Hollywood Reporter, July 12, 2006

Costello, Toussaint bring Bourbon St. to NYC

Tue Jul 11, 2006

By Mick Stingley

NEW YORK (Hollywood Reporter) - Allen Toussaint and Elvis Costello brought their collaborative talent and charm to the first of two sold-out shows here to celebrate the spirit of the city of New Orleans.

It was a joyous evening mitigated only by the tragedy of Hurricane Katrina, which led Costello and Toussaint to write their new album, "The River In Reverse" (Verve), which the legendary songwriters performed during the course of three hours.

Opening the show with his band, the Imposters, Costello set the tone with a smoldering version of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding." Loud, angry and in excellent voice, Costello asked the question, "Is all hope lost?"

Costello then was joined by Toussaint, the Crescent City Horns and guitarist Anthony "AB" Brown. The formidable presence of the ensemble brought the mirth and pathos of a Bourbon Street juke joint as the group ranged through songs from the new album and trinkets from Costello's and Toussaint's catalogs.

Costello was the perfect foil for Toussaint's cool and hammed it up as ringmaster and emcee, serving as a street barker slyly beckoning listeners to consider the gravity of the lyrics beneath the horn-driven romps. The new songs "On Your Way Down" and "Tears, Tears and More Tears" were lively, piano-driven compositions that Costello crooned over, pleasantly masking the aching inspiration the New Orleans-based Toussaint must have felt when he wrote them. Imposter Steve Nieve slammed out a groove on a Hammond B3 alongside Toussaint's piano while Costello sang "Broken Promise Land"; the audience could not help but sway along.

Costello did not disappoint his fans, fleshing out a few of his old songs with the horn section. The gentle reggae skank of "Watching the Detectives" was remade as a hot jazz waltz; "Pump It Up" became more buoyant; befitting the evening, "Alison" was bittersweet. Costello and Toussaint closed with "The Sharpest Thorn," leading the audience through its mournful chorus.

It would seem that all hope is not lost, but, like the New Orleans about which the two men wrote and sang so passionately, merely mired in mud and bureaucracy.

Reuters/Hollywood Reporter