Review of concert from 2002-07-10: Sydney, Enmore Theatre -
with Imposters
Sydney Morning Herald, 2002-07-12
- Bernard Zuel
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Relentless revue ... Elvis Costello.
Photo: Domino Postiglione |
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This time around, Elvis really rocks
Elvis Costello and the Imposters
Reviewed by Bernard Zuel
Enmore Theatre, July 10
Key moment no. 1: Spooky Girlfriend. Here was a slice of warped
dance music - slinky, sly and not at all slight - coming across as virtuoso
R&B producer Timbaland's running head first into a seaside brass band.
You could see why Elvis Costello wants Destiny's Child to record the
song. And why they should hire the Imposters for grunt.
The last time Elvis Costello was here, backed only by pianist Steve
Nieve, the nights were deconstructions or at least reductions with songs
pared to their essential elements of melody and hook. Those were nights
for sitting down.
This tour, with the fluid, light fingered Davey Faragher more than
capably replacing long-time bass player Bruce Thomas, alongside original
Attractions drummer Pete Thomas and Nieve, is as far from quiet and
polite as can be.
This is a rock 'n' roll show with relative subtlety traded in for
plenty of volume, consistent hustle and a seesawing balance between
visceral and intellectual.
Key moment no. 2: Tart seguing into Beyond Belief seguing
into Accidents Will Happen. The Imposters shimmied from the Costa
del Sol-flavoured angular ballad Tart into a nervy, bustling
ithat chased itself all the way into Accidents Will Happen. The
underlying theme was bristling power. You shouldn't be sitting for this.
While being at their core what Costello has called "beat music" and
therefore seen by some as a return to his roots, the new songs are intriguing
variations on regulation Costello. Thrown together into the relentless
revue style show the old and new didn't merge so much as bounce off
each other, sparking different angles.
Key moment no 3: When I Was Cruel. Coming out of the barrelling
'50s style rocker Honey Are You Straight Or Are You Blind?, the
mood almost naturally turned to '50s noir. With a sampled voice intoning
one word and a drum loop repeating on itself we were in a macabre dance
that seemed the perfect soundtrack to a David Lynch ballroom scene.
No radical change in arrangements this tour. But that wasnt a loss,
not when delivered with the kind of energy typified by the windmilling
arms of Thomas who drove Radio Radio with pounding toms and the
duelling guitars and keyboards of (I Don't Want To Go To) Chelsea.
Key moment no. 4: I Want You. In the fourth encore, the exuberant
power-pop double from 1978 of You Belong To Me and Pump It
Up looked like the obvious way to end the show: the room bouncing,
the energy levels peaking. But a sharp right turn took us into I
Want You, the darkest and disturbing of obsessive tales. With the
lights turned to blue, the Imposters holding themselves back and Costello
almost maniacally repeating key phrases, the song now had a real murderous
edge. It was what you expected but more; traditional but twisted. A
lot like the night. Impressive. Very impressive.