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All right, I would be the first to admit that the whole Bacharach thing had me worried. Exhibit A, All This Useless Beauty. Followed-up by Painted From Memory! What are you doing to us Elvis?
Nonetheless, not even the teams of wild horses that I hired out especially for this review could keep me from seeing Elvis in concert no less than four times this year.
Before I get down to business, I believe that some of you have never seen Elvis Costello live. Well, that's just a goddamn crying shame! I think that the authorities should be notified and appropriate action taken at once. Remember this, and remember it well: as good as Elvis Costello is on record, the live Elvis Costello is far superior. For further evidence read on.
The mood was somewhat different than at the Capitol Theatre two weeks earlier; Her Majesty's being a smaller, and newer, venue.
The evening started off with Michael Thomas, frontman for Weddings Parties Anything, who entertained us with a mixture of storytelling songs and actual in-between-songs storytelling. Having warmed us up for just over 30 minutes, Mick sauntered off and left us to contemplate the last night of Elvis and Steve in Australia (for the moment anyway).
Around 25 minutes later the lights dimmed and the excitement level went through the roof. The men of the moment sprinted on, Elvis Costello dressed in his now customary basic black ensemble and Steve looking sharp in a white shirt, black waistcoat and black pants. After briefly greeting the audience Elvis gestured to Steve Nieve. Steve then eased into the introduction to the re-thought version of "Temptation," all delicate piano and tremulous footfalls. When Elvis sings "Give me, give me temptation" nowadays it sounds less a demand more a plea.
This was only the beginning of many surprises this evening. Elvis turned to grab an acoustic guitar and started to strum the intro to "Red Shoes," delivering an excellent version of the My Aim is True era classic, with certain members of the audience (OK, I confess, it was John E and me, mostly) delivering impromptu, yet peerless, backing vocals. After the song was over Elvis introduced "Professor" Steve Nieve and claimed that he had provided the backing vocals — well, he certainly should know the words by now! A solid version of "Talking in the Dark" followed, as good as any on the tour, capped off by a display of Steve's keyboard callisthenics. Another surprise awaited as Elvis played the intro to "Love Field," showing an unusual delicacy on guitar and effectively demonstrating his assertion that Goodbye Cruel World actually does contain some good songs.
However, as outstanding as "Love Field" was, nothing could have prepared us for the absolute magnificence of the next number, "Man Out of Time." Beautifully sung with very effective and dramatic strumming by Elvis, and piano even better than the recorded version, this really deserved to be an official release! An undoubted highlight of what was already shaping up to be the best show of the tour.
Elvis then put down the guitar and chatted to the audience about the cities of Australia, and the tales that residents of each city spin about the others. An appropriate enough introduction to "Toledo," I suppose. After finishing "Toledo," Elvis talked about the songs on Painted From Memory and the theme of lost love that seemed to run through them. He then joked, "When we came to Australia, we didn't expect to find so many melancholic people. When you leave tonight you will each receive a badge confirming your membership in the Melancholic's Club. We'll come back here every year and convene a meeting."
"My Thief" followed, and then a rousing version of "Girls Talk" which brought spontaneous cheering as soon as Elvis and Steve played the intro chords.
The crowd's enthusiasm went past the point of no return when the next song turned out to be "Chelsea." Steve and Elvis manage a very reasonable facsimile of the Attractions, with Steve playing the bassline on synthesiser during crucial moments. At the end of the 2nd chorus Elvis just sang "I don't want to go to…" while the most enthusiastic members of the audience yelled out "Chelsea!" Only nine songs in and already there was hardly a dry seat in the house!
I suppose this was just the moment to spring another startling surprise, but what could have been more surprising than a phenomenally heartfelt version of "Town Cryer." I fondly imagined at that moment that he might have been inspired by Marika's version of this song on Life Intimidates Art (which I had presented to him the night before). I also had a wild fantasy that my own "New Lace Sleeves" might have similarly inspired him, but it was not to be. In retrospect, after listening to my version he probably resolved never to perform the song again and undoubtedly instructed Ryko to remove the track from all future releases of Trust!
"Here's a song my wife likes me to sing. Probably because she wrote it. I just went out to buy some spuds and when I came back there was this song. All I had to do was work out the chords…" EC was referring to "Baby Plays Around" which he proceeded to play with Steve providing some discreet keyboard atmospherics.
After that, EC informed us that he'd been working on some songs with Steve, and then they played "Passionate Fight" by way of example.
Elvis then told us that "tomorrow is Steve's 21st birthday, again." At Elvis's prompting the entire audience treated Steve to a dazzling rendition of "Happy Birthday to You." Elvis then let us know that Steve had payed him a lot of money not to do that, but he did it anyway and he's keeping the money!
Sterling versions of "Painted From Memory," "The Other End of the Telescope," and "This House is Empty Now" followed. Steve then left the stage as Elvis launched into a rigorously vigorous version of "Mystery Dance."
The pace then slipped down a few notches with a masterly version of "Indoor Fireworks," certainly the best version I've heard.
The usual "Radio Sweetheart"/"Jackie Wilson Said" medley came next, with Elvis explaining that "Radio Sweetheart" was the first song that he'd ever recorded and suggesting that by now he'd fondly imagined that there'd be three girls in sequined dresses singing backup vocals. During "Jackie Wilson Said" Elvis looked in our direction favourably as we chimed in on the "do-do-de-do-do" call and response section.
Steve came back on as Elvis busked into the opening chords of "God's Comic," with EC telling a slight variation of the usual tale in the middle, plus a very brief diversion into the "Last Train To Clarksville" after giving the world to the Monkees.
"All This Useless Beauty" and "Veronica" were next, followed by a truly great version of "Alison," performed once again without the medley at the end.
After this came a lovely version of "In The Darkest Place." I don't know if anybody else noticed but at the very end as Steve was playing the outro, I could just hear EC singing a beautiful falsetto part off-mic. I was hoping that he'd step back up to the mic and treat us to it, but he decided not to. He seemed to be singing it for Steve's benefit only.
This was the end of the main set. Twenty-five songs so far! Elvis Costello said, "Thanks very much!" and ran off with Steve Nieve in hot pursuit.
When Elvis and Steve returned, EC was carrying a beautiful green and white Gretsch electric guitar. He launched into the "Inch By Inch" riff. Those of us who had attended the night before knew that it was time to start snapping our fingers — the payoff to this was at the end of the song when Elvis segued into a nice, if slightly tongue in cheek, cover of "Fever." This lead into a breakneck version of "Shallow Grave," Elvis hardly managing to squeeze all the lyrics in. More exciting than the All This Useless Beauty version, that's for sure, with Elvis rattling off a typically bent guitar solo.
As the last chord of "Shallow Grave" faded a reggae pulse began piercing the air, followed by EC's ominous Bondian riff hailing the familiar yet ever popular "Watching the Detectives," rounded off with the usual "Theme from Callan" guitar vs piano section, Steve going particularly out on a limb this time.
What followed was a complete surprise, even on this night of complete surprises. A sketchy, (but highly appreciated) take on "Pump It Up" with mid-song excursions in to "Subterranean Homesick Blues" and "Too Much Monkey Business" (not much reaction from the audience to that particular bit, obviously more Dylan than Chuck Berry fans present). Thank you and good night!! This time the crowd went up, not quite as one, but quickly enough for Elvis Costello and Steve Nieve to stop and acknowledge the standing ovation.
EC and Steve returned after a couple of minutes and peeled off a reliable "Everyday I Write The Book" before unexpectedly giving a blistering late-set version of "Accidents Will Happen," with the now obligatory "24 Hours from Tulsa" woven into the ending.
Elvis Costello stopped, looked at the audience and held up one finger, signalling just one more song. It was "I Still Have That Other Girl," featuring a typically strong vocal that sent this song well off the scale of the emotional barometer that I always keep on hand for just these moments.
Elvis paused again after this song, Steve Nieve stood up and put his trusty folder o'songs under his arm, and Elvis looked into the wings while saying "We're going to get the hook in a minute." It was close to 11.30; the concert had gone on for almost two and a half hours. Apparently, some indulgence was granted because EC announced that there would be one more song.
The intro to "God Give Me Strength" slowly filled the hall and EC treated us to yet another superb vocal on what is possibly the best song that Elvis Costello and Burt Bacharach will ever write together.
After singing this undoubted masterpiece Elvis again looked to the wings and then said, "We can do one more, and we're going to switch off the microphones, because sometimes they get in the way." All amplification was switched off, and Steve Nieve's piano insinuated its way into our ears as Elvis Costello moved forward to do his big tenor thang. EC's voice sounds richer and fuller without the amplification, and this transformed "Couldn't Call It Unexpected" from being merely one of his finest songs into an absolute lay-me-down, strip-me-naked and fuck-me-senseless tour de force. On Mighty Like a Rose the emotional force of this song moves me to tears, but sung live, in this fashion, the song makes me want to move mountains, cure cancer and sing like Elvis!
I have nothing but the highest praise for Steve's incredible piano playing. What's more, at times Steve effectively plays the part of almost an entire band. Other instruments almost become superfluous. Add the rhythmic bite of Elvis Costello's guitar to the mix and the effect is complete. Elvis was particularly adventurous on guitar this evening (although for God's sake I wish he'd just learn a few scales and arpeggios to add a little colour to his playing). If EC could do a little more melodically on his chosen instrument then the subsequent interplay with Steve (hinted at on "Watching the Detectives") could send this musical partnership to realms unheard of. Ah well, maybe next time!
One more thing, although Elvis Costello is hardly your typical sexy performer I have rarely seen so many people with post-coital expressions after a concert. What's more, that was just the roadies and the ushers. You should have seen the people who actually paid to get in! Of course, those who stayed and hung around the stage door to meet The Man looked like they'd died and wouldn't have call it unexpected if they'd turned up in EC heaven.
Surprisingly, Steve appeared first and was particularly happy and enthusiastic. If you have ever met Steve you'll know how unusual that is! After a couple of minutes Elvis appeared and gladly signed autographs for all present. He was chatty and amiable (as he has been all tour) and, for those of you who are wondering, he is a shade under 5 foot 9. This height estimation was brought to you by the "Pope of Pop/John E Method." Need I add, he wore "the hat"!
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