London Guardian, October 11, 2004: Difference between revisions
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<center><h3> Elvis Costello </h3></center> | <center><h3> Elvis Costello </h3></center> | ||
<center>''' Barrowlands, Glasgow </center> | <center>''' Barrowlands, Glasgow </center> | ||
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As Costello stands lashing out song after song with barely a pause, he looks less like the musical adventurer who also released a classical album last month than the 1977 model. In those days he was a bundle of fidgety bile. Now 50, in a purple suit that looks a size too small, he is still so edgy he must get all manner of trouble at customs. | As Costello stands lashing out song after song with barely a pause, he looks less like the musical adventurer who also released a classical album last month than the 1977 model. In those days he was a bundle of fidgety bile. Now 50, in a purple suit that looks a size too small, he is still so edgy he must get all manner of trouble at customs. | ||
The set blends ''The Delivery Man'' with classics, such as " | The set blends ''The Delivery Man'' with classics, such as "Radio, Radio" and "High Fidelity," that fit with the new record's scatter-gun energy. Costello hurls in lost gems such as "Blame It On Cain," the second B-side of "Watching The Detectives," and trashes the planned set list as he responds to the crowd's mood. | ||
A spontaneous moment is the night's funniest, as he introduces the Darwinesque " | A spontaneous moment is the night's funniest, as he introduces the Darwinesque "Monkey To Man" by suggesting: "We should never... in any country... vote for anybody who is a disgrace to the theory of evolution." | ||
A spectacular " | A spectacular "Shipbuilding" equally mocks any notion that his political fire has gone out. With every line sung by the crowd, the Falklands-inspired song feels like a succession of hammer blows against any case for war. | ||
The blistering energy is emphasised by occasional gentler numbers, including the eerie " | The blistering energy is emphasised by occasional gentler numbers, including the eerie "Country Darkness" and a rapturously received "Good Year For The Roses." The night divides into a punky hour-long blast and another hour of encores, as Costello rediscovers his common touch and rock 'n' roll heart. | ||
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