I'll be travelling to see this one, Berlin's a great spot. Anyone else going to this?
DrJ
EC&TI, Berlin, Jan 28th,
EC&TI, Berlin, Jan 28th,
Tlentifini Maarhaysu
http://archiv.tagesspiegel.de/archiv/30 ... 620404.asp
Der Traum-Angestellte
Kein Schmelz, kein Schmalz: Elvis Costello in Berlin
Von Jan Schulz-Ojala
Eigentlich kein schlechter Ort heute Abend, der flachglasige Konzertsaalkasten der UdK, diese Deutsche Oper für die Klassik des Pop. Zuletzt hat hier der Typ, zu dessen Konzert sich überwiegend Dunkelbrillenmänner jeden Alters versammeln, einen dezent umjubelten Liederabend gegeben – akustische Gitarre, Klavier, Stimme und sonst gar nichts. Und gerade hat der Deutsche-Grammophon-Star seine erste Kammeroper angekündigt – im Herbst in Kopenhagen zum Andersen-Jahr. Da sollte es doch auch heute wieder ein erhebender Abend werden, ein melancholischer Liebesliederabend natürlich am liebsten.
Aber da kennt ihr Elvis Costello schlecht. Nur: Wer kennt schon Elvis Costello? Der Mann ist zwar seit gut zehn Jahren auch ins Klassikfach gewechselt, zuletzt sehr ballettmusikalisch mit „Il Sogno“. Und dann gibt es den minimalistischen Edeljazz von „North“, dem Träumer-Album, fertig geworden kurz vor der Hochzeit mit der Jazztraumfrau Diana Krall. Doch Costello ist auch ein lärmendes Rockgemüt – und hat mit 50 nicht vergessen, wie er mit den Attractions in die kühlen Achtzigerjahre reinsprang – was für ein Riesentauchbecken war das, mit 50-Meter-Turm. Ob er da heute sein wunderbares „I Want You" singt? Das Sehnsuchtslied, das Michael Winterbottoms Film inspirierte und verschlang, ist dafür fast schon zu leise.
Und tatsächlich: nix Kammerkonzert. Auf der Bühne stehen die Attractions von damals fast komplett, mit Steve Nieve an den Keyboards und Schlagzeuger Peter Thomas, neu ist nur Bassist Davey Faragher. Das Ganze heißt jetzt The Impostors, und los bratzen die Schwindler aus der Krachmacherstraße, was das Zeug hält. Stehen da in dunklem Tuchzeug rum, Angestellte unserer Träume, nur wollen sie als netter Seelenbildschirmhintergrund nicht so recht funktionieren. Geben zwar die schlichten Lieferanten, die Costello in „The Delivery Man“ besingt, aber was sie liefern, ist lupenreiner Oldstyle-Rock. Nieve lässt es fortissimo perlen und orgeln, Costello kratzekrault seine E-Gitarre wie einen Jaulejunghund, den er kaum zurückhalten kann.
Klar, das klingt schön bombasto-elegisch, von „Country Darkness“ bis „Either Side of the Same Town“ – und vor allem das ohrwurmträchtige „Delivery Man“ selbst, das die Schwindler zum Titel ihres frischen Albums erwählt haben. Leider dröhnen sie dabei, im Verein mit der lausigen Saal-Akustik, das besonderste Instrument zu, das heute zu hören wäre: Costellos Stimme. Doch ist das nicht manchmal besser so? Costellos Hauchen und Beißen funktioniert nur noch in der Mittellage; in den Höhen, die der Tönetüftler scharf ansetzt wie ein felsenwärts Standspringender, gibt sie sich oft abrissig, nebenspurig, verstimmt. Dahin der Schmelz, dahin auch der Schmalz – besonders auffällig, wenn er frühe Sachen wie „Our Little Angel“ intoniert. Auch dieses stimmliche Schiefliegen mag frecher, großer Costello sein. Vielleicht aber ist es bloß das Älterwerden.
Und dann, nach einer Zugabenhatz aus den donnernden Frühzeiten von „Armed Forces“, erlaubt sich der Genre-Hüpfer, der Allesausprobierer, der Michael Winterbottom des Pop doch noch eine Berechenbarkeit. Er singt, worauf wohl jeder im Saal insgeheim gewartet hat: „I Want You“, die schmerzhafteste und bewegendste Liebesarie des Pop. Schön, dass wir uns aufeinander verlassen können, der Unzuverlässige und wir.
-------------------------------------------------------------------------------------
Google translation -
The no bloom trauma-posed, no Schmalz:
Elvis Costello in Berlin
Von Jan Schulz Ojala
actually no bad place this evening, which has flatglassy concert hall box of the UdK, this German opera for the classical period of the Pop. last here the type, to whose concert dark eyeglass men each age meet predominantly, one dezent umjubelten song evening given - acoustic guitar, piano, voice and otherwise nothing at all. And straight announced the German Grammophon star its first chamber opera - in the autumn in Copenhagen on other EN the other hand. There it should become nevertheless also today again a raising evening, a melancholischer dear song evening naturally dearest. But their Elvis Costello knows there badly.
Only: Who knows already Elvis Costello? The man is for well ten years also in the classical period subject changed, last very ballet musical with "IL Sogno". And then there is the minimalistic noble jazz of "North", the dreamer album, become briefly before the wedding with the jazz dream woman Diana Krall. But Costello is also a being noisy skirt mind - and with 50 did not forget, as he with the Attractions into the cool eighties-years clean-jumped - which for a giant dipping basin was that, with 50-Meter-Turm. Whether it sings there today its marvelous "I want You"? The longing song, which inspired and devoured Michael Winterbottoms film, is nearly already too quiet for it. And actually: nix chamber concert.
On the stage the Attractions from at that time nearly completely, with Steve Nieve at the key boards and schlagzeuger Peter Thomas stands, again is only bassist Davey Faragher. The whole is called now The Impostors, and bratzen loosely the swindlers from the noise Mach first race, which holds things. Are located there in dark cloth things rum, employees of our dreams, only they do not want to function as nice soul screen background so quite. Give if the simple suppliers, who Costello in "The Delivery one" besingt, but which they supply, is magnifying glass-pure Oldstyle skirt. Nieve leaves it fortissimo to beads and organs, Costello kratzekrault its e-guitar like a howling young dog, which he can hardly hold back.
Clearly, sounds beautifully bombasto elegisch, from "Country Darkness" to "Either Side OF the same Town" - and above all the ear-worm-pregnant "Delivery one", which the swindlers chose to the title of their fresh album. Unfortunately they roar thereby, in the association with the lausigen hall acoustics, the besonderste instrument too, which would be to be heard today: Costellos voice. But is not that sometimes better like that? Costellos Hauchen and biting functions only in the central position; in the heights, which the Toenetueftler sets sharply like felsenwaerts a condition-jumping, it gives itself often abrissig, nebenspurig, detuned. There the bloom, there also the Schmalz - particularly remarkable, if it intoniert early things like "Our Little fishing rod". Also this stimmliche inclined couches, large Costello may be more impudent. Perhaps however it is bare.
And then, after a Zugabenhatz from the thundering early periods of "Armed Forces", takes the liberty the category hop, the Allesausprobierer, the Michael Winterbottom of the Pop nevertheless still another predictability. It sings, on which probably everyone waited in the hall secretly: "I want You", the most painful and most moving dear air of the Pop. beautiful that we can rely one on the other, the unreliable one and we.
Der Traum-Angestellte
Kein Schmelz, kein Schmalz: Elvis Costello in Berlin
Von Jan Schulz-Ojala
Eigentlich kein schlechter Ort heute Abend, der flachglasige Konzertsaalkasten der UdK, diese Deutsche Oper für die Klassik des Pop. Zuletzt hat hier der Typ, zu dessen Konzert sich überwiegend Dunkelbrillenmänner jeden Alters versammeln, einen dezent umjubelten Liederabend gegeben – akustische Gitarre, Klavier, Stimme und sonst gar nichts. Und gerade hat der Deutsche-Grammophon-Star seine erste Kammeroper angekündigt – im Herbst in Kopenhagen zum Andersen-Jahr. Da sollte es doch auch heute wieder ein erhebender Abend werden, ein melancholischer Liebesliederabend natürlich am liebsten.
Aber da kennt ihr Elvis Costello schlecht. Nur: Wer kennt schon Elvis Costello? Der Mann ist zwar seit gut zehn Jahren auch ins Klassikfach gewechselt, zuletzt sehr ballettmusikalisch mit „Il Sogno“. Und dann gibt es den minimalistischen Edeljazz von „North“, dem Träumer-Album, fertig geworden kurz vor der Hochzeit mit der Jazztraumfrau Diana Krall. Doch Costello ist auch ein lärmendes Rockgemüt – und hat mit 50 nicht vergessen, wie er mit den Attractions in die kühlen Achtzigerjahre reinsprang – was für ein Riesentauchbecken war das, mit 50-Meter-Turm. Ob er da heute sein wunderbares „I Want You" singt? Das Sehnsuchtslied, das Michael Winterbottoms Film inspirierte und verschlang, ist dafür fast schon zu leise.
Und tatsächlich: nix Kammerkonzert. Auf der Bühne stehen die Attractions von damals fast komplett, mit Steve Nieve an den Keyboards und Schlagzeuger Peter Thomas, neu ist nur Bassist Davey Faragher. Das Ganze heißt jetzt The Impostors, und los bratzen die Schwindler aus der Krachmacherstraße, was das Zeug hält. Stehen da in dunklem Tuchzeug rum, Angestellte unserer Träume, nur wollen sie als netter Seelenbildschirmhintergrund nicht so recht funktionieren. Geben zwar die schlichten Lieferanten, die Costello in „The Delivery Man“ besingt, aber was sie liefern, ist lupenreiner Oldstyle-Rock. Nieve lässt es fortissimo perlen und orgeln, Costello kratzekrault seine E-Gitarre wie einen Jaulejunghund, den er kaum zurückhalten kann.
Klar, das klingt schön bombasto-elegisch, von „Country Darkness“ bis „Either Side of the Same Town“ – und vor allem das ohrwurmträchtige „Delivery Man“ selbst, das die Schwindler zum Titel ihres frischen Albums erwählt haben. Leider dröhnen sie dabei, im Verein mit der lausigen Saal-Akustik, das besonderste Instrument zu, das heute zu hören wäre: Costellos Stimme. Doch ist das nicht manchmal besser so? Costellos Hauchen und Beißen funktioniert nur noch in der Mittellage; in den Höhen, die der Tönetüftler scharf ansetzt wie ein felsenwärts Standspringender, gibt sie sich oft abrissig, nebenspurig, verstimmt. Dahin der Schmelz, dahin auch der Schmalz – besonders auffällig, wenn er frühe Sachen wie „Our Little Angel“ intoniert. Auch dieses stimmliche Schiefliegen mag frecher, großer Costello sein. Vielleicht aber ist es bloß das Älterwerden.
Und dann, nach einer Zugabenhatz aus den donnernden Frühzeiten von „Armed Forces“, erlaubt sich der Genre-Hüpfer, der Allesausprobierer, der Michael Winterbottom des Pop doch noch eine Berechenbarkeit. Er singt, worauf wohl jeder im Saal insgeheim gewartet hat: „I Want You“, die schmerzhafteste und bewegendste Liebesarie des Pop. Schön, dass wir uns aufeinander verlassen können, der Unzuverlässige und wir.
-------------------------------------------------------------------------------------
Google translation -
The no bloom trauma-posed, no Schmalz:
Elvis Costello in Berlin
Von Jan Schulz Ojala
actually no bad place this evening, which has flatglassy concert hall box of the UdK, this German opera for the classical period of the Pop. last here the type, to whose concert dark eyeglass men each age meet predominantly, one dezent umjubelten song evening given - acoustic guitar, piano, voice and otherwise nothing at all. And straight announced the German Grammophon star its first chamber opera - in the autumn in Copenhagen on other EN the other hand. There it should become nevertheless also today again a raising evening, a melancholischer dear song evening naturally dearest. But their Elvis Costello knows there badly.
Only: Who knows already Elvis Costello? The man is for well ten years also in the classical period subject changed, last very ballet musical with "IL Sogno". And then there is the minimalistic noble jazz of "North", the dreamer album, become briefly before the wedding with the jazz dream woman Diana Krall. But Costello is also a being noisy skirt mind - and with 50 did not forget, as he with the Attractions into the cool eighties-years clean-jumped - which for a giant dipping basin was that, with 50-Meter-Turm. Whether it sings there today its marvelous "I want You"? The longing song, which inspired and devoured Michael Winterbottoms film, is nearly already too quiet for it. And actually: nix chamber concert.
On the stage the Attractions from at that time nearly completely, with Steve Nieve at the key boards and schlagzeuger Peter Thomas stands, again is only bassist Davey Faragher. The whole is called now The Impostors, and bratzen loosely the swindlers from the noise Mach first race, which holds things. Are located there in dark cloth things rum, employees of our dreams, only they do not want to function as nice soul screen background so quite. Give if the simple suppliers, who Costello in "The Delivery one" besingt, but which they supply, is magnifying glass-pure Oldstyle skirt. Nieve leaves it fortissimo to beads and organs, Costello kratzekrault its e-guitar like a howling young dog, which he can hardly hold back.
Clearly, sounds beautifully bombasto elegisch, from "Country Darkness" to "Either Side OF the same Town" - and above all the ear-worm-pregnant "Delivery one", which the swindlers chose to the title of their fresh album. Unfortunately they roar thereby, in the association with the lausigen hall acoustics, the besonderste instrument too, which would be to be heard today: Costellos voice. But is not that sometimes better like that? Costellos Hauchen and biting functions only in the central position; in the heights, which the Toenetueftler sets sharply like felsenwaerts a condition-jumping, it gives itself often abrissig, nebenspurig, detuned. There the bloom, there also the Schmalz - particularly remarkable, if it intoniert early things like "Our Little fishing rod". Also this stimmliche inclined couches, large Costello may be more impudent. Perhaps however it is bare.
And then, after a Zugabenhatz from the thundering early periods of "Armed Forces", takes the liberty the category hop, the Allesausprobierer, the Michael Winterbottom of the Pop nevertheless still another predictability. It sings, on which probably everyone waited in the hall secretly: "I want You", the most painful and most moving dear air of the Pop. beautiful that we can rely one on the other, the unreliable one and we.
http://www.elviscostello.info/setlists/050128.php
2005-01-28: Berlin, Charlottenburg
Elvis Costello with the Imposters
- Norbert DeNiro
Tear Off Your Own Head (It's A Doll Revolution)
Beyond Belief
Radio Radio
Button My Lip
Country Darkness
Blame It On Cain
Either Side Of The Same Town
(I Don't Want To Go To) Chelsea
Heart Shaped Bruise
All The Rage
Our Little Angel
Kinder Murder
In The Darkest Place
You Turned To Me
When I Was Cruel No. 2
Watching The Detectives
The Delivery Man
Monkey To Man
Bedlam
Hidden Charms
Oliver's Army - may be incorrect order
Pump It Up - may be incorrect order
Nothing Clings Like Ivy
There's A Story In Your Voice
(What's So Funny 'Bout) Peace, Love And Understanding?
The Scarlet Tide
I Want You
-------------------------------------------------------------------------------------
http://www.elviscostello.info/concert/0 ... berlin.php
Review of concert from 2005-01-28: Berlin, Charlottenburg - with the Imposters
Nobert DeNiro
If you can, at any expense, don't miss it !!! (It will hardly get any better)
Elvis Costello and the Imposters are definitely one of the very best live acts around - if your venue is without seating, it's even better, because you will want to get up to dance and jump around! Sadly (exaggerating a bit here), the University of Arts isn't. It is perfect for ?Performing Songs from NORTH and other favourites? like last year and "The Juliet Letters" with the Brodsky Quartet in 1993, but now it's the Imposters and they are rocking red hot!!! Maybe, that's why the concert was "just" about 2 hours and Elvis wasn't very impressed by the audience's rather late response. (Couch potatoes - please, stay at home!) Well, at least he heard me shout for "Daddy Can I Turn This?" to which he answered, quite dryly: "No, you can't turn this 'cause daddy just broke his e-string".
Heralded by some wicked dub-toasting and booming bass [ed: Double Barrel by Edwin and Ansell Collins], Elvis and the Imposters enter the stage - as always in time - to invite you to "Tear off your own head" featuring our beloved ?Mad Professor? Steve Nieve, brewing up some special theremin-cocktail in his secret laboratory. This man is a genius, adding melody lines to his highly original playing that seem to come from out of nowhere, gentle like a stream and irresistible, pin-pointing yet disappearing before you remember which classic song or classical piece it's derived from. Elvis looks a bit strained, which is no surprise at all, considering the enormous tour schedule which does leave little traces, but doesn't seem to kill his sense of humor (he introduced "Kinder Murder" with a funny description of some of his very first gigs, and "these songs are from the album The Delivery Man which tells stories about a man called Abel, now here's one about his brother" introduced "Blame It On Cain") and his will and ability to go ?Beyond Belief?. Add to this the quantity and quality of his words and his almost unstoppable improving on his playing and singing. Changing guitars more often than others do change their clothes in one week, by the way.
Davey Faragher is beaming all over the place and obviously having a good time, he adds a new, loose touch and looks like a real nice bloke. I really loved Bruce Thomas and his way of playing the bass but Davey is different and all himself, adding to old faves without changing the overall feeling with his faultless, poignant yet sensible playing and nice backing vocals. Especially, when he steps in for the one and only Emmylou Harris on songs like "Nothing Clings Like Ivy" and "Scarlet Tide" he proves to be the right man. This evenings' performance of "Either Side Of The Same Town" featuring his backing vocals, too, nearly drove me to tears - he fits the Imposters like I never expected him to in the first place.
Pete Thomas was always very good and reliable, but now he's become one of the best drummers around, up there in ?Premier League? with Jim Keltner (surprise, surprise) and a few others. Perfect timing, hitting hard when needed, swinging like hell and almost inaudible when necessary, switching from one extreme to the other faster than you can say: ?Radio Radio? (which applies to all of the Imposters). "When I Was Cruel No. 2" was a real highlight though that's hard to tell thinking 'bout this evenings "Bedlam", "Button My Lip" and the always spine-tingling "I Want You".
"There's A Story In Your Voice" turns out to be an absolute "grower" with Elvis doing all the leads himself, and "Love, Peace And Understanding" always was and will be pure relief, confirming that it's not too late, still.
(Give a big hand and Hello to it's composer and one of my all-time favourite humans - NICK LOWE.)
They deliver the songs with a professionalism that' s never static but always tight, there's no routine in here, everything sounds fresh and even songs most of them might play for the 750th time like "Detectives" or "Chelsea" still awe you. Not very often featured songs like "All The Rage" and "Our Litle Angel" added up - as did Painted From Memory's "In The Darkest Place" (shivers...). "You Turned To Me" even improved in comparison to North's original. Just to let you know that I'm not trembling of every slightest sound and movement coming off the stage, I'd like to point out that one of my all-time favourites "Beyond Belief", as well as "Pump It Up", didn't live up to my expectations. "Hidden Charms" had Elvis almost giving in to the rather mediocre participating of most parts of the audience - definitely not me - although he finally had them on their feet (to sit down during "Nothing Clings Like Ivy" again, sic..).
This was my 17th Elvis Costello concert since the first one in Berlin in 1978 (that's 7x Berlin, 5x Hamburg, 4x London and Cologne in 2002 - my first with the Imposters), and it's getting better and better still!!! This man strikes my nerve like nobody else does, that's all. I wouldn't have minded him adding another two hours, although I feel stiffness in my legs and bottom and got a sore throat from Friday already.
PLEASE, COME BACK SOON - I JUST COULDN'T AFFORD HAMBURG THE NEXT NIGHT THIS TIME!
2005-01-28: Berlin, Charlottenburg
Elvis Costello with the Imposters
- Norbert DeNiro
Tear Off Your Own Head (It's A Doll Revolution)
Beyond Belief
Radio Radio
Button My Lip
Country Darkness
Blame It On Cain
Either Side Of The Same Town
(I Don't Want To Go To) Chelsea
Heart Shaped Bruise
All The Rage
Our Little Angel
Kinder Murder
In The Darkest Place
You Turned To Me
When I Was Cruel No. 2
Watching The Detectives
The Delivery Man
Monkey To Man
Bedlam
Hidden Charms
Oliver's Army - may be incorrect order
Pump It Up - may be incorrect order
Nothing Clings Like Ivy
There's A Story In Your Voice
(What's So Funny 'Bout) Peace, Love And Understanding?
The Scarlet Tide
I Want You
-------------------------------------------------------------------------------------
http://www.elviscostello.info/concert/0 ... berlin.php
Review of concert from 2005-01-28: Berlin, Charlottenburg - with the Imposters
Nobert DeNiro
If you can, at any expense, don't miss it !!! (It will hardly get any better)
Elvis Costello and the Imposters are definitely one of the very best live acts around - if your venue is without seating, it's even better, because you will want to get up to dance and jump around! Sadly (exaggerating a bit here), the University of Arts isn't. It is perfect for ?Performing Songs from NORTH and other favourites? like last year and "The Juliet Letters" with the Brodsky Quartet in 1993, but now it's the Imposters and they are rocking red hot!!! Maybe, that's why the concert was "just" about 2 hours and Elvis wasn't very impressed by the audience's rather late response. (Couch potatoes - please, stay at home!) Well, at least he heard me shout for "Daddy Can I Turn This?" to which he answered, quite dryly: "No, you can't turn this 'cause daddy just broke his e-string".
Heralded by some wicked dub-toasting and booming bass [ed: Double Barrel by Edwin and Ansell Collins], Elvis and the Imposters enter the stage - as always in time - to invite you to "Tear off your own head" featuring our beloved ?Mad Professor? Steve Nieve, brewing up some special theremin-cocktail in his secret laboratory. This man is a genius, adding melody lines to his highly original playing that seem to come from out of nowhere, gentle like a stream and irresistible, pin-pointing yet disappearing before you remember which classic song or classical piece it's derived from. Elvis looks a bit strained, which is no surprise at all, considering the enormous tour schedule which does leave little traces, but doesn't seem to kill his sense of humor (he introduced "Kinder Murder" with a funny description of some of his very first gigs, and "these songs are from the album The Delivery Man which tells stories about a man called Abel, now here's one about his brother" introduced "Blame It On Cain") and his will and ability to go ?Beyond Belief?. Add to this the quantity and quality of his words and his almost unstoppable improving on his playing and singing. Changing guitars more often than others do change their clothes in one week, by the way.
Davey Faragher is beaming all over the place and obviously having a good time, he adds a new, loose touch and looks like a real nice bloke. I really loved Bruce Thomas and his way of playing the bass but Davey is different and all himself, adding to old faves without changing the overall feeling with his faultless, poignant yet sensible playing and nice backing vocals. Especially, when he steps in for the one and only Emmylou Harris on songs like "Nothing Clings Like Ivy" and "Scarlet Tide" he proves to be the right man. This evenings' performance of "Either Side Of The Same Town" featuring his backing vocals, too, nearly drove me to tears - he fits the Imposters like I never expected him to in the first place.
Pete Thomas was always very good and reliable, but now he's become one of the best drummers around, up there in ?Premier League? with Jim Keltner (surprise, surprise) and a few others. Perfect timing, hitting hard when needed, swinging like hell and almost inaudible when necessary, switching from one extreme to the other faster than you can say: ?Radio Radio? (which applies to all of the Imposters). "When I Was Cruel No. 2" was a real highlight though that's hard to tell thinking 'bout this evenings "Bedlam", "Button My Lip" and the always spine-tingling "I Want You".
"There's A Story In Your Voice" turns out to be an absolute "grower" with Elvis doing all the leads himself, and "Love, Peace And Understanding" always was and will be pure relief, confirming that it's not too late, still.
(Give a big hand and Hello to it's composer and one of my all-time favourite humans - NICK LOWE.)
They deliver the songs with a professionalism that' s never static but always tight, there's no routine in here, everything sounds fresh and even songs most of them might play for the 750th time like "Detectives" or "Chelsea" still awe you. Not very often featured songs like "All The Rage" and "Our Litle Angel" added up - as did Painted From Memory's "In The Darkest Place" (shivers...). "You Turned To Me" even improved in comparison to North's original. Just to let you know that I'm not trembling of every slightest sound and movement coming off the stage, I'd like to point out that one of my all-time favourites "Beyond Belief", as well as "Pump It Up", didn't live up to my expectations. "Hidden Charms" had Elvis almost giving in to the rather mediocre participating of most parts of the audience - definitely not me - although he finally had them on their feet (to sit down during "Nothing Clings Like Ivy" again, sic..).
This was my 17th Elvis Costello concert since the first one in Berlin in 1978 (that's 7x Berlin, 5x Hamburg, 4x London and Cologne in 2002 - my first with the Imposters), and it's getting better and better still!!! This man strikes my nerve like nobody else does, that's all. I wouldn't have minded him adding another two hours, although I feel stiffness in my legs and bottom and got a sore throat from Friday already.
PLEASE, COME BACK SOON - I JUST COULDN'T AFFORD HAMBURG THE NEXT NIGHT THIS TIME!
http://spreeblick.com/blog/index.php?p=431
This blog account likes the Berlin show - I think! - and has this -
This blog account likes the Berlin show - I think! - and has this -
Ahhhh, the Berlin show...
Made it to the venue by 8.05 to find that there was no support and EC was already rattling through Doll Revolution. According to the person sitting beside my pal Matt there had been a song played before DR but she didn't know what it was, so there might have been a Blue Chair opener, I dunno. The venue is a small, modern-ish practical concert hall, kinda narrow, I guessed maybe 1,200 seater. We were up at the back on the balcony and on the edge, the row in front of MrDeNiro, it seems.
I had been avoiding the tour setlists but had expected the usual set of one third new, one third classics and one third decent obscurites, which is what transpired. Initially the sound seemed a bit think and indistinct. This improved with Either Side... and then resolved itself when EC put on the Gibson Accoustic for Our Little Angel and All the Rage (Which I could have sworn were in that order)
After that the gig went from strength to strength. As a Brutal Youth lover I loved Kinder Murder, then perfect spins of In The Darkest Place (Which got a hearty round of recognition applause when he started to sing it) which segued straight into YOu Turned to Me. It was then I noticed how quiet the German crowd were (except for the two obnoxious women in front of me). There was rapt silence for the quiet tracks, no obvious toilet breaks were taken (I don't think there was any alcohol at the venue)
He finished with Bedlam and then did the going off thing so we could get on with the encores, then a funny thing happened. The crowd stood up, cheering and although the Imposters had already disappeared EC stayed on stage, figured it was better to keep the crowd on their feet, and got the Imposters back on for Hidden Charms, which just swung. When some people tried to sit down, EC demanded they stayed up. Good idea.
Then some hits and some Delivery Man but it was The Scarlet Tide that was just stunning. Crowd silence, brillinat dynamics from the Imposters and truly moving. Obviously EC is promoting The Delivery Man and when he moves on from touring one album to the next, it's always interesting to see which songs hang around (hello Doll Revolution) and which ones fall by the wayside (adios Tart). The Scarlet Tide is beautiful and significant and should be performed by at EC gig from now until forever. I think it's better than Shipbuilding.
Then he sang I Want You, then he was gone.
Interestin to see what he didn't play: Accidents, Everyday I write the Book, Alson, nothing from Get Happy!! or Trust or Useless Beauty. Whither the Spike/Mighty Like A Rose revival?
Interesting to think of what songs would fit in with The Delivery Man themes: Why not American Without Tears, Sleep of The Just, Any King's Shilling, Why Can't A Man Stand Alone and others...
No setlist, but got a t-shirt. Hung around for a bit outside, saw Steve in the window, said 'sod it' and went to a Berlin establishment.
Note on the Imposters: Well, they're just great. Steve and Pete, you just forget how good they are and how important they are for Elvis. I wonder does he tell them he loves them? Davey's great, looks like he's having the time of his life, Bruce Thomas is an idiot for not wanting to be a part of this. Is he even a musician anymore?
According to my calulations this is the 12th time I've seen EC since 1989. I'll be present in London and myself and the girlfriend are wondering if we can squeeze in another one.
And as for Berlin... what a weekend! It was my second visit but it is such a great place. Really relaxed vibe, cheap, feels safe, cool people. Dublin and London could learn a thing or two...
Arrived in on Monday morning and went to work on 90 minutes sleep... not good.
DrJ
Made it to the venue by 8.05 to find that there was no support and EC was already rattling through Doll Revolution. According to the person sitting beside my pal Matt there had been a song played before DR but she didn't know what it was, so there might have been a Blue Chair opener, I dunno. The venue is a small, modern-ish practical concert hall, kinda narrow, I guessed maybe 1,200 seater. We were up at the back on the balcony and on the edge, the row in front of MrDeNiro, it seems.
I had been avoiding the tour setlists but had expected the usual set of one third new, one third classics and one third decent obscurites, which is what transpired. Initially the sound seemed a bit think and indistinct. This improved with Either Side... and then resolved itself when EC put on the Gibson Accoustic for Our Little Angel and All the Rage (Which I could have sworn were in that order)
After that the gig went from strength to strength. As a Brutal Youth lover I loved Kinder Murder, then perfect spins of In The Darkest Place (Which got a hearty round of recognition applause when he started to sing it) which segued straight into YOu Turned to Me. It was then I noticed how quiet the German crowd were (except for the two obnoxious women in front of me). There was rapt silence for the quiet tracks, no obvious toilet breaks were taken (I don't think there was any alcohol at the venue)
He finished with Bedlam and then did the going off thing so we could get on with the encores, then a funny thing happened. The crowd stood up, cheering and although the Imposters had already disappeared EC stayed on stage, figured it was better to keep the crowd on their feet, and got the Imposters back on for Hidden Charms, which just swung. When some people tried to sit down, EC demanded they stayed up. Good idea.
Then some hits and some Delivery Man but it was The Scarlet Tide that was just stunning. Crowd silence, brillinat dynamics from the Imposters and truly moving. Obviously EC is promoting The Delivery Man and when he moves on from touring one album to the next, it's always interesting to see which songs hang around (hello Doll Revolution) and which ones fall by the wayside (adios Tart). The Scarlet Tide is beautiful and significant and should be performed by at EC gig from now until forever. I think it's better than Shipbuilding.
Then he sang I Want You, then he was gone.
Interestin to see what he didn't play: Accidents, Everyday I write the Book, Alson, nothing from Get Happy!! or Trust or Useless Beauty. Whither the Spike/Mighty Like A Rose revival?
Interesting to think of what songs would fit in with The Delivery Man themes: Why not American Without Tears, Sleep of The Just, Any King's Shilling, Why Can't A Man Stand Alone and others...
No setlist, but got a t-shirt. Hung around for a bit outside, saw Steve in the window, said 'sod it' and went to a Berlin establishment.
Note on the Imposters: Well, they're just great. Steve and Pete, you just forget how good they are and how important they are for Elvis. I wonder does he tell them he loves them? Davey's great, looks like he's having the time of his life, Bruce Thomas is an idiot for not wanting to be a part of this. Is he even a musician anymore?
According to my calulations this is the 12th time I've seen EC since 1989. I'll be present in London and myself and the girlfriend are wondering if we can squeeze in another one.
And as for Berlin... what a weekend! It was my second visit but it is such a great place. Really relaxed vibe, cheap, feels safe, cool people. Dublin and London could learn a thing or two...
Arrived in on Monday morning and went to work on 90 minutes sleep... not good.
DrJ
Tlentifini Maarhaysu
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VonOfterdingen
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- Location: Copenhagen, Denmark
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VonOfterdingen
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- Location: Copenhagen, Denmark
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verbal gymnastics
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martinfoyle
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Unfortunately some huckster is flogging copies of a bootleg of this show on ebay Germany.
Hard to believe in these days of Torrents, and the like, that there is still a market for this. Hopefully some generous soul will liberate it and share it around.
Hard to believe in these days of Torrents, and the like, that there is still a market for this. Hopefully some generous soul will liberate it and share it around.
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martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
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...and a generous soul has.