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<center><h3>Why Elvis Costello at Massey Hall was simply brilliant </h3></center>
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<center><h3> Why Elvis Costello at Massey Hall was simply brilliant </h3></center>
 
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<center> Jared Bland </center>
 
<center> Jared Bland </center>
 
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'''Elvis Costello <br>
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Massey Hall, Toronto
 
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{{Bibliography text}}
'''Artist''' Elvis Costello<br>
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Elvis Costello took the stage at Toronto's Massey Hall on Saturday night, swiftly and alone he was at the microphone, guitar in hand, before most of the audience even realized he'd made his entrance. He smiled impishly, chewed some gum and launched into a furiously paced acoustic rendition of "Welcome to the Working Week."
'''Venue''' Massey Hall<br>
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'''City''' Toronto<br>
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'''Date''' Saturday, June 14, 2014<br>
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Elvis Costello took the stage at Toronto’s Massey Hall on Saturday night, swiftly and alone he was at the microphone, guitar in hand, before most of the audience even realized he’d made his entrance. He smiled impishly, chewed some gum and launched into a furiously paced acoustic rendition of [[Welcome To The Working Week|Welcome to the Working Week]].
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Costello, it soon became clear, was there to work. He played alone for nearly two and a half hours, including three encores, offering a 32-song set that spanned his career, from his earliest punkish hits to work so fresh he seemed to be rewriting it as he sang. Throughout, he was simply brilliant: charismatic, playful and endlessly energetic.
 
Costello, it soon became clear, was there to work. He played alone for nearly two and a half hours, including three encores, offering a 32-song set that spanned his career, from his earliest punkish hits to work so fresh he seemed to be rewriting it as he sang. Throughout, he was simply brilliant: charismatic, playful and endlessly energetic.
  
By the time he hit the set’s fourth song, [[Alison]], so much of what would make the evening special was apparent. Costello worked even his most familiar songs down to their basic structures, and then rebuilt them with new flourishes and turns. Alison, in particular, thrived: The song is a towering work of art, one of the best pop songs of the 20th century, and on this night it rang with new clarity and sadness.
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By the time he hit the set's fourth song, "Alison," so much of what would make the evening special was apparent. Costello worked even his most familiar songs down to their basic structures, and then rebuilt them with new flourishes and turns. Alison, in particular, thrived: The song is a towering work of art, one of the best pop songs of the 20th century, and on this night it rang with new clarity and sadness.
  
Much of the show’s success was built on Costello’s voice, which, even as he approaches 60, is still nuanced and rich and capable of remarkable acrobatics. It lent heft to the eerie staccato melody of [[Beyond Belief]], rethought as a shimmering, finger-picked near-boogie; it brought the room to complete silence during a haunting rendition of [[Shipbuilding]], played on electric piano to open the first encore. Costello informed the crowd that he’d had to cut the [[Concert 2014-06-13 Ann Arbor|previous evening’s show]] short, having lost his ability to sing. But in Toronto on Saturday, he was in full and glorious voice.
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Much of the show's success was built on Costello's voice, which, even as he approaches 60, is still nuanced and rich and capable of remarkable acrobatics. It lent heft to the eerie staccato melody of "Beyond Belief," rethought as a shimmering, finger-picked near-boogie; it brought the room to complete silence during a haunting rendition of "Shipbuilding," played on electric piano to open the first encore. Costello informed the crowd that he'd had to cut the previous evening's [[Concert 2014-06-13 Ann Arbor|show]] short, having lost his ability to sing. But in Toronto on Saturday, he was in full and glorious voice.
  
Late in the evening, he was joined by another fine voice, Toronto’s [[Ron Sexsmith]], who’d spent the first half of the show nearly bursting out of his seat with excitement, fidgeting along to every one of Costello’s hyper-rhythmic twists and turns. He rose from his spot two-thirds of the way through the set and made his way to the side doors, heading backstage. He appeared again at the end of the first encore, joining Costello for a ramshackle rendition of [[Everyday I Write The Book|Everyday I Write the Book]].
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Late in the evening, he was joined by another fine voice, Toronto's Ron Sexsmith, who'd spent the first half of the show nearly bursting out of his seat with excitement, fidgeting along to every one of Costello's hyper-rhythmic twists and turns. He rose from his spot two-thirds of the way through the set and made his way to the side doors, heading backstage. He appeared again at the end of the first encore, joining Costello for a ramshackle rendition of "Everyday I Write the Book."
  
“He taught me how to sing one of my own songs,Costello said by way of introducing Sexsmith. But over the course of a few hours, it was clear that Elvis was the teacher here. In each of his liquid melodies, you could hear the genius that has influenced Sexsmith and countless others. His songs, stripped bare, were elemental and undeniable.
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"He taught me how to sing one of my own songs," Costello said by way of introducing Sexsmith. But over the course of a few hours, it was clear that Elvis was the teacher here. In each of his liquid melodies, you could hear the genius that has influenced Sexsmith and countless others. His songs, stripped bare, were elemental and undeniable.
  
Elvis Costello plays the Maison symphonique de Montréal on [[Concert 2014-06-29 Montreal|June 29]].
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'''Elvis Costello plays the Maison symphonique de Montréal on [[Concert 2014-06-29 Montreal|June 29]].
  
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{{tags}}[[Concert 2014-06-14 Toronto|Massey Hall]] {{-}} [[Toronto]] {{-}} [[Canada]] {{-}} [[Ron Sexsmith]] {{-}} [[Welcome To The Working Week]] {{-}} [[Alison]] {{-}} [[Beyond Belief]] {{-}} [[Shipbuilding]] {{-}} [[Everyday I Write The Book]] {{-}} [[Concert 2014-06-13 Ann Arbor|Ann Arbor]]
 
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'''The Globe and Mail, June 16, 2014
 
'''The Globe and Mail, June 16, 2014
 
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[[Jared Bland]] reviews Elvis Costello with [[Ron Sexsmith]] on Saturday, [[Concert 2014-06-14 Toronto|June 14, 2014]], at Massey Hall, Toronto, Canada.
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[[Jared Bland]] reviews Elvis Costello with [[Ron Sexsmith]], Saturday, [[Concert 2014-06-14 Toronto|June 14, 2014]], Massey Hall, Toronto, Canada.
  
 
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[[Image:2010-07-13 Montreux photo 09 db.jpg|x120px|border]]<br>
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[[image:2010-07-13 Montreux photo 09 db.jpg|380px]]
<small>Photo credit to Denis Balibouse/Reuters</br>
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<br><small>[[Concert 2010-07-13 Montreux|2010]] photo by [[Denis Balibouse]]/Reuters.</small>
  
 
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Latest revision as of 05:59, 7 April 2021

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Toronto Globe and Mail

Canada publications

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Why Elvis Costello at Massey Hall was simply brilliant


Jared Bland

Elvis Costello
Massey Hall, Toronto

Elvis Costello took the stage at Toronto's Massey Hall on Saturday night, swiftly and alone — he was at the microphone, guitar in hand, before most of the audience even realized he'd made his entrance. He smiled impishly, chewed some gum and launched into a furiously paced acoustic rendition of "Welcome to the Working Week."

Costello, it soon became clear, was there to work. He played alone for nearly two and a half hours, including three encores, offering a 32-song set that spanned his career, from his earliest punkish hits to work so fresh he seemed to be rewriting it as he sang. Throughout, he was simply brilliant: charismatic, playful and endlessly energetic.

By the time he hit the set's fourth song, "Alison," so much of what would make the evening special was apparent. Costello worked even his most familiar songs down to their basic structures, and then rebuilt them with new flourishes and turns. Alison, in particular, thrived: The song is a towering work of art, one of the best pop songs of the 20th century, and on this night it rang with new clarity and sadness.

Much of the show's success was built on Costello's voice, which, even as he approaches 60, is still nuanced and rich and capable of remarkable acrobatics. It lent heft to the eerie staccato melody of "Beyond Belief," rethought as a shimmering, finger-picked near-boogie; it brought the room to complete silence during a haunting rendition of "Shipbuilding," played on electric piano to open the first encore. Costello informed the crowd that he'd had to cut the previous evening's show short, having lost his ability to sing. But in Toronto on Saturday, he was in full and glorious voice.

Late in the evening, he was joined by another fine voice, Toronto's Ron Sexsmith, who'd spent the first half of the show nearly bursting out of his seat with excitement, fidgeting along to every one of Costello's hyper-rhythmic twists and turns. He rose from his spot two-thirds of the way through the set and made his way to the side doors, heading backstage. He appeared again at the end of the first encore, joining Costello for a ramshackle rendition of "Everyday I Write the Book."

"He taught me how to sing one of my own songs," Costello said by way of introducing Sexsmith. But over the course of a few hours, it was clear that Elvis was the teacher here. In each of his liquid melodies, you could hear the genius that has influenced Sexsmith and countless others. His songs, stripped bare, were elemental and undeniable.

Elvis Costello plays the Maison symphonique de Montréal on June 29.


Tags: Massey HallTorontoCanadaRon SexsmithWelcome To The Working WeekAlisonBeyond BeliefShipbuildingEveryday I Write The BookAnn Arbor

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The Globe and Mail, June 16, 2014


Jared Bland reviews Elvis Costello with Ron Sexsmith, Saturday, June 14, 2014, Massey Hall, Toronto, Canada.

Images

2010-07-13 Montreux photo 09 db.jpg
2010 photo by Denis Balibouse/Reuters.

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