Glorious Noise, May 14, 2007: Difference between revisions
(formatting) |
(formatting +browser) |
||
(One intermediate revision by the same user not shown) | |||
Line 5: | Line 5: | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Elvis Costello: Let 'em dangle </h3></center> | <center><h3> Elvis Costello: Let 'em dangle </h3></center> | ||
---- | ---- | ||
<center> Stephen Macaulay </center> | <center> Stephen Macaulay </center> | ||
---- | ---- | ||
'''Elvis Costello & the Imposters <br> | |||
State Theater, Detroit | |||
{{Bibliography text}} | {{Bibliography text}} | ||
So they go out on a truncated tour of portions of America — truncated by the metric of the typical 20-odd stops made on one continent, before moving on to another, which fundamentally becomes something of an endless tour, or at least a tour that segues into the next one. They go out not because it is in support of some new music, but because still another packaging of "greatest hits" has been released. | So they go out on a truncated tour of portions of America — truncated by the metric of the typical 20-odd stops made on one continent, before moving on to another, which fundamentally becomes something of an endless tour, or at least a tour that segues into the next one. They go out not because it is in support of some new music, but because still another packaging of "greatest hits" has been released. | ||
Line 18: | Line 19: | ||
And while on the subject of commerce, a bit of a digression, one that is related to the show, but not the performance. When the push email from Ticketmaster came including a calendar of forthcoming shows in Detroit, I spotted the event and immediately went on line to buy tickets. There were two prices: $75 and $36.50. Since seeing Costello has been fairly consistently for the past few years an annual event, I decided to opt for the higher price point. And the search for tickets came up empty in that category. I tried it again, especially as the venue, the State Theatre, doesn't have assigned seats. It doesn't have many seats. Bar stools, by and large. | And while on the subject of commerce, a bit of a digression, one that is related to the show, but not the performance. When the push email from Ticketmaster came including a calendar of forthcoming shows in Detroit, I spotted the event and immediately went on line to buy tickets. There were two prices: $75 and $36.50. Since seeing Costello has been fairly consistently for the past few years an annual event, I decided to opt for the higher price point. And the search for tickets came up empty in that category. I tried it again, especially as the venue, the State Theatre, doesn't have assigned seats. It doesn't have many seats. Bar stools, by and large. | ||
So this didn't make sense to me for a number of reasons, including the facts that (1) during the past few years, the sizes of the crowds at the events I attended at which he and the band performed have been diminishing; (2) while I wasn't standing on line outside some liquor store or shopping mall all night waiting for the tickets to be released to the public, I'm guessing that when I got the email, the tickets hadn't been available for a long, long time prior to that. But then it became clear to me: If I was trying to buy the tickets with a Visa Signature | So this didn't make sense to me for a number of reasons, including the facts that (1) during the past few years, the sizes of the crowds at the events I attended at which he and the band performed have been diminishing; (2) while I wasn't standing on line outside some liquor store or shopping mall all night waiting for the tickets to be released to the public, I'm guessing that when I got the email, the tickets hadn't been available for a long, long time prior to that. But then it became clear to me: If I was trying to buy the tickets with a Visa Signature card — a card that's not in my wallet — then I would have been able to get the upper tier (literally, as those who do were on a mezzanine level). Prior to the show, the video screen above the stage showed a short, endlessly looped commercial for the credit card, perhaps rubbing it in to all of us proles on lower level while making those above feel better. | ||
Funny how seeing a concert has so many financial ramifications and implications. Even funnier how it seems that even if you can afford it, there still is some way that some one is going to want to get a bigger piece of your wallet (and there is no need to go into the confiscatory fees that were related to the purchase of the ticket: Doesn't it seem more than slightly odd that when you're actually doing the work of inputting the | Funny how seeing a concert has so many financial ramifications and implications. Even funnier how it seems that even if you can afford it, there still is some way that some one is going to want to get a bigger piece of your wallet (and there is no need to go into the confiscatory fees that were related to the purchase of the ticket: Doesn't it seem more than slightly odd that when you're actually doing the work of inputting the keystrokes — a.k.a., doing work — in order to get tickets, you're still charged as though that task is being performed by a clerk who is evidently making more than minimum wage?). | ||
On with the show. As was expected, this was a case of he and the band going out and slamming the 2:40ish singles of yore. Bang-bang-bang-bang-bang. One after the other. Sometimes a slight pause between songs in order for him to get another guitar. Sometimes a final note segued right into the opening note of another. Serious music-making. No idle chatter. They came to play, and play they did. If only they were better. Full marks must go to drummer Pete Thomas, who did as solid a job as he probably did 30 years ago. Let's face it: When you pump it up, there is a whole lot of exercise involved. There was no slack on his part. | On with the show. As was expected, this was a case of he and the band going out and slamming the 2:40ish singles of yore. Bang-bang-bang-bang-bang. One after the other. Sometimes a slight pause between songs in order for him to get another guitar. Sometimes a final note segued right into the opening note of another. Serious music-making. No idle chatter. They came to play, and play they did. If only they were better. Full marks must go to drummer Pete Thomas, who did as solid a job as he probably did 30 years ago. Let's face it: When you pump it up, there is a whole lot of exercise involved. There was no slack on his part. | ||
Line 35: | Line 36: | ||
{{Bibliography notes}} | {{Bibliography notes}} | ||
'''Glorious Noise, | {{Bibliography next | ||
|prev = Glorious Noise, April 27, 2005 | |||
|next = Glorious Noise, May 30, 2007 | |||
}} | |||
'''Glorious Noise, May 14, 2007 | |||
---- | ---- | ||
[[Stephen Macaulay]] reviews Elvis Costello & [[The Imposters]], Friday, [[Concert 2007-05-11 Detroit|May 11, 2007]], State Theatre, Detroit, Michigan. | [[Stephen Macaulay]] reviews Elvis Costello & [[The Imposters]], Friday, [[Concert 2007-05-11 Detroit|May 11, 2007]], State Theatre, Detroit, Michigan. |
Latest revision as of 04:11, 6 September 2021
|