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Stately, plump Elvis Costello took the Keil Opera House stage precisely at 9 with an energetic treatment of his classic "Accidents Will Happen." He didn't stay stately for long.
How could he, having so much making up to do after his kamikaze attack on this town a little over three years ago. At that time, touring after his third album, Armed Forces, had been released, he played a blistering but begrudged 45 minutes and left on foul terms with a local radio station or two.
But now, his eighth release, Imperial Bedroom, paints a picture of a literate, mature rock artist at the peak of his powers.
His concert painted the same dynamic, multi-faceted portrait. It was easily one of the most satisfying, revitalizing rock events I've witnessed in the past three years.
All of his early material was substantially revised. To the terse "Green Shirt," keyboard colorist Steve Neive added tension with a staccato, telegraphic line. "Watching the Detectives" laid bare the reggae influence in its construction.
His newest material came across with the precision of a razor's edge, matched by the taut playing of his band, the Attractions.
Enough credit cannot be given to Neive, who follows Elvis through all his influences and directs the band's orchestrations, and to drummer Pete Thomas and bassist Bruce Thomas. These men have been with Elvis almost since the beginning. It shows onstage in their crispness and obvious empathy.
Elvis appreciates it. You can almost see it in his eyes as he glances toward Neive and then shifts his gaze to bassist Thomas, following musical ideas he must have run through a thousand times as though they were as fresh as dew.
Fresh as his recast interpretations of country music and of classic soul music. You don't have to ask Elvis where he comes from — he'll dig up the roots himself and serve them on a monogrammed platter.
Tonight he rewrote the book on Charlie Rich's "Sittin' and Thinkin' " and on Hank Williams' "Why Don't You Love Me (Like You Used to Do)," Both are from his Nashville tribute LP Almost Blue, but both were shaken up on stage into even rockier modes than on that record.
He gave Smokey Robinson his due, too, and the O'Jays's, literally rewriting their "Backstabbers" from an uptown-slick, understated admonition into an explosion that segued into his own carefully weighed "Pretty Words."
It was an explosive evening, but not the unregulated emission of steam that characterized his last appearance. Though the house was packed and cheering, he could follow the tempest of "Red Shoes" with Joe Stampley's placid "All These Things" and witness the audience following his mood.
Relaxed, even cheerful, Costello unveiled two new compositions. "Imperial Bedroom," not to be found on the album of the same name, uses a sinuous Persian keyboard line to explore casual intimacies. A newer composition, a collaboration with Clive Langer titled "Shipbuilding," localizes the recent British war panic with well-drawn, palpable imagery.
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