California Aggie, January 14, 1981

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A new, improved Elvis Costello


Duncan Strauss

He still won't top any lists of the Ten Nicest Guys In Rock, but Elvis Costello's performance Thursday night at the Warfield Theater definitely introduced a changed man. This year's model is a matured performer who's realized mistreating his audience isn't necessarily a prerequisite to delivering a passionate, convincing set.

In the past, Elvis was noted for cranky, irascible behavior on-stage, such as hurling insults at the audience or stalking off after a 40-minute set and not returning for an encore. When something like this happened, it was never entirely clear whether he was upset with the audience response, or just plain temperamental.

It did appear the never apologetic Costello felt the antics were consistent with the anger and cynicism expressed in his material, if not altogether acceptable. He was about the only one that held that view, and now seems to have discarded it.

Thursday night's 75-minute set showed Costello to be a far more pleasant man, maybe even gracious, as he had stripped his performing approach of the superfluous, alienating

rough edges, and left those that make him one of the most potent, evocative singer-songwriters in rock.

Clad in a puffy gray suit and big gold scarf, Costello powered his way through a concert that wonderfully demonstrated his remarkable range and talent — as a singer and a composer. Though the set emphasized peppy dance tunes, the overall musical variety created an amusing situation on the Warfield floor.

Costello, with steady, sinewy support provided by the Attractions, ripped into a frantic number (the crowd stood), then segued into the mournful version of "Clowntime Is Over" (the crowd sat), then introduced "Luxembourg," a snappy song from his forthcoming LP, Trust, (the crowd stood again.)

This ludicrous pattern repeated itself for most of the concert. The stand/sit routine was distracting, but, interestingly, it also drew attention to Costello's novel ability to radically shift musical directions without weakening the concert's pacing, or his performing intensity.

Elvis devoted the bulk of the regular set to new and relatively recent material, but audience members craving earlier tunes received a treat when he returned for a four-song encore of "Mystery Dance," "Watching The Detectives," "Alison" and "Pump It Up."

After "Pump It Up," he politely said, "Thank you, good night," and herded the Attractions off stage. When the house lights brightened, people were a bit disappointed there was no second encore, but weren't, this time around, cheated or mistreated.

One of the most admirable moves Elvis made recently wasn't even reflected in his own set. His decision to have Squeeze open the shows on this tour was a blessing for concert goers and the five-man British band that's long overdue for wider acclaim and popularity.

Glenn Tilbrook and Chris Difford, creative mainstays behind Squeeze, compose lyrics that are literate, poignant, funny, and music that is fresh and catchy, subtle yet powerful.

Lead vocalist Tilbrook sings like a younger Paul McCartney, and when Difford steps in with harmony singing, Squeeze can sound very much like the Beatles.

Squeeze is not, however, to be filed away with all the dismissible power pop bands that decide recreating the Beatles sound is a good way to make a buck; Squeeze is too good, and besides, the band has its own engaging musical personality.

In addition to doing great vocal work, at the Warfield, the band sparkled instrumentally. Particularly outstanding were lead guitarist Tilbrook, powerhouse drummer Gilson Lavis and new keyboardist Paul Carrack, formerly of Ace. (The band performed Carrack's Ace hit, "How Long," which turned out to be a pleasant surprise.)

And, somewhat like Elvis' set, Squeeze's was extraordinarily diverse and inspired. The group tackled instrumentally muscular rockers, pop-ish tunes, slow and fast, and roots-rock boogie numbers, succeeding throughout the 45-minute set with almost casual brilliance.

Squeeze's last album Argybargy, one of the better LPs of 1980, was overlooked by most American record buyers, but did much better than the previous ones. My guess is, thanks to the Elvis tour and their own talent and efforts, the next album, due in late February, will break things wide open for Squeeze.


Tags: Warfield TheatreSan FranciscoThe AttractionsSqueezeClowntime Is OverLuxembourgTrustMystery DanceWatching The DetectivesAlisonPump It UpGlenn TilbrookChris DiffordPaul McCartneyThe BeatlesGilson LavisPaul CarrackEast Side Story

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California Aggie, January 14, 1981


Duncan Strauss reviews Elvis Costello & The Attractions and opening act Squeeze, Thursday, January 8, 1981, Warfield Theatre, San Francisco, California.

Images

1981-01-14 California Aggie, Profile page 04 clipping 01.jpg
Clipping.


Page scan.
1981-01-14 California Aggie, Profile page 04.jpg

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