Melbourne Herald Sun, October 12, 2009: Difference between revisions
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{{: | {{:Melbourne Herald Sun index}} | ||
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<center><h3> Elvis Costello </h3></center> | <center><h3> Elvis Costello </h3></center> | ||
<center> | <center>''' Palais Theatre </center> | ||
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<center> Simon Plant </center> | <center> Simon Plant </center> | ||
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{{ | {{5of5stars}} | ||
{{Bibliography text}} | {{Bibliography text}} | ||
Get this. For almost two hours, Elvis Costello stands on the stage of the grand old Palais and sings songs on guitar. That's it — nothing else — and he's brilliant. | Get this. For almost two hours, Elvis Costello stands on the stage of the grand old Palais and sings songs on guitar. That's it — nothing else — and he's brilliant. | ||
Between the opening chords of "Red Shoes" and the thrumming idealism of the closer, "Peace, Love and Understanding," Costello hammers out hits reaching back to the '70s as well as numbers from his new album ''Secret, Profane | Between the opening chords of "Red Shoes" and the thrumming idealism of the closer, "Peace, Love and Understanding," Costello hammers out hits reaching back to the '70s as well as numbers from his new album ''Secret, Profane & Sugarcane''. There are singalongs and stories, too. Some about the clubs he used to play with his dad, others about the performers in the days of riverboats and cotton plantations. | ||
Costello looks as if he just wandered in from the Mississippi Delta — grey suit, spotted tie, a Stetson shading those trademark specs — and tells us: "It's good to be back beside the seaside." | Costello looks as if he just wandered in from the Mississippi Delta — grey suit, spotted tie, a Stetson shading those trademark specs — and tells us: "It's good to be back beside the seaside." | ||
Good to hear that voice again. He sounds vinegary in "Veronica" and frenetic in "Bedlam." He coaxes tenderness out of | Good to hear that voice again. He sounds vinegary in "Veronica" and frenetic in "Bedlam." He coaxes tenderness out of "Good Year For The Roses" and traps high notes in "Everyday I Write The Book." | ||
Saddling up with different guitars, Costello's musicianship is just as impressive. In | Saddling up with different guitars, Costello's musicianship is just as impressive. In "Condemned Man," a new song about death row, his playing has the jolt of an electric shock. "Watching The Detectives" is even more aggressive with nifty pedalwork weaving a soundscape that all but peels paint off the walls. | ||
Seasoned performer that he is, Costello knows how to vary his colours. So before the evening's out we get a jazz gem | Seasoned performer that he is, Costello knows how to vary his colours. So before the evening's out we get a jazz gem ("All Or Nothing At All"), an Aznavour classic ("She") and "Sulphur To Sugarcane" — a picaresque journey through the saloons and sawdust of old-time America. | ||
"My aim is true," Costello tells us in | ''"My aim is true,"'' Costello tells us in "Alison." In his mid-50s, rock's great troubadour is still right on target. | ||
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{{tags}}[[Concert 2009-10-10 Melbourne|Palais Theatre]] {{-}} [[Melbourne]] {{-}} [[Australia]] {{-}} [[(The Angels Wanna Wear My) Red Shoes]] {{-}} [[(What's So Funny 'Bout) Peace, Love And Understanding?]] {{-}} [[Secret, Profane & Sugarcane]] {{-}} [[Veronica]] {{-}} [[Bedlam]] {{-}} [[Good Year For The Roses]] {{-}} [[Everyday I Write The Book]] {{-}} [[Condemned Man]] {{-}} [[Watching The Detectives]] {{-}} [[All Or Nothing At All]] {{-}} [[Charles Aznavour]] {{-}} [[She]] {{-}} [[Sulphur To Sugarcane]] {{-}} [[Alison]] | |||
{{cx}} | {{cx}} | ||
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''' | {{Bibliography next | ||
|prev = Melbourne Herald Sun, November 14, 2004 | |||
|next = Melbourne Herald Sun, October 30, 2020 | |||
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'''The Herald Sun, October 12, 2009 | |||
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[[Simon Plant]] reviews Elvis Costello, solo, Saturday, [[Concert 2009-10-10 Melbourne|October 10, 2009]], Palais Theatre, Melbourne, Australia. | [[Simon Plant]] reviews Elvis Costello, solo, Saturday, [[Concert 2009-10-10 Melbourne|October 10, 2009]], Palais Theatre, Melbourne, Australia. | ||
Latest revision as of 16:23, 8 February 2022
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