Edinburgh Scotsman, March 21, 2017: Difference between revisions
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<center><h3> | <center><h3> Elvis Costello </h3></center> | ||
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<center> David Pollock</center> | <center> David Pollock </center> | ||
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For those fans investing in a slice of late-period Elvis Costello live action – and there were many of them here – it's an all-or-nothing experience. Anyone hoping for a cheery, nostalgic run-through of the wide range of punk-pop hits Costello wrote around 1980 will be … well, not disappointed, because Costello is an astute curator of his own legacy and most of them appeared here. | |||
Yet every other Costello appeared too: the latterday rock anthropologist delving into genres from Creole blues to Southern gospel and Irish folk; the capable crooner who duetted with | Yet every other Costello appeared too: the latterday rock anthropologist delving into genres from Creole blues to Southern gospel and Irish folk; the capable crooner who duetted with Burt Bacharach; and Declan MacManus, his real identity, Irish-Liverpudlian son of music hall performer Ross MacManus and grandson of cruise liner trumpeter turned street corner Depression-era busker Pat MacManus. | ||
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 | 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" and "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" and "Oliver's Army." | |||
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[[image:2017-03-21 The Scotsman photo 01 | [[image:2017-03-21 The Scotsman photo 01 rm.jpg|360px|border]] | ||
<small>Photo | <br><small>Photo by [[Rob McDougall]].</small> | ||
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[[Category:Edinburgh Scotsman| Edinburgh Scotsman 2017-03-21]] | [[Category:Edinburgh Scotsman| Edinburgh Scotsman 2017-03-21]] | ||
[[Category:Newspaper articles]] | [[Category:Newspaper articles]] | ||
[[Category:2017 concert reviews]] | [[Category:2017 concert reviews]] | ||
[[Category:Detour| Edinburgh Scotsman 2017-03-21]] | |||
Revision as of 20:53, 7 July 2019
