Difference between revisions of "The Skinny, June 27, 2018"

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<center>Reviews</center>
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<center><h3> Elvis Costello and the Imposters </h3></center>
<center><h3> Elvis Costello and the Imposters @ Playhouse, Edinburgh, 24 Jun </h3></center>
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<center>''' Playhouse, Edinburgh </center>
 
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<center> Juliette Jones </center>
 
<center> Juliette Jones </center>
 
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'''Fans of all ages unite at the Edinburgh Playhouse for a satisfying mix of old and new songs played masterfully by Elvis Costello and the Imposters
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'''Fans of all ages unite at the Edinburgh Playhouse for a satisfying mix of old and new songs played masterfully by Elvis Costello and the Imposters <br>
 
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{{4stars}}
 
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{{Bibliography text}}
Despite Elvis Costello’s wild claim in 1977 that he’s not angry, it’s the stamping and shouting that still drives his live shows, including tonight’s at the [[Edinburgh Playhouse]]. Amongst the audience’s anticipation of faithful versions of the punk-era classics, there’s a kind of reverence: anyone who checks their phone in the middle of [[Watching The Detectives|Watching the Detectives]], or, God forbid, [[Pump It Up]] will be, rightly, moaned at by their gig partner. Things are kicked off with a powerful version of [[Wonder Woman]] from Costello's 2006 collaborative album with [[Allen Toussaint|Allan Toussaint]], ''The River in Reverse''.
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Despite Elvis Costello's wild claim in 1977 that he's not angry, it's the stamping and shouting that still drives his live shows, including tonight's at the Edinburgh Playhouse. Amongst the audience's anticipation of faithful versions of the punk-era classics, there's a kind of reverence: anyone who checks their phone in the middle of "Watching the Detectives," or, God forbid, "Pump It Up" will be, rightly, moaned at by their gig partner. Things are kicked off with a powerful version of "Wonder Woman" from Costello's 2006 collaborative album with Allen Toussaint, ''The River in Reverse''.
  
[[The Imposters]] are brilliant: the two amazing backing singers raise the roof on their own, and [[Pills And Soap|Pills and Soap]] just wouldn’t be the same without [[Steve Nieve]]’s keyboard tinkling. When he plays two keyboards at right angles to each other, he channels an odd version of Rick Wakeman who you’d happily talk to at a party. Some of it almost falls prey to the ace musicianship, though – the mysterious, compelling crossways current of [[Beyond Belief]] gets drummed a bit too hard, and it’s not clear how many people really want to hear another slowed down, jazzy version of [[Oliver's Army|Oliver’s Army]]. Still, for all the musical showing off it’s the punky energy that powers the gig, although there’s more enjoyment than indulgence of Costello when he gets the piano out and plays [[Shot With His Own Gun]] and [[Adieu Paris (L'Envie Des Etoiles)|Adieu Paris]].
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The Imposters are brilliant: the two amazing backing singers raise the roof on their own, and "Pills and Soap" just wouldn't be the same without Steve Nieve's keyboard tinkling. When he plays two keyboards at right angles to each other, he channels an odd version of Rick Wakeman who you'd happily talk to at a party. Some of it almost falls prey to the ace musicianship, though – the mysterious, compelling crossways current of "Beyond Belief" gets drummed a bit too hard, and it's not clear how many people really want to hear another slowed down, jazzy version of "Oliver's Army." Still, for all the musical showing off it's the punky energy that powers the gig, although there's more enjoyment than indulgence of Costello when he gets the piano out and plays "Shot With His Own Gun" and "Adieu Paris."
  
Costello’s stage presence and appearance are powerful, too. He’s gone from looking like the kid at school who didn’t dare take any cool subjects to a hip college lecturer who gets his guitar out in class when things get quiet. It’s compelling if you’re into that sort of thing, and a reminder that everything his music is about is shot through with sex. Elvis the Pelvis lives. He’s funny, stepping nicely into the role of gap-toothed Scouser in cod stand-up bits between songs. There are several reminders throughout the gig of how ace his lyrics are. 'It’s the stupid details that my heart is breaking for / It’s the way your shoulders shake and what they’re shaking for' for instance, in a theatrical version of [[I Want You]], does what certain [[Van Morrison]] couplets do: they are at once obscure and painfully clear.
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Costello's stage presence and appearance are powerful, too. He's gone from looking like the kid at school who didn't dare take any cool subjects to a hip college lecturer who gets his guitar out in class when things get quiet. It's compelling if you're into that sort of thing, and a reminder that everything his music is about is shot through with sex. Elvis the Pelvis lives. He's funny, stepping nicely into the role of gap-toothed Scouser in cod stand-up bits between songs. There are several reminders throughout the gig of how ace his lyrics are. ''"It's the stupid details that my heart is breaking for / It's the way your shoulders shake and what they're shaking for"'' for instance, in a theatrical version of "I Want You," does what certain Van Morrison couplets do: they are at once obscure and painfully clear.
  
Sadly, there’s still no good answer to the question '[[(What's So Funny 'Bout) Peace, Love And Understanding?|What’s so funny about peace, love and understanding?]]' particularly in these troubled times. The whole gig is a brilliant, satisfying 20th meets 21st century affair, younger and older fans enjoying the show and perhaps taking different things from it, though as the post-concert crowd spill out onto the street, there are more primitive fan renditions of the original version of [[Oliver's Army|Oliver’s Army]] than the one played tonight.
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Sadly, there's still no good answer to the question "What's so funny about peace, love and understanding?" particularly in these troubled times. The whole gig is a brilliant, satisfying 20th meets 21st century affair, younger and older fans enjoying the show and perhaps taking different things from it, though as the post-concert crowd spill out onto the street, there are more primitive fan renditions of the original version of "Oliver's Army" than the one played tonight.
  
http://www.elviscostellouk.com/
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{{tags}}[[Playhouse Theatre]] {{-}} [[Edinburgh]] {{-}} [[The Imposters]] {{-}} [[Steve Nieve]] {{-}} [[Pete Thomas]] {{-}} [[Davey Faragher]] {{-}} [[Briana Lee]] {{-}} [[Kitten Kuroi]] {{-}} [[Watching The Detectives]] {{-}} [[Pump It Up]] {{-}} [[Wonder Woman]] {{-}} [[Allen Toussaint]] {{-}} [[The River In Reverse]] {{-}} [[Pills And Soap]] {{-}} [[Beyond Belief]] {{-}} [[Oliver's Army]] {{-}} [[Shot With His Own Gun]] {{-}} [[Adieu Paris (L'Envie Des Etoiles)]] {{-}} [[I Want You]] {{-}} [[Van Morrison]] {{-}} [[(What's So Funny 'Bout) Peace, Love And Understanding?]]
 
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'''The Skinny, June 27, 2018
 
'''The Skinny, June 27, 2018
 
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[[Juliette Jones]] reviews Elvis Costello and The Imposters, with Briana Lee and Kitten Kuroi on Sunday, [[Concert 2018-06-24 Edinburgh|June 24, 2018]] at the Playhouse Theatre, Edinburgh, Scotland.
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[[Juliette Jones]] reviews Elvis Costello & [[The Imposters]] with [[Briana Lee]] and [[Kitten Kuroi]], Sunday, [[Concert 2018-06-24 Edinburgh|June 24, 2018]], Playhouse Theatre, Edinburgh, Scotland.
  
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[[image:2018-06-23 The Scotsman photo 01 bmca.png|360px|border]]
 
[[image:2018-06-23 The Scotsman photo 01 bmca.png|360px|border]]
<br><small>Photo credit:[[Bernadette Mcallister]]</small>
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<br><small>Photo by [[Bernadette Mcallister]].</small>
 
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==External links==
 
==External links==
*[https://www.theskinny.co.uk/music/live-music/reviews/elvis-costello-and-the-imposters-edinburgh-playhouse-24-jun theskinny.co.uk]
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*[https://www.theskinny.co.uk/music/live-music/reviews/elvis-costello-and-the-imposters-edinburgh-playhouse-24-jun TheSkinny.co.uk]
 
*[https://en.wikipedia.org/wiki/The_Skinny_(magazine) Wikipedia: The Skinny (magazine)]
 
*[https://en.wikipedia.org/wiki/The_Skinny_(magazine) Wikipedia: The Skinny (magazine)]
  
 
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[[Category:The Skinny| The Skinny 2018-06-27]]
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[[Category:The Skinny| Skinny 2018-06-27]]
[[Category:Magazine articles|Skinny, The 2018-06-27]]
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[[Category:Magazine articles]]
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[[Category:2018 concert reviews]]
[[Category:2018 concert reviews|Skinny, The 2018-06-27]]
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Latest revision as of 23:04, 19 September 2021

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The Skinny

UK & Ireland magazines

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Elvis Costello and the Imposters

Playhouse, Edinburgh

Juliette Jones

Fans of all ages unite at the Edinburgh Playhouse for a satisfying mix of old and new songs played masterfully by Elvis Costello and the Imposters
4-star reviews4-star reviews4-star reviews4-star reviews

Despite Elvis Costello's wild claim in 1977 that he's not angry, it's the stamping and shouting that still drives his live shows, including tonight's at the Edinburgh Playhouse. Amongst the audience's anticipation of faithful versions of the punk-era classics, there's a kind of reverence: anyone who checks their phone in the middle of "Watching the Detectives," or, God forbid, "Pump It Up" will be, rightly, moaned at by their gig partner. Things are kicked off with a powerful version of "Wonder Woman" from Costello's 2006 collaborative album with Allen Toussaint, The River in Reverse.

The Imposters are brilliant: the two amazing backing singers raise the roof on their own, and "Pills and Soap" just wouldn't be the same without Steve Nieve's keyboard tinkling. When he plays two keyboards at right angles to each other, he channels an odd version of Rick Wakeman who you'd happily talk to at a party. Some of it almost falls prey to the ace musicianship, though – the mysterious, compelling crossways current of "Beyond Belief" gets drummed a bit too hard, and it's not clear how many people really want to hear another slowed down, jazzy version of "Oliver's Army." Still, for all the musical showing off it's the punky energy that powers the gig, although there's more enjoyment than indulgence of Costello when he gets the piano out and plays "Shot With His Own Gun" and "Adieu Paris."

Costello's stage presence and appearance are powerful, too. He's gone from looking like the kid at school who didn't dare take any cool subjects to a hip college lecturer who gets his guitar out in class when things get quiet. It's compelling if you're into that sort of thing, and a reminder that everything his music is about is shot through with sex. Elvis the Pelvis lives. He's funny, stepping nicely into the role of gap-toothed Scouser in cod stand-up bits between songs. There are several reminders throughout the gig of how ace his lyrics are. "It's the stupid details that my heart is breaking for / It's the way your shoulders shake and what they're shaking for" for instance, in a theatrical version of "I Want You," does what certain Van Morrison couplets do: they are at once obscure and painfully clear.

Sadly, there's still no good answer to the question "What's so funny about peace, love and understanding?" particularly in these troubled times. The whole gig is a brilliant, satisfying 20th meets 21st century affair, younger and older fans enjoying the show and perhaps taking different things from it, though as the post-concert crowd spill out onto the street, there are more primitive fan renditions of the original version of "Oliver's Army" than the one played tonight.


Tags: Playhouse TheatreEdinburghThe ImpostersSteve NievePete ThomasDavey FaragherBriana LeeKitten KuroiWatching The DetectivesPump It UpWonder WomanAllen ToussaintThe River In ReversePills And SoapBeyond BeliefOliver's ArmyShot With His Own GunAdieu Paris (L'Envie Des Etoiles)I Want YouVan Morrison(What's So Funny 'Bout) Peace, Love And Understanding?

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The Skinny, June 27, 2018


Juliette Jones reviews Elvis Costello & The Imposters with Briana Lee and Kitten Kuroi, Sunday, June 24, 2018, Playhouse Theatre, Edinburgh, Scotland.



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