Seattle Weekly, April 13, 2012: Difference between revisions
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'''Elvis Costello's Paramount show reveals surprisingly aggressive anti-East Coast sentiment among Seattleites | '''Elvis Costello's Paramount show reveals surprisingly aggressive anti-East Coast sentiment among Seattleites | ||
{{Bibliography text}} | {{Bibliography text}} | ||
Elvis Costello and his Imposters took the stage last night, nattily dressed in top hats and ties save for drummer Pete Thomas, who insisted on wearing a loose-fitting gold shirt. They looked like luminaries, but because this was one of Costello's famed " | Elvis Costello and his Imposters took the stage last night, nattily dressed in top hats and ties save for drummer Pete Thomas, who insisted on wearing a loose-fitting gold shirt. They looked like luminaries, but because this was one of Costello's famed "Spectacular Spinning Songbook" shows, with a ferris wheel of tracks or topics that audience members came up and spun for, the crowd was the star. And when Costello mentioned Beantown in passing, and not one but two shouts of "Fuck Boston!" came roaring out of that crowd, it signaled that Seattle might be about to get past its passive-aggressive phase. | ||
Costello's gift of onstage gab is perhaps only rivaled by John Roderick, but for the first six songs last night, Declan and his mates barely paused for as much as a breath while blazing through the likes of "I Hope You're Happy Now" and "Radio, Radio." In addition to drum kits and keyboards, the stage featured the aforementioned giant wheel, a makeshift bar called The Society Lounge, and a go-go cage, complete with two professional dancers. If Costello wasn't talking yet, it was gleefully evident that he'd soon be cast in the role of circus barker. | Costello's gift of onstage gab is perhaps only rivaled by John Roderick, but for the first six songs last night, Declan and his mates barely paused for as much as a breath while blazing through the likes of "I Hope You're Happy Now" and "Radio, Radio." In addition to drum kits and keyboards, the stage featured the aforementioned giant wheel, a makeshift bar called The Society Lounge, and a go-go cage, complete with two professional dancers. If Costello wasn't talking yet, it was gleefully evident that he'd soon be cast in the role of circus barker. | ||
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Costello's 45-minute encore, which included "Veronica," "Watching The Detectives" and "Everyday I Write The Book," functioned more like a second set, but it was an earlier progression from "(I Don't Want To Go To) Chelsea" to "Shipbuilding" that showed off the band's incomparable versatility. While the latter suffered a bit for lack of Chet Baker's trumpet, it served as a reminder that, when he slows down, Costello possesses one of the lovelier voices in pop, a notion supported by his occasional abandonment of instrumentation and amplification, his nude a{{nb}}capella still filling the hall. | Costello's 45-minute encore, which included "Veronica," "Watching The Detectives" and "Everyday I Write The Book," functioned more like a second set, but it was an earlier progression from "(I Don't Want To Go To) Chelsea" to "Shipbuilding" that showed off the band's incomparable versatility. While the latter suffered a bit for lack of Chet Baker's trumpet, it served as a reminder that, when he slows down, Costello possesses one of the lovelier voices in pop, a notion supported by his occasional abandonment of instrumentation and amplification, his nude a{{nb}}capella still filling the hall. | ||
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{{tags}}[[The Imposters]] {{-}} [[Concert 2012-04-12 Seattle|Paramount Theatre]] {{-}} [[Seattle]] {{-}} [[WA|Washington]] {{-}} [[Pete Thomas]] {{-}} [[Spectacular Spinning Songbook]] {{-}} [[I Hope You're Happy Now]] {{-}} [[Radio, Radio]] {{-}} [[The Society Lounge]] {{-}} [[go-go cage]] {{-}} [[two professional dancers]] {{-}} [[Diana Krall]] {{-}} [[Veronica]] {{-}} [[Watching The Detectives]] {{-}} [[Everyday I Write The Book]] {{-}} [[(I Don't Want To Go To) Chelsea]] {{-}} [[Shipbuilding]] {{-}} [[Chet Baker]] | |||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Seattle Weekly, April 3, 2012 | |||
|next = Seattle Weekly, September 2, 2014 | |||
}} | |||
'''Seattle Weekly, April 13, 2012 | '''Seattle Weekly, April 13, 2012 | ||
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Revision as of 18:36, 26 February 2023
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