Edinburgh Scotsman, March 21, 2017: Difference between revisions
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That Costello was here for this third-from-final date on his [[Detour]] tour without any other musicians only added to the sense of biographical intimacy. Dressed in black shirt and trousers and a bright red fedora, his occasionally over-studied sense of showmanship hadn’t deserted him, but the rawness of two dozen songs for guitar or piano spread out over two-and-a-half hours told a tale; these were songs which held stories for him as well as for the audience, making for a deeply immersive experience. | That Costello was here for this third-from-final date on his [[Detour]] tour without any other musicians only added to the sense of biographical intimacy. Dressed in black shirt and trousers and a bright red fedora, his occasionally over-studied sense of showmanship hadn’t deserted him, but the rawness of two dozen songs for guitar or piano spread out over two-and-a-half hours told a tale; these were songs which held stories for him as well as for the audience, making for a deeply immersive experience. | ||
He delved into the mind of a wealthy presidential autocrat amid [[A Face In The Crowd|A Face in the Crowd]] and [[Viceroy's Row|Viceroy’s Row]]; remembered his father, “Birkenhead’s musical link between [[Dizzy Gillespie]] and Jimmy Shand”, before the sublime lyrical precision of | He delved into the mind of a wealthy presidential autocrat amid [[A Face In The Crowd|A Face in the Crowd]] and [[Viceroy's Row|Viceroy’s Row]]; remembered his father, “Birkenhead’s musical link between [[Dizzy Gillespie]] and Jimmy Shand”, before the sublime lyrical precision of he and Bacharach’s [[Toledo]]; delivered [[Veronica]] with breakneck briskness and [[Alison]] while off-mic with hymnal delicacy; and brought almost funereal levels of heartache and regret to [[I Can't Stand Up For Falling Down|I Can’t Stand Up For Falling Down]] and [[Oliver's Army|Oliver’s Army]]. | ||
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Revision as of 16:18, 11 May 2019