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We arrived at our hotel in HOTlanta (and I mean HOT!) a mere 30 minutes prior to showtime. With almost no sleep the night before and almost no food since the previous day, we pounced on the massive supper club that is Chastain Park, and headed for the snack bar. Hot Dog or fruit and cheese tray for two? Back in our third row sets, we gobbled up the fruit and cheese and politely disposed of the tray prior to the band taking the stage at precisely 7:40 pm.
As the Imposters careened into "What's So Funny 'Bout Peace, Love and Understanding," I was reflecting on the EC/Emmylou show that we attended exactly a year ago to the date — another even hotter night amongst the ever-rude, socializing Chastain crowd. Others have given their accounts of people munching all throughout the show, never acknowledging the fact that there was a hard-working band onstage giving their all. And it was distracting! There was a table not too far in front of us in which the ladies keeping their backs to the stage eating and chatting all night long, never once turning around to acknowledge the music. Didn't they ever learn it's impolite to eat in front of working folks??!!
The 6700-seat Park was half full, if that, and the crowd was mostly apathetic; however, there was a slow-burning fire erupting onstage that would have the place ablaze by the time the sun had set and have all but a stubborn few on their feet, swaying and dancing.
Elvis introduced the Crescent City Horns and quickly segued into "Monkey To Man." While Pete, Davey and Steve provided the foundation and fuel, the horns supplied the melodic color that defined the rest of the night. Dancing and obviously having a great time, they kindled the spirit of fun that dominated the show and eventually got the crowd to its feet later in the show. Near the end of "Monkey To Man," Allen strolled onstage to polite applause that only hinted at the standing ovations he would receive once the haughty crowd was properly lubricated. It may as well have been voodoo... but the night was only beginning!!
Next up came "On Your Way Down," "Tears, Tears and More Tears" and "A Certain Girl," familiarizing the crowd with a selection of Toussaint numbers before filtering in a few Costello chestnuts — all, as you well have heard by now, spruced up with fresh Toussaint horn arrangements. "Bedlam" turned into a quasi-jazz workout while Pete Thomas moved the song out of its rock idiom into uncharted territory. Easily one of the best rock drummers around, it's amazing to watch Pete drive the beat, his sticks nearly vanishing into thin air as he played — "Bedlam" indeed!
Another highlight was "Poisoned Rose," one of my favorite Costello compositions seldom heard live. The arrangement was delicate, a bit slower than the King Of America track but true to its original arrangement. This was the first vocal highlight for Elvis for the evening but far from the last. Much of The River In Reverse filled the first two-thirds of the show and just about all of the songs took on additional emotional power performed live. Elvis brought out the Bush "junior" action figure, much to the confusion of the crowd. Just about all of EC's between-song banter revolved around the recording of The River In Reverse and the plight of New Orleans, keeping the audience as focused as possible on the emotional and geographic landscape of the music. The main set ended with a selection of Costello numbers — from "Detectives" to "Pump It Up."
The single, long encore began with only EC and Allen onstage. Elvis watched from the shadows as Monsieur Toussaint demonstrated to the audience why the Steinway was invented. The Professor Longhair Medley segued into "Ascension Day" and brought the first standing ovation of the night. Then Elvis called Steve to the stage to contribute Hammond B3 to his and Allen's interpretation of Paul Simon's "American Tune," which Elvis described and the most beautiful song ever written about America. Tonight, it was. With EC on acoustic guitar (playing a beautifully-thought-out part, rare for the man), Allen on Steinway and Steve on B3, the performance brought a strange quiet to the venue as crowd noise dissipated. The sun had set and the fire ignited. The blonde and brunette pussycats with their backs to the stage suddenly had no one to talk to. All other eyes were face forward.
"I Can't Stand Up" and "High Fidelity" broke the quiet and brought the crowd to its feet for the last time. For the next hour or so, dancing ensued!!!
After the one-two punch of the Get Happy numbers, EC and the band mercilessly would not allow the energy level to ebb or the audience to sit down. "Wonder Woman" kept the boogie flowing and even the gentle "Alison"/"Tracks of My Tears" kept the crowd swaying in what little breeze the balmy southern night would afford. Steve and Allen traded places for "Clubland" and it was fun to watch Allen chuckle with delight as Steve pounded the Steinway during some of the song's more arcane passages. It was evident throughout the evening how much Steve admired Allen's prowess at the keys, often watching from behind his B3 in awe as Allen did his thing. "Clubland" was a fun chance to turn the tables and let Steve shine.
Next up was "The Greatest Love," on which Elvis prowled the stage, nailing every note (well just about!) and providing yet another vocal highlight. Elvis gestured "one more" and delivered five more starting with "That's How You Got Killed Before." "Yes We Can Can," "Shoo-Ra" and "Slippin' And Slidin'" relentlessly motivated a tiring but energized crowd. Elvis even added an extended blistering, Berryesque note-perfect guitar solo to "Slippin' And Slidin'" which was amazingly played both in time and in key — another first for the man. Magic was indeed in the air!
As expected, "The Sharpest Thorn" closed the set, revealing the toll the evening had taken on Elvis' voice. True but tired, the weariness in EC's voice was a perfect ending to an incredible night. Bringing the Crescent City Horns stage forward, flanking him on either side, Elvis invited the audience to join him for the ending lines. "Good night and God bless" and off the stage they strolled.
At two and three-quarter hours, it's hard to complain about the song selection. Was really looking forward to "Six-Fingered Man," "That Day Is Done," "International Echo" and "All These Things" — all played at various points of the tour. But you just can't play everything in a single night. By the way, Spooky's setlist is pretty darned accurate from my recollection. "Wonder Woman" was played after "High Fidelity" and song 14 was "Deep Dark Truthful Mirror." Add the Professor Longhair Medley prior to "Ascension Day" and you pretty much have the setlist nailed!
I've probably seen Elvis live forty-plus times since 1979 (at the Nashville War Memorial Auditorium during the Armed Funk Tour, just days after the notorious Columbus incident) and Dr. Spooky is correct in that, with a few exceptions, he just keeps topping himself. I never thought I'd witness a better evening of music than the Elvis/Emmylou date this time last year but tonight topped it in its own way. Where can he possibly go from here?!
I can't wait to find out.
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