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In the past, Elvis Costello has exhibited the boldness of a mafioso and the cunning calculation of a Boris Spassky. He's a perpetual fugitive from predictability and has always gambled on the unexpected move. And with a conviction to set his own terms and write his own rules, Costello has consistently remained true to himself and his aim.
His recent San Francisco solo performance was no exception. After all, who, in 1976 or even 1984, would have pictured England's angry young man performing solo for two hours, let alone covering George Jones and Bob Dylan numbers? (Costello's early career was characterized by notoriously short 45-minute shows.)
Costello thrives on throwing musical spitballs and is prone to bait fans into thinking they'll get what they want. They rarely will. For instance, during his Imperial Bedroom tour he had fans on their knees begging for screaming, fast dance standards. Instead he answered with tender ballads like "Almost Blue." Typical Elvis.
But unlike fans at those past performances, the Warfield crowd was surprisingly patient, undemanding and almost reverent. It devoured virtually every song the tunesmith offered without expectation of dancing delirium.
Standing tiptoe on glossy red loafers, the deceptively unassuming Costello opened with "Little Fool" to kick off a 34-song barrage which not only showcased his continued growth as a singer-songwriter, but also unearthed his sprawling, diverse musical roots.
Costello's lyrical brilliance came to the fore riding the crest of his rich, husky voice. The thick, deep vocal resonance he seems to have perfected dominated Costello's diminutive weaponry: the bare essentials of a Martin, a Telecaster, Fender Rhodes and standup piano.
Without The Attractions, Costello had more freedom to draw on his many influences and pull such original old gems out of the closet as "Just a Memory," "Riot Act" and a magnificent "Motel Matches," which he played on the Fender Rhodes.
Armed Forces' "Green Shirt" was the most refreshing and startling selection, eliciting percussive response from the audience, which clapped its assistance at precisely the right moment of the song. He's appeared to have maintained many of his original fans, despite his wide variations in style.
Usually reserved on stage, Costello joked with the audience throughout, throwing wry barbs at Blue Oyster Cult and Lionel Richie, among others.
The prolificacy of Costello's songwriting is remarkable. With over 150 songs to his name, Costello's capacity to rattle off tune after flawless tune is simply amazing. He played four new numbers, including "The Only Flame in Town," "Worthless Thing" and "Inch by Inch." The material will be pressed onto vinyl some time soon and is rumored to be released this summer.
At the Warfield the night before, Costello played a much different set, which included Beatles and Flying Burrito Brothers covers. He also juggled his own songs around, playing "New Amsterdam," "Almost Blue" and "Accidents Will Happen," which were conspicuously absent in the Sunday show.
Ending his 20-song block with "Everyday I Write the Book," Costello returned for five encores, including Bob Dylan's "I Threw It All Away," "(The Angels Wanna Wear My) Red Shoes" and a passionate, extended "Alison."
Called back with a five-minute standing ovation, Costello was joined by T Bone Burnett. After three Burnett performances, I'm convinced he's overrated and his own worst enemy. Though a skillful songwriter, the darling of the press has the annoying habit of consistently interrupting his well-crafted, serious songs with cute, tiresome antics; his casual stage presence seems to be a facade for insecurity. The world doesn't need another Dr. Gonzo.
Burnett's harmonies with Costello, however, were absolutely brilliant, particularly on George Jones' "She Thinks I Still Care" and Scott McKenzie's "San Francisco (Be Sure to Wear Flowers in Your Hair)." Costello nominated the latter as the city's official song in reference to last week's council hearings on the matter. Their duets highlighted Costello's penchant for American country music, which he exposed throughout the show, at times pushing dangerously close to the point of excess.
Still unsatisfied, the audience hauled Costello onstage again to cap his extraordinarily eclectic performance with The Band's classic "Stage Fright." He finished the concert crooning out "Shipbuilding" and a Lennonesque new original titled "Peace in Our Time," by far his most political song to date.
By evening's end, Elvis had succeeded, as usual, in frustrating, puzzling, educating and finally satiating his audience — on his terms. For this reason Costello continues to be the most potent and significant force in the maturation of new wave.
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