Financial Times, February 3, 2005: Difference between revisions
(formatting) |
(formatting) |
||
Line 15: | Line 15: | ||
But thankfully, as this concert amply demonstrated, we still have Elvis Costello the rock star. Mixing humour, playfulness and his trademark bile, he put on a 2½-hour performance as satisfying and stylish as any you are likely to see. | But thankfully, as this concert amply demonstrated, we still have Elvis Costello the rock star. Mixing humour, playfulness and his trademark bile, he put on a 2½-hour performance as satisfying and stylish as any you are likely to see. | ||
Crucial to Costello's success and current rude musical health is his comfort with his earlier work as a self-confessed angry young man. Too many artists petulantly turn their back on what made them great in the first place. But here Costello was happy to play the hits | Crucial to Costello's success and current rude musical health is his comfort with his earlier work as a self-confessed angry young man. Too many artists petulantly turn their back on what made them great in the first place. But here Costello was happy to play the hits — there were cracking versions of "[[(The Angels Wanna Wear My) Red Shoes|(The Angels Wanna Wear) Red Shoes]]" and "[[Watching The Detectives]]" and a shimmering take on "[[I Want You]]" — as well as fare from his last, rather good album ''[[The Delivery Man]]''. | ||
Not that Costello is a man to rest on his past glories. This was a decidedly rock show but he still found space to fit in country with "[[Good Year For The Roses|A Good Year For The Roses]]," boogie and touches of gospel in an eclectic display. Dressed in a dark purple shirt and wearing rose-tinted glasses, Costello managed to shift his wonderful biting voice in and out of the plethora of styles with ease, making musical infidelity sound like a virtue. | Not that Costello is a man to rest on his past glories. This was a decidedly rock show but he still found space to fit in country with "[[Good Year For The Roses|A Good Year For The Roses]]," boogie and touches of gospel in an eclectic display. Dressed in a dark purple shirt and wearing rose-tinted glasses, Costello managed to shift his wonderful biting voice in and out of the plethora of styles with ease, making musical infidelity sound like a virtue. | ||
Just as important to him, though, is his backing group, where Costello continues his long and fruitful relationship with the keyboardist [[Steve Nieve]] and drummer [[Pete Thomas]] | Just as important to him, though, is his backing group, where Costello continues his long and fruitful relationship with the keyboardist [[Steve Nieve]] and drummer [[Pete Thomas]] — both from the Attractions. Nieve, in particular, was superb as Costello's foil, whether in his delicate play of the melodica or thumping of the organ in a frenetic and tight "[[(What's So Funny 'Bout) Peace, Love And Understanding?|Peace, Love and Understanding]]." | ||
Classical music may be increasingly tempting him, but strap an electric guitar on him and Costello is still at his best. | Classical music may be increasingly tempting him, but strap an electric guitar on him and Costello is still at his best. |
Revision as of 02:46, 27 March 2014
|