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Back in the early eighties, when Elvis Costello was as angry man, I took my first love to see him perform live. Actually she paid for the tickets. but it's the thought that counts, right? We held hands and sung in unison spitefully worded songs like "No Action," "Sneaky Feelings" and "Two Little Hitlers." And when I kissed her goodnight, the taste of bile was ever so present on both our lips. Seeing Costello's performance tonight, I'm sure the kiss would be a lot sweeter now. This is because our Elvis is a changed man.
Sure, there are still glints of bile in his songs these days ("How To Be Dumb" from his latest album for example); its in his nature, he simply can't resist a good put-down.
He still sings to a great extent about the same things — life's traumas, shortcomings, the nasty aftertaste of a relationship destroyed.
What differs though is that he has a more sympathetic rather than almost contemptuous attitude towards the "victims" he writes about.
This is what you've got to expect when coming to see Costello today. No "Two Little Hitlers" tonight. If you nostalgically cling to the unflinchingly angry days, don't bother coming. The guy's in love, so forget it.
Not to embrace this new phase in Costello's career would indicate a pretty small mind (and small record collection) anyway. With all this in mind, Costello performs the older part of his repertoire with relish and a knowing smile, revamping most of the instrumentation in line with restating his position towards that material. You could almost hear him say "It was awful at the time but I can laugh about it now."
This comes out in the scathing diatribe of "I Want You," sung in the form of a balladic lament, words delivered with resignation.
Costello's band seem within their element when playing more upbeat tunes like the playful soul of "Temptation" and "The Other Side Of Summer"'s bright pop stomp, yet his three other players showed a greater musical depth beyond that of a good-time bar band.
Fine delicate touches were given when needed ("So Like Candy," "Deep Dark Truthful Mirror"), as were intricacies such as the demented loop of "Hurry Down Doomsday" or a smart rendition of "Watching The Detectives," lending a jazz-swing TV soundtrack style to its original form.
It's this definite lust to keep eclectic and reinvigorate himself that makes Costello still a highly essential artist who is use-by date other performers who have been around as long as he has are. He's still the man — whatever season.
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