Edinburgh Scotsman, March 21, 2017: Difference between revisions
From The Elvis Costello Wiki
Jump to navigationJump to search
(fix category sort) |
(formatting / update index link) |
||
| Line 2: | Line 2: | ||
{{:Bibliography index}} | {{:Bibliography index}} | ||
{{:Edinburgh Scotsman index}} | {{:Edinburgh Scotsman index}} | ||
{{:UK & | {{:UK & Ireland newspapers index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Elvis Costello </h3></center> | <center><h3> Elvis Costello </h3></center> | ||
| Line 17: | Line 17: | ||
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" and "Viceroy's Row"; remembered his father, "Birkenhead's musical link between Dizzy Gillespie and Jimmy Shand" | 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." | ||
{{cx}} | {{cx}} | ||
| Line 30: | Line 30: | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2017-03-21 | [[image:2017-03-21 Edinburgh Scotsman photo 01 rm.jpg|380px|border]] | ||
<br><small>Photo by [[Rob McDougall]].</small> | <br><small>Photo by [[Rob McDougall]].</small> | ||
| Line 36: | Line 36: | ||
{{Bibliography footer}} | {{Bibliography footer}} | ||
==External links== | ==External links== | ||
