Elvis , solo, Gothenburg , Sept. 29 2014
Elvis , solo, Gothenburg , Sept. 29 2014
Who's going etc ?
Re: Elvis , solo, Gothenburg , Sept. 29 2014
http://www.gp.se/kulturnoje/recensioner ... um=twitter
Picture: Jonas Lindstedt
Elvis Costello | Lorensbergsteatern, Monday
Johan Lindqvist
031-62 47 78
johan.lindqvist@gp.se
Best: The song, the enthusiasm, the stories
Worst: He did not play the Little Palace.
Attendance: Full attendance
Elvis Costello storms into, well actually just storms onto the stage and blurts out the (Angels wanna wear my) Red Shoes 1977 In dark pink jacket, tight jeans and the usual hat, he takes its natural place in front of the six established guitars.
Costello beats briskly from the bouncy versions of both Opportunity as Veronica and send a greeting to Ron Sexsmith before he makes a soft, simple Everyday I write the book. It's audience wooing of more pushy kind but done with so much clarity that it is impossible to blame Elvis Costello for taking the easy way out or emphasize the grain.
This tour, this show is presented as an evening where Costello on their own to play songs from his entire career spiced with tributes to his musical heroes. All this he does, but where I probably still expecting me a pleasant guided tour of the celebrated want something different. Filled sixty Elvis Costello would be able to treat themselves to wax nostalgic, but it's like he rather meet us in the middle of the step.
He takes itself seamlessly from a puttrig interpretation of Nat King Cole Walking my baby back home, via a looped guitar in Watching the Detectives and on to the piano. There, he first gives us a rapturous Everybody's crying mercy and then a skinless Ship Buildning.
Costello sings with an intensity and attack that impresses and concerns. He pry up the winding, dizzying låtbyggen from his many different guitars. Well, I would think that the word sometimes gets a little static, and that the songs are too convoluted for its own good.
But Elvis Costello is a master who knows never to paint himself into a corner. Full track as he has both its own expression and their increasingly detailed musical map. Few others have such a breadth of musical acts, yet with a consistent voice.
Costello twitches and knixar through songs, tells fine stories - I'd love to have even more of them - and in the end, he hangs on to the electric guitar and come oxygen into the old theater hall with newly written The Last of year of my youth. Last of all, Jimmie Standing in the Rain / Brother can you spare a dime as he did at Skavlan earlier this week. A final soulful roar out of the stalls and the standing ovation is well deserved.
Johan Lindqvist
031-62 47 78
johan.lindqvist@gp.se
Picture: Jonas Lindstedt
Elvis Costello | Lorensbergsteatern, Monday
Johan Lindqvist
031-62 47 78
johan.lindqvist@gp.se
Best: The song, the enthusiasm, the stories
Worst: He did not play the Little Palace.
Attendance: Full attendance
Elvis Costello storms into, well actually just storms onto the stage and blurts out the (Angels wanna wear my) Red Shoes 1977 In dark pink jacket, tight jeans and the usual hat, he takes its natural place in front of the six established guitars.
Costello beats briskly from the bouncy versions of both Opportunity as Veronica and send a greeting to Ron Sexsmith before he makes a soft, simple Everyday I write the book. It's audience wooing of more pushy kind but done with so much clarity that it is impossible to blame Elvis Costello for taking the easy way out or emphasize the grain.
This tour, this show is presented as an evening where Costello on their own to play songs from his entire career spiced with tributes to his musical heroes. All this he does, but where I probably still expecting me a pleasant guided tour of the celebrated want something different. Filled sixty Elvis Costello would be able to treat themselves to wax nostalgic, but it's like he rather meet us in the middle of the step.
He takes itself seamlessly from a puttrig interpretation of Nat King Cole Walking my baby back home, via a looped guitar in Watching the Detectives and on to the piano. There, he first gives us a rapturous Everybody's crying mercy and then a skinless Ship Buildning.
Costello sings with an intensity and attack that impresses and concerns. He pry up the winding, dizzying låtbyggen from his many different guitars. Well, I would think that the word sometimes gets a little static, and that the songs are too convoluted for its own good.
But Elvis Costello is a master who knows never to paint himself into a corner. Full track as he has both its own expression and their increasingly detailed musical map. Few others have such a breadth of musical acts, yet with a consistent voice.
Costello twitches and knixar through songs, tells fine stories - I'd love to have even more of them - and in the end, he hangs on to the electric guitar and come oxygen into the old theater hall with newly written The Last of year of my youth. Last of all, Jimmie Standing in the Rain / Brother can you spare a dime as he did at Skavlan earlier this week. A final soulful roar out of the stalls and the standing ovation is well deserved.
Johan Lindqvist
031-62 47 78
johan.lindqvist@gp.se
Re: Elvis , solo, Gothenburg , Sept. 29 2014
Ulf Gotthardsson posts -
Tonight’s 2 hour long concert in Gothenburg was even better than the one in Randers two days ago. A little shorter, better overall tempo and a very pleasant sound. Elvis told us that he hadn’t played in Gothenburg in 31 years (I know, I saw him there on the ”Punch The Clock” tour), and he almost promised it wouldn’t be another 31 years until next time .
I’m not very good at taking notes in the dark, especially not with a broken pencil. This list may have a few titles in the wrong order, but most of it should be correct.
Red Shoes
Either Side Of The Same Town
Veronica
Last Boat Leaving
It Started To Come To Me
Ascension Day
Flutter And Wow
Opportunity ( It's second outing since 1996 - Manchester in July this year was the most recent - JF)
Everyday I Write The Book
Walking My Baby Back Home
You Turned To Me
Ghost Train
Toledo
She
Detectives
-
Come The Meantimes
Everybody’s Crying Mercy (on piano) ( Only the second time it's been done since 2003 (last time in 2010) - JF)
Shipbuilding (on piano)
Oliver’s Army
My Three Sons
Alison (no amps – ”electricity is my enemy”)
-
Last Year Of My Youth
PLU
Less Than Zero
-
Jimmy Standing In The Rain / Brother Can You Spare A Dime
Very positive comments from people around me afterwards, and lots and lots of smiles!
Tonight’s 2 hour long concert in Gothenburg was even better than the one in Randers two days ago. A little shorter, better overall tempo and a very pleasant sound. Elvis told us that he hadn’t played in Gothenburg in 31 years (I know, I saw him there on the ”Punch The Clock” tour), and he almost promised it wouldn’t be another 31 years until next time .
I’m not very good at taking notes in the dark, especially not with a broken pencil. This list may have a few titles in the wrong order, but most of it should be correct.
Red Shoes
Either Side Of The Same Town
Veronica
Last Boat Leaving
It Started To Come To Me
Ascension Day
Flutter And Wow
Opportunity ( It's second outing since 1996 - Manchester in July this year was the most recent - JF)
Everyday I Write The Book
Walking My Baby Back Home
You Turned To Me
Ghost Train
Toledo
She
Detectives
-
Come The Meantimes
Everybody’s Crying Mercy (on piano) ( Only the second time it's been done since 2003 (last time in 2010) - JF)
Shipbuilding (on piano)
Oliver’s Army
My Three Sons
Alison (no amps – ”electricity is my enemy”)
-
Last Year Of My Youth
PLU
Less Than Zero
-
Jimmy Standing In The Rain / Brother Can You Spare A Dime
Very positive comments from people around me afterwards, and lots and lots of smiles!
Re: Elvis , solo, Gothenburg , Sept. 29 2014
http://www.gp.se/kulturnoje/recensioner ... rgsteatern
Elvis Costello
Lorensbergsteatern, måndag
Bäst: Sången, entusiasmen, berättelserna
Sämst: Han spelade inte Little palaces.
Publik: Fullsatt
Elvis Costello stormar in, ja faktiskt just stormar, in på scenen och kastar ur sig (Angels wanna wear my) Red shoes från 1977. I mörkrosa kavaj, tajta jeans och den sedvanliga hatten tar han sin självklara plats framför de sex uppställda gitarrerna.
Costello slår raskt ur sig spänstiga versioner av såväl Opportunity som Veronica och skickar en hälsning till Ron Sexsmith innan han gör en mjuk, enkel Everyday I write the book. Det är publikfrieri av den mer framfusiga sorten men samtidigt gjort med så mycket skärpa att det är omöjligt att skylla Elvis Costello för att ta den enkla vägen eller stryka medhårs.
Den här turnén, den här spelningen, presenteras som en kväll där Costello på egen hand ska spela låtar från hela sin karriär kryddade med hyllningar till sina musikaliska förebilder. Allt detta gör han, men där jag nog ändå förväntande mig en behaglig guidad tur vill jubilaren något annat. Fyllda sextio skulle Elvis Costello kunna unna sig att bli nostalgisk men det är som att han snarare möter oss mitt i steget.
Han tar sig sömlöst från en puttrig tolkning av Nat King Coles Walking my baby back home, via en loopad gitarr i Watching the detectives och vidare till pianot. Där ger han oss först en hänryckt Everybody's crying mercy och sedan en hudlös Shipbuildning.
Costello sjunger med en intensitet och attack som imponerar och berör. Han bänder fram vindlande, svindlande låtbyggen ur sina många olika gitarrer. Jo, jag kan tycka att uttrycket ibland blir en aning statiskt och att sångerna blir för snåriga för sitt eget bästa.
Men Elvis Costello är en mästare som vet att aldrig måla in sig själv i något hörn. Full koll som han har både sitt eget uttryck och sin alltmer detaljerade musikaliska karta. Få andra har sådan bredd i sin musikaliska gärning, men ändå med en konsekvent röst.
Costello knycker och knixar sig genom låtarna, berättar fina historier – jag hade gärna haft ännu mer av dem – och till slut hänger han på sig elgitarren och stöter syre in i den gamla teaterlokalen med nyskrivna The Last of year of my youth. Allra sist, Jimmie standing in the rain /Brother can you spare a dime som han gjorde hos Skavlan tidigare i veckan. Ett sista själfullt vrål ut över parketten och de stående ovationerna är välförtjänta.
google translate version:
Singer / songwriter
Elvis Costello
Lorensbergsteatern, Monday
Best: The song, the enthusiasm, the stories
Worst: He did not play the Little Palace.
Attendance: Full attendance
Elvis Costello storms into, well actually just storms onto the stage and blurts out the (Angels wanna wear my) Red Shoes 1977 In dark pink jacket, tight jeans and the usual hat, he takes its natural place in front of the six established guitars.
Costello beats briskly from the bouncy versions of both Opportunity as Veronica and send a greeting to Ron Sexsmith before he makes a soft, simple Everyday I write the book. It's audience wooing of more pushy kind but done with so much clarity that it is impossible to blame Elvis Costello for taking the easy way out or emphasize the grain.
This tour, this show is presented as an evening where Costello on their own to play songs from his entire career spiced with tributes to his musical heroes. All this he does, but where I probably still expecting me a pleasant guided tour of the celebrated want something different. Filled sixty Elvis Costello would be able to treat themselves to wax nostalgic, but it's like he rather meet us in the middle of the step.
He takes itself seamlessly from a puttrig interpretation of Nat King Cole Walking my baby back home, via a looped guitar in Watching the Detectives and on to the piano. There, he first gives us a rapturous Everybody's crying mercy and then a skinless Ship Buildning.
Costello sings with an intensity and attack that impresses and concerns. He pry up the winding, dizzying låtbyggen from his many different guitars. Well, I would think that the word sometimes gets a little static, and that the songs are too convoluted for its own good.
But Elvis Costello is a master who knows never to paint himself into a corner. Full track as he has both its own expression and their increasingly detailed musical map. Few others have such a breadth of musical acts, yet with a consistent voice.
Costello twitches and knixar through songs, tells fine stories - I'd love to have even more of them - and in the end, he hangs on to the electric guitar and come oxygen into the old theater hall with newly written The Last of year of my youth. Last of all, Jimmie Standing in the Rain / Brother can you spare a dime as he did at Skavlan earlier this week. A final soulful roar out of the stalls and the standing ovation is well deserved.
Elvis Costello
Lorensbergsteatern, måndag
Bäst: Sången, entusiasmen, berättelserna
Sämst: Han spelade inte Little palaces.
Publik: Fullsatt
Elvis Costello stormar in, ja faktiskt just stormar, in på scenen och kastar ur sig (Angels wanna wear my) Red shoes från 1977. I mörkrosa kavaj, tajta jeans och den sedvanliga hatten tar han sin självklara plats framför de sex uppställda gitarrerna.
Costello slår raskt ur sig spänstiga versioner av såväl Opportunity som Veronica och skickar en hälsning till Ron Sexsmith innan han gör en mjuk, enkel Everyday I write the book. Det är publikfrieri av den mer framfusiga sorten men samtidigt gjort med så mycket skärpa att det är omöjligt att skylla Elvis Costello för att ta den enkla vägen eller stryka medhårs.
Den här turnén, den här spelningen, presenteras som en kväll där Costello på egen hand ska spela låtar från hela sin karriär kryddade med hyllningar till sina musikaliska förebilder. Allt detta gör han, men där jag nog ändå förväntande mig en behaglig guidad tur vill jubilaren något annat. Fyllda sextio skulle Elvis Costello kunna unna sig att bli nostalgisk men det är som att han snarare möter oss mitt i steget.
Han tar sig sömlöst från en puttrig tolkning av Nat King Coles Walking my baby back home, via en loopad gitarr i Watching the detectives och vidare till pianot. Där ger han oss först en hänryckt Everybody's crying mercy och sedan en hudlös Shipbuildning.
Costello sjunger med en intensitet och attack som imponerar och berör. Han bänder fram vindlande, svindlande låtbyggen ur sina många olika gitarrer. Jo, jag kan tycka att uttrycket ibland blir en aning statiskt och att sångerna blir för snåriga för sitt eget bästa.
Men Elvis Costello är en mästare som vet att aldrig måla in sig själv i något hörn. Full koll som han har både sitt eget uttryck och sin alltmer detaljerade musikaliska karta. Få andra har sådan bredd i sin musikaliska gärning, men ändå med en konsekvent röst.
Costello knycker och knixar sig genom låtarna, berättar fina historier – jag hade gärna haft ännu mer av dem – och till slut hänger han på sig elgitarren och stöter syre in i den gamla teaterlokalen med nyskrivna The Last of year of my youth. Allra sist, Jimmie standing in the rain /Brother can you spare a dime som han gjorde hos Skavlan tidigare i veckan. Ett sista själfullt vrål ut över parketten och de stående ovationerna är välförtjänta.
google translate version:
Singer / songwriter
Elvis Costello
Lorensbergsteatern, Monday
Best: The song, the enthusiasm, the stories
Worst: He did not play the Little Palace.
Attendance: Full attendance
Elvis Costello storms into, well actually just storms onto the stage and blurts out the (Angels wanna wear my) Red Shoes 1977 In dark pink jacket, tight jeans and the usual hat, he takes its natural place in front of the six established guitars.
Costello beats briskly from the bouncy versions of both Opportunity as Veronica and send a greeting to Ron Sexsmith before he makes a soft, simple Everyday I write the book. It's audience wooing of more pushy kind but done with so much clarity that it is impossible to blame Elvis Costello for taking the easy way out or emphasize the grain.
This tour, this show is presented as an evening where Costello on their own to play songs from his entire career spiced with tributes to his musical heroes. All this he does, but where I probably still expecting me a pleasant guided tour of the celebrated want something different. Filled sixty Elvis Costello would be able to treat themselves to wax nostalgic, but it's like he rather meet us in the middle of the step.
He takes itself seamlessly from a puttrig interpretation of Nat King Cole Walking my baby back home, via a looped guitar in Watching the Detectives and on to the piano. There, he first gives us a rapturous Everybody's crying mercy and then a skinless Ship Buildning.
Costello sings with an intensity and attack that impresses and concerns. He pry up the winding, dizzying låtbyggen from his many different guitars. Well, I would think that the word sometimes gets a little static, and that the songs are too convoluted for its own good.
But Elvis Costello is a master who knows never to paint himself into a corner. Full track as he has both its own expression and their increasingly detailed musical map. Few others have such a breadth of musical acts, yet with a consistent voice.
Costello twitches and knixar through songs, tells fine stories - I'd love to have even more of them - and in the end, he hangs on to the electric guitar and come oxygen into the old theater hall with newly written The Last of year of my youth. Last of all, Jimmie Standing in the Rain / Brother can you spare a dime as he did at Skavlan earlier this week. A final soulful roar out of the stalls and the standing ovation is well deserved.