Financial Times, October 13, 2003: Difference between revisions

From The Elvis Costello Wiki
Jump to navigationJump to search
m (Zmuda moved page The Financial Times October 13 2003 to Financial Times, October 13, 2003 without leaving a redirect)
(update format)
Line 1: Line 1:
{{Bibliography header}}
{{:Bibliography index}}
{{:Financial Times index}}
{{:Newspaper index}}
{{Bibliography article header}}
<center><h3> Elvis Costello </h3></center>
<center>'' Royal Festival Hall </center>
----
<center> Ludovic Hunter-Tilney </center>
----
{{Bibliography text}}


The Financial Times October 13 2003
When Elvis Costello started out during the punk era, the idea of his singing jazzy, orchestral love songs would have seemed like heresy. But Costello was never an outright punk rocker, as his habit of covering Burt Bacharach songs at concerts showed. His father played in a leading big band, so the young Elvis grew up listening to lounge music and jazz, influences that resurface fully realised on his latest album ''North'', which is about love.


Music: Elvis Costello
Although his new songs are full of sighing violins and sinuous orchestral arrangements, he began his show at the Royal Festival Hall accompanied only by longterm bandmate Steve Nieve on piano. It was a sparse musical setting, designed to let Costello's voice do the work. On ''North'', his vocals don't quite match the sophistication of the material, but live they were much more supple. His phrasing and changes in tone were impressively subtle, ranging from Van Morrison-style soul to tender crooning. At times he was every bit the romantic balladeer, although his encouragement of the audience to sing along also reminded one of an old-fashioned cabaret singer.


By Ludovic Hunter-Tilney
There's an autumnal mood to his new music, a sense of mingled satisfaction and melancholy, that works well. But as the evening went on, and despite the introduction of the Brodsky Quartet on to the stage, the lack of musical variation was wearying. Even old material such as "Man Out of Time" sounded too sedate without a full backing band. By the end, a reverential atmosphere had settled over the auditorium, not helped by the singer's habit of milking the audience for applause. Costello's mature phase as a crooner is a rewarding one, but it has an indulgent aspect too.


Published: October 13 2003
{{cx}}


{{Bibliography notes header}}


When Elvis Costello started out during the punk era,
{{Bibliography notes}}
the idea of his singing jazzy, orchestral love songs
'''Financial Times, October 13, 2003
would have seemed like heresy. But Costello was never
----
an outright punk rocker, as his habit of covering Burt
[[Ludovic Hunter-Tilney]] reviews Elvis Costello and [[Steve Nieve]] with the [[The Brodsky Quartet|Brodsky Quartet]], Saturday. [[Concert 2003-10-11 London|October 11, 2003]], Royal Festival Hall, London, England.
Bacharach songs at concerts showed. His father played
in a leading big band, so the young Elvis grew up
listening to lounge music and jazz, influences that
resurface fully realised on his latest album North,
which is about love.


{{Bibliography no images}}


Although his new songs are full of sighing violins and
{{Bibliography notes footer}}
sinuous orchestral arrangements, he began his show at
the Royal Festival Hall accompanied only by longterm
bandmate Steve Nieve on piano. It was a sparse musical
setting, designed to let Costello's voice do the work.
On North, his vocals don't quite match the
sophistication of the material, but live they were
much more supple. His phrasing and changes in tone
were impressively subtle, ranging from Van
Morrison-style soul to tender crooning. At times he
was every bit the romantic balladeer, although his
encouragement of the audience to sing along also
reminded one of an old-fashioned cabaret singer.


There's an autumnal mood to his new music, a sense of
{{Bibliography footer}}
mingled satisfaction and melancholy, that works well.
 
But as the evening went on, and despite the
==External links==
introduction of the Brodsky Quartet on to the stage,
*[http://en.wikipedia.org/wiki/Financial_Times Wikipedia: Financial Times]
the lack of musical variation was wearying. Even old
*[http://www.elviscostellofans.com/phpBB3/viewtopic.php?f=2&t=942 Elvis Costello Fan Forum]
material such as "Man Out of Time" sounded too sedate
 
without a full backing band. By the end, a reverential
{{DEFAULTSORT:Financial Times 2003-10-13}}
atmosphere had settled over the auditorium, not helped
[[Category:Bibliography]]
by the singer's habit of milking the audience for
[[Category:Bibliography 2003]]
applause. Costello's mature phase as a crooner is a
[[Category:Financial Times| Financial Times 2003-10-13]]
rewarding one, but it has an indulgent aspect too.
[[Category:Newspaper articles]]
[[Category:2003 concert reviews]]
[[Category:2003 European Tour|~Financial Times 2003-10-13]]

Revision as of 02:37, 27 March 2014

  ... Bibliography ...  
72 76 77 78 79 80 81 82 83
84 85 86 87 88 89 90 91 92
93 94 95 96 97 98 99 00 01
02 03 04 05 06 07 08 09 10
11 12 13 14 15 16 17 18 19
20 21 22 23 24 25 26 27 28
Financial Times  
Newspapers  
—
-

Elvis Costello

Royal Festival Hall
Ludovic Hunter-Tilney

When Elvis Costello started out during the punk era, the idea of his singing jazzy, orchestral love songs would have seemed like heresy. But Costello was never an outright punk rocker, as his habit of covering Burt Bacharach songs at concerts showed. His father played in a leading big band, so the young Elvis grew up listening to lounge music and jazz, influences that resurface fully realised on his latest album North, which is about love.

Although his new songs are full of sighing violins and sinuous orchestral arrangements, he began his show at the Royal Festival Hall accompanied only by longterm bandmate Steve Nieve on piano. It was a sparse musical setting, designed to let Costello's voice do the work. On North, his vocals don't quite match the sophistication of the material, but live they were much more supple. His phrasing and changes in tone were impressively subtle, ranging from Van Morrison-style soul to tender crooning. At times he was every bit the romantic balladeer, although his encouragement of the audience to sing along also reminded one of an old-fashioned cabaret singer.

There's an autumnal mood to his new music, a sense of mingled satisfaction and melancholy, that works well. But as the evening went on, and despite the introduction of the Brodsky Quartet on to the stage, the lack of musical variation was wearying. Even old material such as "Man Out of Time" sounded too sedate without a full backing band. By the end, a reverential atmosphere had settled over the auditorium, not helped by the singer's habit of milking the audience for applause. Costello's mature phase as a crooner is a rewarding one, but it has an indulgent aspect too.

-

Financial Times, October 13, 2003

Ludovic Hunter-Tilney reviews Elvis Costello and Steve Nieve with the Brodsky Quartet, Saturday. October 11, 2003, Royal Festival Hall, London, England.

-


Back to top

External links

Retrieved from "http://elviscostello.info//wiki/index.php?title=Financial_Times,_October_13,_2003&oldid=17261994"