Elvis' Co-Headlining tour with Daryl Hall, will continue at the Masonic Temple Theatre, Detroit, Michigan, on Monday July 8th. Elvis will be joined by The Imposters and Charlie Sexton again.
According to the Wikipedia the horseshoe-shaped auditorium has a 4,402 seat capacity. It opened in November 1926.
Elvis has played this venue once before, with The Attractions in 1979 on the Armed Funk tour.
Tickets are now on sale here priced between $59.00 and $347.00. The ticketing website suggests that maybe 50% of seats have sold. Seats are still available at all prices.
Who's going?
MOOT
Elvis & The Imposters with Charlie Sexton at Masonic Temple Theatre, Detroit, MI, July 8, 2024
-
Man out of Time
- Posts: 1876
- Joined: Fri Jul 06, 2007 8:15 am
- Location: just off the coast of Europe
- Contact:
Re: Elvis & The Imposters with Charlie Sexton at Masonic Temple Theatre, Detroit, MI, July 8, 2024
https://www.thenewsherald.com/2024/07/0 ... ic-temple/
Daryl Hall, Elvis Costello complement at Detroit’s Masonic Temple
By GARY GRAFF
July 9, 2024
The roster of guests who have gone through his “Live From Daryl’s House” TV (now online) show indicates the breadth of the pop mega-hitmaker’s collaborative umbrella. And on the road, even with partner John Oates, Hall has been more than happy to share stages with a seemingly unlikely corps of peers.
So while his teaming with fellow Rock and Roll Hall of Famer Elvis Costello for a North American co-headlining run may cock an eyebrow or two, musically astute fans know it makes some sense — and, on Monday night, July 8, made for an intriguing night of music over two very different performances at Detroit’s Masonic Temple Auditorium.
It should be noted, however, that it was not a particularly great night on the sound front, as mixes for both sets were erratic –though Hall’s found a groove after a couple of songs. And while each act’s partisans were polite to the other, a fair number of (presumably Costello) fans were consistently trooping out during Hall’s portion of the show, leaving just a fraction of half-sold house remaining by the time he got to his encores.
Those matters aside, each man gave his respective audience exactly what they wanted.
Costello’s crowd likes to hear his A-list, of course, but it also expects surprises, variations and digs into a recording catalog that spans nearly three dozen albums over the past 47 years. He and his band the Imposters, with Charlie Sexton on guitar, did just that over the course of its 15-song, 80-minute show on Monday. It came out strong with favorites such as “Pump It Up” and “Watching the Detectives,” and later included an expanded rendition of “Everyday I Write the Book,” “Clubland” and “Alison.” But amidst those “hits” the quintet went deep with selections such as “No Flag,” an intense “Green Shirt,” the soulful “Magnificent Hurt” and “The Judgment,” a nod to current news events in the U.S. “I think you’ll know why I’m singing this tonight,” said Costello, who sported a dark suit, gold boots and fedora.
The latter part of the show also included a rendition of Mose Allison’s bluesy “Everybody’s Cryin’ Mercy” and “A Face in the Crowd,” the title song from his upcoming musical in London (he invited everyone at Masonic to the September 10 opening night).
Costello, as well as Hall, paid tribute to Motown on a couple of occasions, dropping a bit of the Supremes’ “Love Child” at the end of one song and the group’s “I’m Gonna Make You Love Me” into “Alison.” The set in general was tight and free of the open-ended excesses of the group’s stop last summer at the Meadow Brook Amphitheatre, making the tweaks he made in the song arrangements go down easier as he and Sexton exchanged guitar breaks on the set-ending couplet of “(I Don’t Want to Go to) Chelsea” and a particularly loose “(What’s So Funny ‘Bout) Peace, Love and Understanding.”
“The warm embrace of Daryl Hall,” as Costello called it, was just that, too.
Despite a musically expansive solo career, including a brand-new album, “D,” his first in 11 years, Hall’s part of Monday’s fan spectrum wanted the hits, meaning Hall & Oates. And he gave them that in abundance — eight of the 12 songs he and his sharp six-piece band played during its 75 minutes on stage.
The dark-suited Hall and company recovered from a wobbly start during “Maneater” and his own “Dreamtime,” finally locking in on another solo track “Foolish Pride.” As Hall switched from guitar to piano “Rich Girl” began a crowd-pleasing run, seguing smoothly into “Kiss on My List” and “Private Eyes,” highlighted by solos from guitarist and musical director Shane Theriot. “I’m in a Philly Mood” gave Hall a chance to chat about the similarities between his early home and Detroit, while extended slow jam treatments of “Everytime You Go Away” and “Sara Smile” let him exercise some soulful improvisations.
Hall did lose another substantial portion of the crowd after finishing the main set with Hall & Oates’ “I Can’t Go For That (No Can Do),” and the lone “D” song, “Can’t Say No To You,” was perhaps ill-positioned in the first encore. But the bouncy “You Make My Dreams” rewarded those who struck around and sent them home happy, albeit maybe scratching their heads about the unusual combination they’d just witnessed.
Daryl Hall, Elvis Costello complement at Detroit’s Masonic Temple
By GARY GRAFF
July 9, 2024
The roster of guests who have gone through his “Live From Daryl’s House” TV (now online) show indicates the breadth of the pop mega-hitmaker’s collaborative umbrella. And on the road, even with partner John Oates, Hall has been more than happy to share stages with a seemingly unlikely corps of peers.
So while his teaming with fellow Rock and Roll Hall of Famer Elvis Costello for a North American co-headlining run may cock an eyebrow or two, musically astute fans know it makes some sense — and, on Monday night, July 8, made for an intriguing night of music over two very different performances at Detroit’s Masonic Temple Auditorium.
It should be noted, however, that it was not a particularly great night on the sound front, as mixes for both sets were erratic –though Hall’s found a groove after a couple of songs. And while each act’s partisans were polite to the other, a fair number of (presumably Costello) fans were consistently trooping out during Hall’s portion of the show, leaving just a fraction of half-sold house remaining by the time he got to his encores.
Those matters aside, each man gave his respective audience exactly what they wanted.
Costello’s crowd likes to hear his A-list, of course, but it also expects surprises, variations and digs into a recording catalog that spans nearly three dozen albums over the past 47 years. He and his band the Imposters, with Charlie Sexton on guitar, did just that over the course of its 15-song, 80-minute show on Monday. It came out strong with favorites such as “Pump It Up” and “Watching the Detectives,” and later included an expanded rendition of “Everyday I Write the Book,” “Clubland” and “Alison.” But amidst those “hits” the quintet went deep with selections such as “No Flag,” an intense “Green Shirt,” the soulful “Magnificent Hurt” and “The Judgment,” a nod to current news events in the U.S. “I think you’ll know why I’m singing this tonight,” said Costello, who sported a dark suit, gold boots and fedora.
The latter part of the show also included a rendition of Mose Allison’s bluesy “Everybody’s Cryin’ Mercy” and “A Face in the Crowd,” the title song from his upcoming musical in London (he invited everyone at Masonic to the September 10 opening night).
Costello, as well as Hall, paid tribute to Motown on a couple of occasions, dropping a bit of the Supremes’ “Love Child” at the end of one song and the group’s “I’m Gonna Make You Love Me” into “Alison.” The set in general was tight and free of the open-ended excesses of the group’s stop last summer at the Meadow Brook Amphitheatre, making the tweaks he made in the song arrangements go down easier as he and Sexton exchanged guitar breaks on the set-ending couplet of “(I Don’t Want to Go to) Chelsea” and a particularly loose “(What’s So Funny ‘Bout) Peace, Love and Understanding.”
“The warm embrace of Daryl Hall,” as Costello called it, was just that, too.
Despite a musically expansive solo career, including a brand-new album, “D,” his first in 11 years, Hall’s part of Monday’s fan spectrum wanted the hits, meaning Hall & Oates. And he gave them that in abundance — eight of the 12 songs he and his sharp six-piece band played during its 75 minutes on stage.
The dark-suited Hall and company recovered from a wobbly start during “Maneater” and his own “Dreamtime,” finally locking in on another solo track “Foolish Pride.” As Hall switched from guitar to piano “Rich Girl” began a crowd-pleasing run, seguing smoothly into “Kiss on My List” and “Private Eyes,” highlighted by solos from guitarist and musical director Shane Theriot. “I’m in a Philly Mood” gave Hall a chance to chat about the similarities between his early home and Detroit, while extended slow jam treatments of “Everytime You Go Away” and “Sara Smile” let him exercise some soulful improvisations.
Hall did lose another substantial portion of the crowd after finishing the main set with Hall & Oates’ “I Can’t Go For That (No Can Do),” and the lone “D” song, “Can’t Say No To You,” was perhaps ill-positioned in the first encore. But the bouncy “You Make My Dreams” rewarded those who struck around and sent them home happy, albeit maybe scratching their heads about the unusual combination they’d just witnessed.