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If popularity is the target, Elvis Costello's aim is becoming even more true. His music is reaching and moving more and more people, so much so that he must stand in grave danger of being disowned by those new-wave Attilas who first canonised him.
He's changing, you understand; becoming more benevolently mellow. Without sacrificing his hallmarks — abrasive vision, tough lyrics, blunt style, strained voice — his range has broadened. He smiles a bit. He's been on the South Bank Show and recorded all those lachrymose country songs for the album Almost Blue. And on Thursday, there he was loitering in a packed Albert Hall in the suspicious company of the Royal Philharmonic Orchestra.
Nor was that all. He sang substantial portions of his best songs without vocal hieroglyphics. Phrases like "there's no money-back guarantee of happiness" — so typically Costello, passionate and menacing — could clearly be heard. He laid out three waltzes. Waltzes? After Nashville, can he be limbering up for Las Vegas?
The first half of the concert was Costello and his skilful three-piece, The Attractions, plus steel guitar but minus the RPO. Although the pace was fast, 13 songs in 48 minutes, it was more relaxed than usual, and the new piece, "Kid About It," was only one highlight.
So far, so fine, but the faithful 6,000 were curious about what might befall the symphonic Elvis. The answer came as soon as he broodily intoned the avenging lines of "Shot With His Own Gun," with six double-basses moving darkly behind him; you knew the experiment (and Robert Kirby's arrangements) would be tricky and variable.
At times ("Accidents Will Happen") the orchestra was irrelevant or irritating; at others ("Sweet Dreams") it usefully cushioned Costello's vocal frailties. But increasingly his performance gained surprising colour and depth, especially the four-song climax which began with an intriguing new piece, "Town Cryer," and contained a transfigured " Alison." The audience loved it. Costello, I suspect, will believe he can do still better.
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