The Music Australia, April 17, 2014: Difference between revisions

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{{:Australia publications index}}
{{:Australia publications index}}
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<center><h3>Elvis Costello & The Imposters @ Hamer Hall </h3></center>
<center><h3> Elvis Costello & The Imposters </h3></center>
<center>''' Hamer Hall, Melbourne </center>
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<center> {{nm}}Andy Hazel</center>
<center> Andy Hazel </center>
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'''Energised, canonical takes on Oliver’s Army, Pump It Up and (I Don’t Want To Go To) Chelsea ensure that, even as we call out for still more, no one leaves feeling ripped off.'''
{{Bibliography text}}
{{Bibliography text}}
Trapped in our comfy seats by the politeness a place like this engenders (and a determination to get value out of the $140 ticket price), the largely middle-aged audience are respectfully attentive to support act [[Thelma Plum]]. What separates Plum from the several hundred other Waifs-ish sweetly gritty-voiced folk artists this country can boast is unclear. While she gives the spectacular acoustics little to work with besides forgettable songs about ex-boyfriends and a tame cover of Chris Isaak's Wicked Game, accompanying guitarist Liam Gerner however uses her work as a springboard for some inspired axe work. Plum's brash likeability eases the transition from folk festival to classical venue, and closing song Dollar – with some hilariously arrhythmic clapping from the audience – is the high point of a tricky set.
Trapped in our comfy seats by the politeness a place like this engenders (and a determination to get value out of the $140 ticket price), the largely middle-aged audience are respectfully attentive to support act Thelma Plum. What separates Plum from the several hundred other Waifs-ish sweetly gritty-voiced folk artists this country can boast is unclear. While she gives the spectacular acoustics little to work with besides forgettable songs about ex-boyfriends and a tame cover of Chris Isaak's "Wicked Game," accompanying guitarist Liam Gerner however uses her work as a springboard for some inspired axe work. Plum's brash likeability eases the transition from folk festival to classical venue, and closing song Dollar – with some hilariously arrhythmic clapping from the audience – is the high point of a tricky set.


With no ceremony, but to raucous fanfare, Elvis Costello & The Imposters set about playing a curious set. Unlike 2013's [[2013 Australian Tour|Spinning Wheel Of Song]] Tour sending us down memory lane, tonight is a litany of reminders of his rich, less-visited catalogue. An opening salvo of Brilliant Mistake, Blue Chair and Seconds Of Pleasure shows we're getting a set he wants to play. And so we move thematically through Costello's “Easter pageant” section, in which he plays songs he's written about resurrection (Stations Of The Cross, Suit Of Lights, Ascension Day and Come The Meantimes), and a tribute to the late songwriting legend [[Jesse Winchester]] (Quiet About It and Payday), that gives Costello a chance to tell some self-deprecating stories and pay tribute to a hero.
With no ceremony, but to raucous fanfare, Elvis Costello & The Imposters set about playing a curious set. Unlike 2013's Spinning Wheel Of Song Tour sending us down memory lane, tonight is a litany of reminders of his rich, less-visited catalogue. An opening salvo of "Brilliant Mistake," "Blue Chair" and "Seconds Of Pleasure" shows we're getting a set he wants to play. And so we move thematically through Costello's "Easter pageant" section, in which he plays songs he's written about resurrection ("Stations Of The Cross," "Suit Of Lights," "Ascension Day" and "Come The Meantimes"), and a tribute to the late songwriting legend Jesse Winchester ("Quiet About It" and "Payday"), that gives Costello a chance to tell some self-deprecating stories and pay tribute to a hero.


Better known tracks are saved for an encore that lasts as long as the preceding set. Costello, who turns 60 this year, comes alive on a stellar version of Watching The Detectives with an interlude of Walk Us Uptown, from his curious yet successful collaboration with [[The Roots]]. Shipbuilding gets a haunting reinvention courtesy of keyboard legend [[Steve Nieve]], and near-glam takes of Alison, Beyond Belief, I Want You and the erstwhile (What's So Funny 'Bout) Peace, Love And Understanding shows Costello is still finding inspiration in his back catalogue. Energised, canonical takes on Oliver's Army, Pump It Up and (I Don't Want To Go To) Chelsea ensure that, even as we call out for still more, no one leaves feeling ripped off.
Better known tracks are saved for an encore that lasts as long as the preceding set. Costello, who turns 60 this year, comes alive on a stellar version of "Watching The Detectives" with an interlude of "Walk Us Uptown," from his curious yet successful collaboration with The Roots. "Shipbuilding" gets a haunting reinvention courtesy of keyboard legend Steve Nieve, and near-glam takes of "Alison," "Beyond Belief," "I Want You" and the erstwhile "(What's So Funny 'Bout) Peace, Love And Understanding" shows Costello is still finding inspiration in his back catalogue. Energised, canonical takes on Oliver's Army, Pump It Up and (I Don't Want To Go To) Chelsea ensure that, even as we call out for still more, no one leaves feeling ripped off.
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{{cx}}


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'''The Music, April 17, 2014
'''The Music, April 17, 2014
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[[Andy Hazel]] reviews Elvis Costello and The Imposters on Wednesday, [[Concert 2014-04-17 Melbourne|April 17, 2014]] at Hamer Hall, Melbourne, Australia.
[[Andy Hazel]] reviews Elvis Costello & [[The Imposters]] and opening act [[Thelma Plum]], Wednesday, [[Concert 2014-04-17 Melbourne|April 17, 2014]]. Hamer Hall, Melbourne, Australia.


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[[image:2018-10-09 Metro UK photo 01 jom.jpg|x200px|border]]<br>
<small>Elvis Costello & The Imposters - Photo credit: [[James O'Mara]]</small>
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*[https://themusic.com.au/article/WrVNTE9OcXA/elvis-costello-and-the-imposters-hamer-hall-andy-haze/ TheMusic.com.au]
*[https://themusic.com.au/article/WrVNTE9OcXA/elvis-costello-and-the-imposters-hamer-hall-andy-haze/ TheMusic.com.au]
*[https://en.wikipedia.org/wiki/The_Music_(magazine) Wikipedia: The Music (magazine)]
*[https://en.wikipedia.org/wiki/The_Music_(magazine) Wikipedia: The Music (magazine)]
*[http://interviewsandgigreviews.blogspot.com/2014/05/live-review-elvis-costello-and.html interviews-and-gig-reviews.blogspot.com]


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{{DEFAULTSORT:The Music Australia 2014-04-17}}
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[[Category:The Music (Australia)| The Music (Australia) 2014-04-17]]
[[Category:The Music (Australia)| The Music (Australia) 2014-04-17]]
[[Category:Magazine articles]]
[[Category:Magazine articles]]
[[Category:Concert reviews]]
[[Category:2014 concert reviews]]
[[Category:2014 concert reviews]]

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Elvis Costello & The Imposters

Hamer Hall, Melbourne

Andy Hazel

Trapped in our comfy seats by the politeness a place like this engenders (and a determination to get value out of the $140 ticket price), the largely middle-aged audience are respectfully attentive to support act Thelma Plum. What separates Plum from the several hundred other Waifs-ish sweetly gritty-voiced folk artists this country can boast is unclear. While she gives the spectacular acoustics little to work with besides forgettable songs about ex-boyfriends and a tame cover of Chris Isaak's "Wicked Game," accompanying guitarist Liam Gerner however uses her work as a springboard for some inspired axe work. Plum's brash likeability eases the transition from folk festival to classical venue, and closing song Dollar – with some hilariously arrhythmic clapping from the audience – is the high point of a tricky set.

With no ceremony, but to raucous fanfare, Elvis Costello & The Imposters set about playing a curious set. Unlike 2013's Spinning Wheel Of Song Tour sending us down memory lane, tonight is a litany of reminders of his rich, less-visited catalogue. An opening salvo of "Brilliant Mistake," "Blue Chair" and "Seconds Of Pleasure" shows we're getting a set he wants to play. And so we move thematically through Costello's "Easter pageant" section, in which he plays songs he's written about resurrection ("Stations Of The Cross," "Suit Of Lights," "Ascension Day" and "Come The Meantimes"), and a tribute to the late songwriting legend Jesse Winchester ("Quiet About It" and "Payday"), that gives Costello a chance to tell some self-deprecating stories and pay tribute to a hero.

Better known tracks are saved for an encore that lasts as long as the preceding set. Costello, who turns 60 this year, comes alive on a stellar version of "Watching The Detectives" with an interlude of "Walk Us Uptown," from his curious yet successful collaboration with The Roots. "Shipbuilding" gets a haunting reinvention courtesy of keyboard legend Steve Nieve, and near-glam takes of "Alison," "Beyond Belief," "I Want You" and the erstwhile "(What's So Funny 'Bout) Peace, Love And Understanding" shows Costello is still finding inspiration in his back catalogue. Energised, canonical takes on Oliver's Army, Pump It Up and (I Don't Want To Go To) Chelsea ensure that, even as we call out for still more, no one leaves feeling ripped off.

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The Music, April 17, 2014


Andy Hazel reviews Elvis Costello & The Imposters and opening act Thelma Plum, Wednesday, April 17, 2014. Hamer Hall, Melbourne, Australia.


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