Review of concert from 2002-11-01: Orlando, FL, Hard Rock Café
- with Imposters
Orlando Sentinel, 2002-11-05
- Jim Abbott
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Elvis Costello, in an exceptional show at Hard
Rock Live, mined engaging nuances in early masterpieces as well
as his new offerings. (JULIE FLETCHER/ORLANDO SENTINEL) |
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Costello shows breadth of his artistic range
By Jim Abbott | Sentinel Pop Music Writer
Posted November 4, 2002
Elvis Costello has taken a few detours in the past decade, indulging
his classical taste and crooning with Burt Bacharach.
But the singer demonstrated in an exceptional show Friday at Hard Rock
Live that he's still capable of unleashing exuberant rock that resonates
with impressive emotional depth.
Dressed in a conservative brown suit that matched his close-cropped
haircut, Costello emerged to the William Tell Overture and launched
into a raucous "I Hope You're Happy Now," from 1986's Blood
& Chocolate.
In his late 40s, Costello is no longer an angry young man. Instead,
he mines his maturity to uncover engaging nuances in familiar material.
An early masterpiece such as "Alison," unveiled in the third
encore of the two-hours-plus show, was delivered with a bittersweet
edge that contrasted with the bluntness of the original. Then, Costello
artfully segued into a rock-flavored slice of the Jim Reeves' country
classic "He'll Have to Go" before making an inspired turn
into Elvis Presley's "Suspicious Minds."
A connection between punk, Nashville and the King seems unlikely, but
it illuminates the stylistic range that elevates Costello above the
realm of typical rock stars.
Not content to limit himself to slashing guitar riffs, Costello brushed
against the blues in the Telecaster solo that opened the rollicking
"I Can't Stand Up for Falling Down," donned an acoustic guitar
for a beautifully understated "Man Out of Time" and dabbled
in Italian pop on "When I Was Cruel," the title track of his
new album.
At several points, the new material dovetailed nicely with older favorites,
suggesting that Costello has maintained his creative momentum better
than other acts in his demographic. The rumbling drums and loopy organ
on the new "45" yielded gracefully to the upbeat syncopation
of "Less Than Zero," off the seminal My Aim Is True.
Costello's backing band attacked the harder rocking songs with gusto,
especially longtime drummer Pete Thomas and keyboardist Steve Nieve.
Though not featured as prominently, bassist Davey Faragher (Cracker)
contributed to an airtight rhythm section.
The guitar-driven sound was balanced by Nieve's well-placed keyboard
arpeggios, which rose like a fierce wind gust in "Waiting for the
End of the World." He also made judicious use of the theremin,
waving his hands at the vintage electronic instrument to create spacey
sound effects in "Tear Off Your Own Head (It's a Doll Revolution)."
Unfortunately, it was sometimes hard to hear the vocals in the balcony,
though the mix was much better on the floor.
Perhaps because Costello's darkly expressive voice is so captivating,
it's easy to forget that he's a formidable guitarist. He proved it with
a shower of dissonant notes on "Uncomplicated" and an ominous
solo on "When I Was Cruel."
Then he finished with a sprint through classics including "Radio
Radio" and "Pump It Up" that shows he can still do that.
Even if he is more mature.
Copyright © 2002, Orlando Sentinel