Elvis plays San Diego, April 11 '10

[johnfoyle]

Anyone here going ?

http://www.sandiegotheatres.org/eventst ... entID=2167

ELVIS COSTELLO
SOLO
April 11, 2010


SOLD OUT!

[bilster]

I'm going. I'm also going to the Jackshit show at Mccabes the night before, which is a night off for Elvis. After just recording some with Pete and Davey, i'm hoping EC may show up to do a few songs. He joins the imposters about a week or so later.
Bill

[bronxapostle]

sounds like a shoe in for an EC guest spot with Jack alright. wish we could get an NYC date from them. or better yet: opening slot next Imposters tour!

[johnfoyle]

Link for McCabes tickets -

http://www.mccabes.com/condata.html

SAT 4/10 - JACKSHIT - 8:00 PM - $15


Wish I could be there!

[woz]

Does anyone have an extra ticket for the San Diego show? I'm happy to pay, but need one ticket as I really don't want to drive 2+ hours without a ticket. Please PM me or post a reply.

Thanks.

[johnfoyle]

Jackshit post on Myspace-

http://profile.myspace.com/Modules/Appl ... d2%22}&g=1

The boys from Cochtotan’ manage to squeeze another night of country-fried musical salvation in between Pete and Shorty backing up Elvis Costello, and Beau playing guitar on every danged session worth playin’ on. These are some mighty fine musicians, folks. They know a whole bunch of songs (great originals AND cool covers) and they can play in just about any kinda style they please. You just can’t have more fun than they deliver, at least not with your clothes on. Sometimes famous people show up and play, too. Yeeee-haw!

[johnfoyle]

Wish I were in McCabes tonight...

[migdd]

Wish I were in McCabes tonight...

Me too, John!

[And No Coffee Table]

I'll be at McCabe's because I want to see Jackshit, tickets are fairly cheap, and it's super close to my home, but I really don't expect Elvis to be there. (Who says he's spending his day off in L.A.?)

I'd be happy to be wrong, of course.

[migdd]

Would love to see Jackshit, with or without an Elvis guest appearance so I'm envious of you, ANCT. I've often fantasized that EC would invite Val McCallum along for an Imposters tour. Dream on . . .

[And No Coffee Table]

Jackshit was great — nice mix of songs by the Flying Burrito Brothers, Johnny Cash, the Beatles, Randy Newman, Allen Toussaint, etc. — but Elvis wasn't there.

This was my first time seeing Pete sing (at least on mike) or Davey play a bass solo (on "Get Out Of My Life Woman").

[woz]

A great show. Elvis' voice was incredibly strong and he seemed to be in a great mood. I have the setlist from the soundboard (I didn't keep a separate one of what was actually played, but hopefully someone else did) and will post later, but the entire evening was tremendous. He played about 70 minutes before the encore then another 30-40 minutes.

Cheers.

[ahawkman]

Agreed Woz, and the acoustics were very good too IMO. Looking forward to the set list to refresh my memory. I loved God's Comic and Jimmy Standing in the Rain.

[sweetest punch]

http://www.signonsandiego.com/weblogs/p ... -costello/

Elvis lives! (Costello, that is)

There were so many remarkable musical moments during Elvis Costello's superb solo concert last night at downtown's Balboa Theater that it's difficult to rate one above another.

Alone on stage, with a half circle of six acoustic and electric guitars behind him, Costello commanded the attention of the sold-out crowd from the first notes of his opening selection, the 2002 gem "45," to the final, feedback-fueled echo of "(What's So Funny About) Peace, Love and Understanding?" The latter song, written by veteran Costello album producer Nick Lowe back in 1974 and first recorded by Lowe's band at the time, Brinsley Schwartz, found virtually the entire Balboa Theater audience on its feet, singing along in harmony, sweet harmony. It was a stunning conclusion to an altogether stunning evening.

In between these musical bookends came nearly two-dozen songs that spanned Costello's career. They ranged from such early favorites as "Alison" and "Watching the Detectives," both from his 1977 debut album, "My Aim Is True," to last year's "Sulphur to Sugarcane," which paid homage to Chuck Berry in his mid-1950s prime and to "Route 66" composer Bobby Troupe with its sly turns of phrase and references to various American locales that rarely figure in any songs lyrics I know of, among them Albany, Poughkeepsie and Bridgeport.

His vintage songs sounded as fresh as this morning, thanks to Costello's ability to add new musical twists -- be it subtle or dramatic melodic and rhythmic alterations, or employing guitar loops -- while remaining true to the songs' emotional essence.

"Veronica," the song he and Paul McCartney co-wrote back in the last century, was ingeniously re-set to a rollicking, Buddy Hollly-styled guitar progression that suggested "Peggy Sue." Conversely, "Alison" was performed at a near hush, with skeletal guitar chords suggesting what this classic ballad of unrequited love might have sounded like when Costello wrote it, alone in his bedroom.

The new material he debuted, including the as yet unrecorded "Jimmie Standing in the Rain" and "Slow Drag with Josephine," was uniformly impressive. So impressive, in fact, that he performed "Josephine" while sitting on the front of the stage, with no microphone for either his voice or his acoustic guitar, as the audience listened in hushed silence, the better to hear every word and inflection.

It was a brave move, brilliantly executed. So was the pacing of the concert itself, which rose from a whisper to a scream, then back again, as Costello mixed such lesser known songs as "Bedlam" and "Motel Matches" with a stunning medley of "Radio Sweetheart" and Van Morrison's ebullient "Jackie Wilson Said." (For those keeping count, at least four of the night's selections included lyrical references to wine, although it appeared Costello was sippping hot tea or coffee from the mug on the stool behind him.)

The multigenerational audience, which included San Diego basketball legend Bill Walton (who walked in with his own chair!), needed no prodding to engage in call-and-response vocals with Costello on "The Angels Want to Wear My Red Shoes" and other favorites. In addition to "(What's So Funny About) Peace, Love and Understanding," the encores included two other cover versions, a heartfelt rendition of the classic George Jones country ballad, "Good Year for the Roses," and a haunting version of the jazz standard, "All or Nothing at All" (a 1943 hit for Frank Sinatra), which came across as a wonderfully understated homage to Costello's wife, jazz vocal star Diana Krall.

Kudos, too, for Costello's soundman, who provided an excellent audio mix, and to the audience, which listened attentively and appreciatively throughout. Who said San Diego concert audiences are too often boorish loudmouths who chatter incessantly? Oh, yeah, that was me (too many times) in print.

Happily, at Elvis Costello's captivating one-man show at the Balboa Theater, the crowd realized just how special the concert was and responded accordingly, making it a win-win evening for all concerned.

[sweetest punch]

Blogaccount: http://setsuled.livejournal.com/586675.html

[woz]

Hope someone can use this as a guide for what was actually played. This was truly a wonderful show.

Cheers.

[And No Coffee Table]

Hope someone can use this as a guide for what was actually played.

And if anyone is up to that task, I'll point out that between the two reviews posted above, we already know these songs were played:

45
Veronica
Motel Matches
Everyday I Write The Book
Bedlam
Jimmie Standing In The Rain
Slow Drag With Josephine
Watching The Detectives
Radio Sweetheart / Jackie Wilson Said
God's Comic
Alison
Sulphur To Sugarcane
Lucky Dog
(The Angels Wanna Wear My) Red Shoes
All Or Nothing At All
Good Year For The Roses (not on the stage setlist)
(What's So Funny 'Bout) Peace, Love And Understanding?


Does anyone knows one way or the other whether these songs were played?

Either Side Of The Same Town
Down Among The Wines And Spirits
Brilliant Mistake
Bullets For The New-Born King
Indoor Fireworks
The River In Reverse
Stations Of The Cross
In Another Room
Almost Blue
The Spell That You Cast
One Bell Ringing
(What's So Funny 'Bout) Peace, Love And Understanding?
I Want You
My Three Sons
Man Out Of Time

[woz]

I have marked the ones that I know for certain were played and definitely not played. The others I just don't recall.

Does anyone knows one way or the other whether these songs were played?

Either Side Of The Same Town (yes)
Down Among The Wines And Spirits (yes)
Brilliant Mistake (yes)
Bullets For The New-Born King (yes)
Indoor Fireworks (no)
The River In Reverse (yes)
Stations Of The Cross (yes)
In Another Room
Almost Blue (no)
The Spell That You Cast
One Bell Ringing
(What's So Funny 'Bout) Peace, Love And Understanding? (yes)
I Want You (no)
My Three Sons (no)
Man Out Of Time

[johnfoyle]

http://www.sandiegoreader.com/news/2010 ... -so-funny/



What's So Funny?

By Dennis Donley

April 16, 2010

With a repertoire dating back to the late ’70s, Elvis Costello's stop at the Balboa Theatre featured an eclectic mix of old, new, and rare. Playing in a solo, mostly acoustic setting, the U.K.-born singer-songwriter treated the sold-out crowd to selections ranging from his most current release Secret, Profane and Sugarcane, produced by T-Bone Burnett, to digging deep into his songbook for audience sing-along “God's Comic.”

Costello has a distinct voice and method of phrasing well suited to a solo performance; his singing seemed to gain strength as the evening wore on. Highlights included “Watching the Detectives,” with an extended ending, crowd favorites “Alison” and “(The Angels Wanna Wear My) Red Shoes,” and Costello's rendering of Van Morrison's “Jackie Wilson Said (I'm in Heaven When You Smile).”

Costello’s rendition of the bawdy “From Sulphur to Sugarcane” (co-written with T-Bone Burnett) was part of an encore set that included “Good Year for the Roses” and “(What's So Funny 'Bout) Peace, Love and Understanding?” The performance was well paced and, as a fellow-attendee stated, “It was one of those shows you wish would never stop; a rare and delightful treat.”

[sweetest punch]

It's on Dime.

[sweetest punch]

http://www.signonsandiego.com/news/2010 ... ts-albums/

2010 in review: Best concerts & albums

Legends (Elvis Costello, Mavis Staples, Neil Young, Gil Scott-Heron) and newbies (Diane Birch, San Diego's Adam Lambert) made it year to remember.

It’s no coincidence that, as concert ticket prices rose to new highs in 2010, the concert industry’s profit margins seemed to drop to new lows with each passing month. According to Pollstar, the concert industry's leading weekly publication, total ticket sales dropped 15 percent in North America in 2010, plunging from 29.9 million in 2009 to 26.2 million this year.

That doesn’t mean there wasn’t far more memorable music performed here than can fit on this list of my favorite concerts of 2010 (and, below it, favorite albums). But unless the economy makes a sudden and stunning recovery that boosts attendance, the coming year will be a daunting one for performers and audiences alike.

In the meantime, here are some of my favorites musical moments from the past year, starting with concerts:

1. Elvis Costello, April 11, Balboa Theatre: In his first solo acoustic show here since 1987, this 2003 Rock and Roll Hall of Fame inductee gave a text book example of how to craft a no-nonsense concert for maximum musical and emotional impact. Costello was captivating from his opening selection, 2002’s “45,” to his final encore, a suitably rousing rendition of Nick Lowe’s 1974 gem, “(What’s So Funny About) Peace, Love and Understanding?”

In between came nearly two dozen songs that spanned his career, including some from his brand new “National Ransom” album. They ranged from early favorites “Alison,” “Watching the Detectives” and “Veronica” (recast with an infectious, Buddy Holly-ish lilt), to last year’s “Sulphur to Sugarcane,” which paid homage to both Chuck Berry and “Route 66” composer Bobby Troupe with its sly turns of phrase and references to various American locales that rarely figure in any song lyrics (among them Albany, Poughkeepsie and Bridgeport). When Costello sang the new “Slow Drag with Josephine” while seated on the edge of the stage, without a microphone or guitar, the consistently attentive audience listened with the kind of hushed attention that has become all too rare in these days of constantly chattering crowds and boorish “fans” chatting on their cell phones in mid-song.
(...)