Review of concert at 1999-11-07: Bristol, Colston Hall
Elvis Costello & Steve Nieve
- Philip King [philip@pking.freeserve.co.uk]

 

Review of Elvis Costello & Steve Nieve
Lonely World Tour - Part 2

Colston Hall, Bristol - November 7th 1999
By Phil King [philip@pking.freeserve.co.uk]

 

I would gladly have demolished a third helping of the same rich feast as I had seconds of in part 1 of the Lonely World Tour. But as that time approached I couldn't help wondering just how the menu would change this time around. The fact was that the merest three months had elapsed since the end of the previous leg, and Elvis had hardly used this time in relaxation as we know it. So what an amazing bonus it was for me to be sitting here at all.

A packed Colston Hall scarcely noticed the grey-clad Elvis take to the pitch-black stage at a touch past 8pm, but certainly did sit up straight as the opening bars of the excellent new Alibi Factory hit row 1. Already it was clear that things had indeed moved on since last time. The lively new opener is a strong attention-grabbing number performed with no spot, and a subdued purple-lit backdrop the only clue that the lighting circuit hadn't given up the ghost. As the opener died away, belated illumination revealed our man at the helm, and the Maestro Nieve surrounded by rather more in the way of electronic apparatus...

It was clear from the outset that The Voice was in fine form, in no way suffering from the exertions of this year's ambitious schedule. Nieve's virtuousity too was immediately in evidence as more familiar songs were served up, many in new and revitalised arrangements. The step-back-from-the-mic fade that Elvis has made his trademark was used throughout to exquisite effect, but notably in New Lace Sleeves and Suspect My Tears (which he finished 6 feet back from the mic!). Costello's music is the perfect vehicle for his amazing voice, which just goes on improving. With that unique vibrato, it snarls, it croons, it rasps as it resonates to every corner of the hall, even without amplification. It reaches the way-up-high notes and, with equal poise, it polishes the floor. It exudes all the sneering belligerence of his angry youth, and yet caresses the tender, aching beauty of songs like Alison, I Want You and Shipbuilding with such precise enunciation than one can be in no doubt that this man is one of the finest songwriters and perfomers around.

This duo has matured and diversified from totally stripped back arrangements, though these were thankfully still aplenty, to a fuller sound afforded by the wider range of instrumentation. Elvis's natural warmth and humour is plain for all to see as he exchanges jokes, glances, and anecdotes with the audience throughout, and even asks whether we mind hearing another new song! The two play as well together as against each other in songs like Chelsea, with Steve's frenzied piano giving way to Elvis's staccato guitar breaks. Clubland was treated to a techno face-lift which turned into a superb jam session including a wailing guitar solo from Elvis. Watching The Detectives too was huge fun, drawing a standing ovation designed to bring them back onto stage yet again.

Tonight's set gave less prominence to Painted From Memory in favour of the new material, the strength of which points to a bright future, and the sobering thought that we might not yet have heard the very best of Elvis Costello.