Nashville Tennessean, October 28, 1999: Difference between revisions
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<center><h3> Elvis Costello packs passion, large <br> repertoire into Ryman show </h3></center> | <center><h3> Elvis Costello packs passion, large <br> repertoire into Ryman show </h3></center> | ||
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Weaving a large amount of humor and self-deprecation into his banter, Costello threaded more than 30 songs across a set last night that stretched more than two hours and 20 minutes, with no intermissions. Relying only on his voice, a guitar and the talents of keyboard player Steve Nieve, he still managed to grace that set with an amazing amount of variety, some of it inherent in the songs, some by reinventing the original versions. | Weaving a large amount of humor and self-deprecation into his banter, Costello threaded more than 30 songs across a set last night that stretched more than two hours and 20 minutes, with no intermissions. Relying only on his voice, a guitar and the talents of keyboard player Steve Nieve, he still managed to grace that set with an amazing amount of variety, some of it inherent in the songs, some by reinventing the original versions. | ||
Stately piano lent a classicism to "Man Out of Time." Costello became a lounge singer with "Temptation"; a Spanish flavor inhabited "(I Don't Want to Go to) Chelsea" and "Girls Talk"; church-like keyboards dignified "Indoor Fireworks," and a hard-strummed guitar gave Veronica an Everlys-like feel. He turned Everyday I Write the Book into an almost-folky excursion, and used shreds of guitar distortion and preset synthesized keyboard figures to create a New Wave air on "Green Shirt." | Stately piano lent a classicism to "Man Out of Time." Costello became a lounge singer with "Temptation"; a Spanish flavor inhabited "(I Don't Want to Go to) Chelsea" and "Girls Talk"; church-like keyboards dignified "Indoor Fireworks," and a hard-strummed guitar gave "Veronica" an Everlys-like feel. He turned "Everyday I Write the Book" into an almost-folky excursion, and used shreds of guitar distortion and preset synthesized keyboard figures to create a New Wave air on "Green Shirt." | ||
Costello displayed an uncanny ability to milk each song for its maximum passion both in his phrasing and his microphone technique. He paused in the middle of phrases to take a breath, providing an accent | Costello displayed an uncanny ability to milk each song for its maximum passion both in his phrasing and his microphone technique. He paused in the middle of phrases to take a breath, providing an accent — intended or otherwise — to certain words. The sometimes frequent breathing only added to the intensity and urgency of the performance. | ||
By playing with his proximity to the mic, he increased the dynamic range he already effectively employed. At times, Costello would sing so close to the microphone that every consonant, every breath was exaggerated. The heightened | By playing with his proximity to the mic, he increased the dynamic range he already effectively employed. At times, Costello would sing so close to the microphone that every consonant, every breath was exaggerated. The heightened 'p' in ''"drop"'' and 'k'{{nb}}in ''"wake"'' during "I Want You" only added to the obsessive anguish the song was meant to convey. | ||
But at other times, Costello would back away from the mic, physical distance providing a sonic distance. The crowd quieted itself as if on cue, to hear every nuance of his mic-less moments. | But at other times, Costello would back away from the mic, physical distance providing a sonic distance. The crowd quieted itself as if on cue, to hear every nuance of his mic-less moments. | ||
That was particularly true in the evening's highlight, That Day is Done, in which he sang an entire verse and chorus at the side of the stage, unamplified, while competing with Nieve's grand piano parts. Dedicated to ailing Fairfield Four member James Hill, the song became a moving testament, earning an instant standing ovation. | That was particularly true in the evening's highlight, "That Day is Done," in which he sang an entire verse and chorus at the side of the stage, unamplified, while competing with Nieve's grand piano parts. Dedicated to ailing Fairfield Four member James Hill, the song became a moving testament, earning an instant standing ovation. | ||
Costello weaved others' material into the performance | Costello weaved others' material into the performance — a rendering of Burt Bacharach's "I'll Never Fall in Love Again" and snippets of Peggy Lee's "Fever" and Van Morrison's "Jackie Wilson Said." | ||
Still, more often, Costello simply displayed his own genius as a songwriter, an interpretive singer, and, ultimately, a performer. | Still, more often, Costello simply displayed his own genius as a songwriter, an interpretive singer, and, ultimately, a performer. | ||
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'''The Tennessean, October 28, 1999 | '''The Tennessean, October 28, 1999 | ||
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[[Tom Roland]] reviews Elvis Costello with [[Steve Nieve]], Wednesday, [[Concert 1999-10-27 Nashville|October 27, 1999]], Ryman Auditorium, Nashville, | [[Tom Roland]] reviews Elvis Costello with [[Steve Nieve]], Wednesday, [[Concert 1999-10-27 Nashville|October 27, 1999]], Ryman Auditorium, Nashville, Tennessee. | ||
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*[http://www.tennessean.com/ Tennessean.com] | *[http://www.tennessean.com/ Tennessean.com] | ||
*[http://en.wikipedia.org/wiki/The_Tennessean Wikipedia: The Tennessean] | *[http://en.wikipedia.org/wiki/The_Tennessean Wikipedia: The Tennessean] | ||
*[http://www.elviscostello.info/articles/t-z/tennessean.991028a.html elviscostello.info] | |||
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[[Category:Bibliography]] | [[Category:Bibliography]] | ||
[[Category:Bibliography 1999]] | [[Category:Bibliography 1999]] | ||
[[Category: | [[Category:Nashville Tennessean| Nashville Tennessean 1999-10-28]] | ||
[[Category:Newspaper articles]] | [[Category:Newspaper articles]] | ||
[[Category:1999 concert reviews]] | [[Category:1999 concert reviews]] | ||
[[Category:Lonely World Tour|~Tennessean 1999-10-28]] | [[Category:Lonely World Tour|~Nashville Tennessean 1999-10-28]] | ||
Latest revision as of 07:24, 7 January 2021
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