Contra Costa Times, June 21, 2006
Posted on Wed, Jun. 21, 2006
CONCERT REVIEW
Elvis Costello, Allen Toussaint bring powerful New Orleans blues to Oakland
By Tony Hicks CONTRA COSTA TIMES
It was just short of an Amen. And that's not bad, considering some think this whole collaboration between Elvis Costello and Allen Toussaint is a stretch.
It's not. The English pop Renaissance man and the famed New Orleans soul pianist brought their unique, Katrina-inspired collaboration to Oakland's Paramount Theatre on Tuesday night. And while there were few moments that made one want to leap to one's feet, it was a mostly smooth trip through intersecting musical styles. While Costello garnered most of the attention, as frontman of the project and the bigger celebrity, most of the set was clearly on Toussaint's turf of roots soul and blues.
Costello loves going out of what appears to be his normal bounds. Because so many artists immediately went right to the aid of New Orleans' musicians after last year's devastating hurricane, this effort may have seemed forced. Seeing it live made it much more natural.
Much of the material from the 21/2-hour set came from the pair's new record "The River in Reverse." After Costello and his Imposters properly warmed up the crowd, opening with "(What's So Funny 'Bout) Peace, Love and Understanding?" out came the four-piece Crescent City Horns to pump up Costello's "Monkey to Man," while Toussaint sauntered out about halfway through.
With the full band assembled, the musicians got right down to business on "The River in Reverse's" opening, mid-tempo blues chunker "On Your Way Down." Costello was clearly enjoying his foray into American roots, pushing his voice when presented with the chance, on songs like "Freedom for the Stallion." The arrangements were tight, with the horns packing extra punch for the older Costello songs. While there were ups and downs, and not everything worked well, there was still plenty of high points.
"Tears, Tears and More Tears" was as buoyant as Lyle Lovett's best live moments, splicing blues with gospel. "Broken Promise Land," had a tinge of the revivalist by the end, with Costello yelling the line "In the name of the father and the son, in the name of gasoline and a gun," playing to the political leanings of the crowd.
Costello's "Poisoned Rose," was a nice surprise; another example of how a change of scenery can do wonders for a song otherwise buried in a big back catalog.
Toussaint was content sideman for most of the night, though it was a great treat to see him pull out a big version of "Yes We Can Can," at the Paramount -- appropriate considering Oakland's Pointer Sisters made it one of their first big hits more than 30 years ago.
Toussaint disappeared for a few songs toward show's end, which may have contributed to a deflated vibe, though the audience did get up for Costello's "Watching the Detectives" and "Pump it Up." Toussaint returned with Costello for a bare-bones "Ascension Day," then with the full band on a rocking "International Echo." The pair put together a stunning new arrangement for "Alison," quieting it down and highlighting the song's feel with some selected, well-done sax and flute.
They brought everyone up out of their seats for the encores, including Toussaint's "Fortune Teller," and the perfect send-off from the new record, "The Sharpest Thorn." People were still humming it in the parking lot after the show -- always a good sign.
Tony Hicks is the Times' pop music critic. Reach him at 925-952-2678 or thicks@cctimes.com.
