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The tour that singer-songwriter Elvis Costello (32) now makes is in the sign of surprise. He presents his concerts in different setting. That evening in Utrecht's music is very different from that on Tuesday. The difference is that Costello is left Tuesday with his regular backing band The Attractions hear occasional solo and a song with his wife Cait O'Riordan, the bassist of the folk punk band The Pogues. Tonight is a performance by Costello with mystery guests, where you can imagine the Coward Brothers (Costello and T-Bone Burnett) and John Hiatt.
The public may submit requests. That is quite different than before, when Costello participation saw as compromising his artistic integrity. And there is a wheel of fortune that includes dozens of song titles, of which one will be by lot. Created particular choice It is therefore possible that a song is played more than once, but, knowing Costello's improvisational talent, to dull repetitions that will not come down.
Costello has always been particularly productive. Among his many writings has its quality never suffered. Even now he has two entirely different in style from LPs released this year: the recorded with guest musicians King of America and the recently released Blood & Chocolate, again with The Attractions and produced by Nick Lowe. On this record, its best since its beginnings, Costello goes back to square one. The melodies breathe the simplicity and atmosphere of the pop of the sixties. His romance with O'Riordan seems leitmotif for the lyrics, about debilitating jealousy, with all the passion and self-torment of that.
The mystifications around the name Costello are legion. With debut lp My aim is true, he was the most handsome boy in the class of '77 punk. Then he disguised himself as The Imposter, he united with T-Bone Burnett in the occasional duo The Coward Brothers and then King of America came he presented himself under his real name Declan MacManus. The name of his alter ego inhibited him in his artistic freedom because man behind Costello wanted to develop the Costello fans allowed him. Other musical areas Apparently, this step was necessary before he could again present as Costello. Although he calls himself on Blood & Chocolate Napoleon Dynamite, another name changes his glasses frame or man behind it is not.
Few artists received more critical acclaim than they were selling LPs. This is probably due to Costello's aversion to the media, his reputation as an angry young man with dipped in vitriol pen with which he records his flawless observations by his vitriolic pointed word games, his vocals with a choked sneer as with Dylan, his style twists that always put the fans on the wrong foot, by its square appearance, by an unfortunate, labeled as racist, remark that he forever messed up his chances of success in America, a country with which he has a love-hate relationship anyway. Notable in this regard is that the lessons of his new album ballad "I want you," are "Alison" was bombed. Before the eighties, by Veronica to Alarm Disc
In November 1983, Costello performed here with The Attractions, a year later, he was here a solo performance with T-Bone Burnett in the schedule. Now he is so back on the road with The Attractions (keyboard player Steve Nieve, bassist Bruce Thomas, drummer Pete Thomas) Costello, the singer with the voice of the burnt edge and fierce, intense emotional speech, the guitarist who unorthodox shrill noises and an overly accentuated facial expressions puts his virtuosity.
Costello warns despite his glasses with glass jam jar bottoms of the contact with the audience no longer. The instrumentation was sober and marking it as usual the most. The sound of The Attractions were deliberately muddy, raunchy good you might say.
The repertoire of Blood & Chocolate, which was played almost entirely closed, and the rawer interpretations of songs from King of America, to that of his first LPs. Costello, however, played works of almost all his records, none of the two LPs for King of America, Punch the Clock and Goodbye cruel world where he spent relatively much attention to in 1984.
The gig was a tail, eleven of the 27 songs were saved for the encores. Costello began a solo on acoustic guitar with his own "Radio Sweetheart" and his interpretations of "Pretty in Pink" by the Psychedelic Furs and "Don't let me be misunderstood." During "Poor Napoleon," as well as on the plate with wife Cait and band, rose from the stage shrouded in darkness a hurricane of sound, while disorienting strobe lights shone the hall. A mysterious castle, which once again pointed out that Costello is not to catch a hole. Tonight, when he runs the wheel of fortune, he proves that no doubt again.
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