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MANSFIELD — It seems like Elvis Costello wants to be a cabaret singer now.
That would be a bizarre transition for a man who rode the new, raw rock 'n' roll wave from Britain, unabashedly smashing through disco's late 1970s chokehold on the record charts. It took explosive, almost brutal, energy to bring about that refreshing change in dance music forms, and that kind of raging energy is what one has come to expect from a Costello show.
But last night's performance before a sold-out crowd of about 15,000 at Great Woods, although strong and generous, lacked the expected energetic edge, especially on the crashing rock numbers that most require it.
Costello put his greatest efforts into slower, smoky songs, demonstrating a vocal depth and range that wasn't apparent on his earlier, angrier records. His best vocal effort in that vein came almost at the end of the show on "I Want You," which he shaded richly with tones alternately sandy and lush. Even some of his rock standards like "(The Angels Wanna Wear My) Red Shoes" got a bit of the torch treatment with Costello slowing the pace and bending notes for a bluesy effect.
Another slow burner, a song he co-wrote with Paul McCartney that neither of them has recorded yet and which he didn't name, was elegantly crafted but uncharacteristically candy sweet.
The best rock 'n' roll came at the beginning of the show and at the end, with a sometimes listless lull in the middle in spite of strategically placed sure-fire pleasers like "Watching The Detectives" and "Alison."
Opening with "Accidents Will Happen" Costello gave a promising, guitar-grinding start with the help of his seven-member back-up band, improbably named the Rude 5. His Majestic 12-string guitar work on "Brilliant Mistake" was equalled by his varied vocal work on "Let Him Dangle," a song from his latest album Spike.
With the exception of the well-executed but few cabaret-like songs, Costello didn't punch it up again until the end of his show, when he put forth a revved-up encore that included "Veronica" and "Mystery Dance."
Working against him was a bass-laden balance that caused random rumbles to roll through some songs.
Working in his favor was drummer Pete Thomas, who pounded out everything from rimshot to reggae with flawless timing and exuberent energy tempered with taste.
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