB Lighting A8 LED fixtures and two A12s, which highlight the band from behind. Basic pixel mapping is used on these –they are zoned into eight sections - to produce some whizzy effects.
Sweeping up the backdrop bringing some rich psychedelic colour to the area are 12 Philips CK ColorBlaze LED battens.
Also feeding into Holloway’s grandMA2 light console are the LEDs around the perimeter of the wheel.
It’s the first time he’s used the MA2 light as a busking console which is working “Very well”he confirms.
It’s not a massive amount of fixtures for the show which is challenging due to the ‘on-the-fly’operation, which Holloway is really enjoying. “Simple and flexible”was the key he comments, adding that it’s all about ‘looks’and textures that he can build from the lighting as there is no haze allowed, so the lights themselves are almost imperceptible until they hit the stage and the band.
At the RAH they utilized the house front truss and advanced bars and their Clay Paky Halo Wash 1200s together with 10 x Source Four Revolution moving lights.
ADLIB Supplies Sound and Lighting to Elvis Costello Tour 2013
Jul. 1, 2013
Leading UK technical solutions and rental specialist Adlib is supplying lighting, sound, rigging equipment & crew for the current Elvis Costello and The Imposters ‘Revolver’ UK and European tour.
It's the first time that the Liverpool based company has worked with the highly acclaimed musician and songwriter who cut his teeth on the bleeding edge of the London pub rock, punk and new wave scene in the 1970s. His hugely successful, dynamic and colorful career has seen numerous awards & accolades, he has been hailed as a great innovator as well and an incisive social commentator.
Adlib’s Account Handler Phil Stoker states, “Working with someone of Elvis’s stature is fantastic and production manager Milo Lewis & engineers Fern & Nathan have been great to deal with all along the way”.
Sound
The format of the show is that there’s no formal set list. Songs are chosen –enough to fill nearly three hours of performance –largely by audience members invited up onstage to spin a giant wheel bearing different song titles. There is a pool of over 100 potential numbers in total.
This concept of spontaneity and anticipation has been a massive hit and keeps everyone on their toes.
One of ADLIB’s JBL VerTec systems was specified, chosen for its versatility and ability to be easily ground stacked as well as flown. Playing primarily high-end theatre and concert hall venues - including three sold out nights at London's Royal Albert Hall - not all of these offer full flying facilities, so it’s been a good system to cater for a variety of scenarios.
ADLIBs Steve "Patto" Pattison and Pete Seddon are FOH and monitor system engineers respectively, ensuring that Costello's engineers Fernando "Fern" Alvarez and Nathan Payne achieve the best possible results with the system each day.
The standard set up is 12 x VerTec 4889 elements per-side with 3 or 4 x VT4880A subs ground stacked. For the Albert Hall, 28 additional 4889 boxes were added to the rig taking the main hangs to 14 a-side with additional side hangs of 11 each.
The 4889s are being driven by Camco Vortex 6 amps which Adlib has found to be a winning combination. For the RAH, the side hangs were powered by the new Crown ITECH 4x3500HDs.
For front/lip fills they are using Adlib AA281s to cover the very front seats, and for the corner spots of the room, there are 3 x L-Acoustics ARCS boxes a-side.
Alvarez specified an Avid Profile, his console of choice for around nine years, on which he is using all the onboard effects. It’s a clean, straightforward no-nonsense show that is essentially an updated version of what would have been the ‘classic’set up back in the heyday of punk.
For system processing and EQ they are using four Lake LM26s.
Onstage, monitor world is overseen by Adlib’s Pete Seddon, who ensures that Nathan Payne’s days are as painless as possible.
The randomism introduced by the wheel means they must be prepared for guests appearing suddenly, depending on where the wheel lands.
Payne uses a DiGiCo SD 10 console, picked for its channel count. Costello plus his three band members are all on IEMs –they are running a Shure PSM1000 wireless system, complete with Sennheiser 3732 hand-held mics and Shure Q5s for the guest vocalists.
The move to in-ears is relatively new, so there are still a few wedges –ADLIB’s popular low profile MP4s –dotted around, for Elvis at strategic moments when he removes an ear and for guests onstage & even for the dancers in the go-go cage.
Payne records the monitors each night so they can do a virtual soundcheck if needed. The inputs from the SD10 go out via MADI to hard drive recorders, which are then played back via the console running in MADI mode, giving him access to everyone’s mix - with the mics replaced by the recordings.
Being accomplished and experienced musicians, they are very thorough, detailed and easy to work with in that respect. They know their stuff when it comes to audio and also what they want and need to hear. “Everyone is a joy to work with on this tour,”enthuses Seddon.
Lighting
Adlib was able to offer a great package to Production Manager Milo Lewis combining both lighting and sound, with all the advantages that having a single source supplier brings to a production.
Adlib’s Neil Holloway created the lighting design using a careful blend of classic and contemporary.
The band chose the backdrop, which they have used previously and really like –a faded old fashioned TV set - and there are a series of quirky circus style props onstage, the most prominent of which is the song wheel.
Holloway wanted to lose some of the PAR 64s from their previous rig and make it a bit more tourable and less power hungry, so he replaced all those that were on the front truss with 10 x ETC Source Fours (a mix of 19 and 25-50 degree lenses) and 4 x Martin MAC Aura LED washes.
The back truss –trimmed just at the top of the backdrop, is made up of five sections of pre-rig, loaded with seven bars of PARs plus four MAC 700 Spots for some rear key light and solo pick-ups and general contrast in light.
On the floor are another eight MAC Auras, which happen to be a personal favourite of Holloway and are also liked by the band. For some eye-candy and adding to the general idiosyncrasy of the stage, are four JB Lighting A8 LED fixtures and two A12s, which highlight the band from behind. Basic pixel mapping is used on these –they are zoned into eight sections - to produce some whizzy effects.
Sweeping up the backdrop bringing some rich psychedelic colour to the area are 12 Philips CK ColorBlaze LED battens.
Also feeding into Holloway’s grandMA2 light console are the LEDs around the perimeter of the wheel.
It’s the first time he’s used the MA2 light as a busking console which is working “Very well”he confirms.
It’s not a massive amount of fixtures for the show which is challenging due to the ‘on-the-fly’operation, which Holloway is really enjoying. “Simple and flexible”was the key he comments, adding that it’s all about ‘looks’and textures that he can build from the lighting as there is no haze allowed, so the lights themselves are almost imperceptible until they hit the stage and the band.
At the RAH they utilized the house front truss and advanced bars and their Clay Paky Halo Wash 1200s together with 10 x Source Four Revolution moving lights.
Re: Elvis UK Tour 2013
Just a quick point - I had forgotten what a great song All Grown Up was!
Also, when was the last time EC performed without a hat? I think it was when he did Penny Lane at the White House on June 2nd 2010.
Also, when was the last time EC performed without a hat? I think it was when he did Penny Lane at the White House on June 2nd 2010.
Re: Elvis UK Tour 2013
It makes me laugh! He often goes as if to take it off, but then remembers he can't and just tilts it forward. I think occasionally he may lift it about 3 inches off his head, angled down and then quickly put it back. I think we may get quite a shock to see him hatless now, the thin tufty bit down the middle pretty much gone.Mikeh wrote: Also, when was the last time EC performed without a hat? I think it was when he did Penny Lane at the White House on June 2nd 2010.
He will have to have a good chat to his good friend Elton on Friday for tips!
Re: Elvis UK Tour 2013
I got a shock when I saw him without the hat in 2009.
Italian gangster time!
- 2009-08-08_Tokyo_photo_01.jpg (27.34 KiB) Viewed 17423 times
Re: Elvis UK Tour 2013
I think he looks fine without the hat! Though I'm glad he's ditched to tache.
Hatless here in 2010 - he had to be for the earphones! http://www.youtube.com/watch?v=Szu-y3n9ubg
Hatless here in 2010 - he had to be for the earphones! http://www.youtube.com/watch?v=Szu-y3n9ubg
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Man out of Time
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Re: Elvis UK Tour 2013
and here at The White House: http://www.youtube.com/watch?v=BAjg_oZusC4 in June 2010.Neil. wrote:Hatless here in 2010
Something of Eric Morecambe about him I feel.
MOOT
Re: Elvis UK Tour 2013
He looks totally fine without the hat in that great Penny Lane clip! Not that he looks bad *with* a hat - but he looks so much more relaxed without it! Who cares if he's receding?!
Re: Elvis UK Tour 2013
I think EC just likes (wearing and collecting) hats. I feel like I am missing something without my hat on. It becomes habit!
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Otis Westinghouse
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Re: Elvis UK Tour 2013
No hatlessness since 2010? I wonder how the recession has progressed. Nice Penny Lane clip, hadn't seen that before.
There's more to life than books, you know, but not much more
Re: Elvis UK Tour 2013
The scores on the doors from Billboard Boxscore are in for most of the UK tour dates:
Venue City/State Event Dates Gross Sales Attend/Capacity Shows/Sellouts Prices
Royal Albert Hall London, U.K. June 4-6, 2013 $441,484 7,340 / 8,640 3 / 0 $68.66, $28.23
Symphony Hall Birmingham, U.K. May 31, 2013 $112,914 1,895 / 1,895 1 / 1 $64.45, $32.22
City Hall Sheffield, U.K. June 8, 2013 $110,561 1,794 / 1,850 1 / 0 $66.18, $33.09
Brighton Centre Brighton, U.K. June 22, 2013 $108,578 1,860 / 1,980 1 / 0 $65.73, $19.72
Colston Hall Bristol, U.K. June 2, 2013 $98,985 1,647 / 1,647 1 / 1 $64.57, $32.28
Philharmonic Hall Liverpool, U.K. June 10, 2013 $98,384 1,600 / 1,600 1 / 1 $66.11, $33.05
Sage Gateshead, U.K. June 12, 2013 $95,870 1,568 / 1,568 1 / 1 $66.21, $33.11
O2 Apollo Manchester, U.K. June 14, 2013 $92,811 1,598 / 1,800 1 / 0 $66.63, $19.99
Cliffs Pavilion Southend, U.K. June 19, 2013 $83,887 1,461 / 1,580 1 / 0 $66.58, $19.97
St. David's Hall Cardiff, U.K. June 1, 2013 $74,980 1,377 / 1,377 1 / 0 $64.63, $32.31
Barbican Centre York, U.K. June 17, 2013 $74,451 1,286 / 1,480 1 / 0 $66.71, $20.01
Opera House Blackpool, U.K. June 13, 2013 $42,341 1,180 / 1,260 1 / 0 $66.55, $19.96
Milton Keynes Theatre Milton Keynes, U.K. June 9, 2013 $36,950 765 / 1,000 1 / 0 $66.11, $33.05
Sorry can't get it to tabulate properly.
Venue City/State Event Dates Gross Sales Attend/Capacity Shows/Sellouts Prices
Royal Albert Hall London, U.K. June 4-6, 2013 $441,484 7,340 / 8,640 3 / 0 $68.66, $28.23
Symphony Hall Birmingham, U.K. May 31, 2013 $112,914 1,895 / 1,895 1 / 1 $64.45, $32.22
City Hall Sheffield, U.K. June 8, 2013 $110,561 1,794 / 1,850 1 / 0 $66.18, $33.09
Brighton Centre Brighton, U.K. June 22, 2013 $108,578 1,860 / 1,980 1 / 0 $65.73, $19.72
Colston Hall Bristol, U.K. June 2, 2013 $98,985 1,647 / 1,647 1 / 1 $64.57, $32.28
Philharmonic Hall Liverpool, U.K. June 10, 2013 $98,384 1,600 / 1,600 1 / 1 $66.11, $33.05
Sage Gateshead, U.K. June 12, 2013 $95,870 1,568 / 1,568 1 / 1 $66.21, $33.11
O2 Apollo Manchester, U.K. June 14, 2013 $92,811 1,598 / 1,800 1 / 0 $66.63, $19.99
Cliffs Pavilion Southend, U.K. June 19, 2013 $83,887 1,461 / 1,580 1 / 0 $66.58, $19.97
St. David's Hall Cardiff, U.K. June 1, 2013 $74,980 1,377 / 1,377 1 / 0 $64.63, $32.31
Barbican Centre York, U.K. June 17, 2013 $74,451 1,286 / 1,480 1 / 0 $66.71, $20.01
Opera House Blackpool, U.K. June 13, 2013 $42,341 1,180 / 1,260 1 / 0 $66.55, $19.96
Milton Keynes Theatre Milton Keynes, U.K. June 9, 2013 $36,950 765 / 1,000 1 / 0 $66.11, $33.05
Sorry can't get it to tabulate properly.
Re: Elvis UK Tour 2013
No too shabby. Hope Elvis and the guys get to take a little bit of that jack home with them.
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Otis Westinghouse
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Re: Elvis UK Tour 2013
Fascinating stuff! Gosh a good turnout at the RAH makes a hell of a lot of cash.
There's more to life than books, you know, but not much more
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sulky lad
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Re: Elvis UK Tour 2013
FANFARE !!!!
At last the first of my recordings is up on dime - apologies for being so tardy, you know all the causes.
It's the Birmingham show and if you're only seeking one show, go for the Sheffield one - recorded from the front row and my favourite setlist. However for any fans with low ratios, send me a PM and I'll send out CDrs by snail mail Sad to say only a digital copy - no analogue recorder smuggled in this tour !!
At last the first of my recordings is up on dime - apologies for being so tardy, you know all the causes.
It's the Birmingham show and if you're only seeking one show, go for the Sheffield one - recorded from the front row and my favourite setlist. However for any fans with low ratios, send me a PM and I'll send out CDrs by snail mail Sad to say only a digital copy - no analogue recorder smuggled in this tour !!
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Man out of Time
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Re: Elvis UK Tour 2013
Here it is:Pigalle wrote:The scores on the doors from Billboard Boxscore are in for most of the UK tour dates:
Sorry can't get it to tabulate properly.
- Box Office.png (91.44 KiB) Viewed 17134 times
What I find interesting is that receipts for Southend were nearly twice those for Blackpool. This shows the benefits of a stand up show, as Blackpool is the larger theatre. There were other dates on the Revolver Tour not included here (Edinburgh, Canterbury, Basingstoke), so the total receipts are an understatement. Nevertheless, the total receipts shown in US Dollars equate to about £950,000. Not my place to comment on the economics of touring, merchandise sales, etc, as I know others here have more knowledge in that area.
MOOT