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Is there anything Elvis Costello can't accomplish on a stage? Can anyone today move an audience more dramatically to silence — or laughter? New songs, old songs, covers, it doesn't matter, really. Tonight, in my 44th Elvis concert, I saw him hold a New York audience in the palm of his hand with a masterful 2 hour and 35 minute-long extravaganza. His singing gets richer and more expressive with each new year, tour and concert.
The new songs are really interesting. "Suspect My Tears," to my ears, is the standout. It has a catchy melody and a compelling story. "Alibi Factory" and "45" sound terrific as well.
Elvis is, as the New York Observer wrote in 1996, a performance slut. You'd need a bulldozer to keep them an off a stage — thankfully. It's amazing how much joy he radiates even when singing "Alison" or "Red Shoes" for what must be the 900th time (a conservative estimate). My favourite songs of the night were the letter-perfect readings of the Painted From Memory tunes. I wonder why Elvis has chosen to reject the All This Useless Beauty volume. If anyone knows, please let me know. Those songs sure sounded remarkable at the Supper Club in 1996.
Elvis seems more relaxed than I've ever seen him. He has done his share of bantering during his solo tour in 1984 and his first concerts with Steve in 1996. But on this tour (I also saw the shows in Oakland and on Long Island), he has outdone himself for light-hearted behaviour. I loved the sing-along he led on "Couldn't Call It Unexpected No. 4," the way he would mime bewilderment and outright fear when Steve pounded the piano on "Deep Dark Truthful Mirror" or "Talking in the Dark." It was heart-warming how he waved specifically to the Beacon fans tonight way up in the high balcony.
Elvis has no peer when it comes to breathing new life into old songs with daring arrangements. Anyone who saw him perform with the Attractions (aaaah) in 1996 will recall the hilarious, fantastic arrangement for "Pump It Up," with Steve on accordion, or in 1995 at the same Beacon Theatre when Pete Thomas played the drums with his hands on "Distorted Angel" (which Elvis happily referred to as a "Catholic guilt song" that week).
Elvis gets more and more entertaining. I can't wait for the show on Monday night at the Beacon. I wish he would shake up the setlist from this tour. He hasn't varied it much from Oakland, 23 days ago. It would be nice to hear such songs he has played so well in the past as "Kid About It," "Man Called Uncle," "Complicated Shadows," "So Like Candy," "Only Flame in Town" and "Mouth Almighty" ... It doesn't matter, though, really. The man still rules.
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