Saturday, June 22, 2013

Live Review - Elvis Costello and the Imposters, Southend Cliffs Pavilion (19th June 2013)



So I thought this would be good but...

What a night that was. The fact the gig was literally down my road always adds to my enjoyment, knowing you don't have to travel home a long way home after a late show is obviously a huge bonus, but I'd seen the tour last year, and seen Costello with different projects 2 times before that, so I felt I had pretty realistic expectations of what to expect, but there was some extra magic in the air tonight.

The current tour has a rather novel concept; a large game-show wheel stands prominently to one side of the stage with various song titles on (along with some "jokers" and themed sections), a pretty assistant ventures into the audience, brings a couple of punters up, they spin the wheel, Elvis and the band play the song chosen by the wheel, while the enlisted punters relax at the on-stage bar or dance in the cage on the other side of the stage.

The wheel doesn't dictate the entire set. If certain major hits aren't selected by the wheel, he plays them anyway. Generally, he was asking people what they most wanted to hear on the wheel, and then duly obliging their wish, in addition to the result of the wheel. There are also sections of the set where Elvis plays songs not listed on the wheel at all. The wheel serves to add a human element to the show, and adds a level of unpredictability to the set. In this way, it liberates the set rather than confines it.

The wheel, the audience participation, the unpredictable set, all serve a purpose and provide the makings of a really fun evening, but Elvis' performance takes it to a whole new level. He's almost like a performing encyclopedia of music; veering between genres with equal aplomb and skill. The wheel landed on "She" quite early in the set, and although my heart sank initially, by the end of the song I had to clap. He ingests enough energy into the earlier new-wave stuff to satisfy that type of fan, but it's in the quieter moments that the full scope of his talents becomes apparent. A particularly jaw-dropping moment occurred towards the end of the night, acoustic guitar in hand, playing a couple of ragtime, Americana-tinged tracks from his last studio album "National Ransom", he steps away from the mic and launches into a spurt of "Brother, Can You Spare A Dime"; the authority and nuance in his voice, just reaches out and shakes you to your core.

Seeing and hearing him "wig-out" in some of the more epic moments of the set is particularly satisfying too. Elvis generally keeps his music lean, but extended moments like "I Want You" and "Stella Hurt" bring real scope and rock credentials to the set; another weapon in his arsenal of musical wonders.

You also realise the sheer amount of great songs he's amassed over the years; hearing "Lip Service", "Radio Radio", "Shipbuilding", "...Chelsea", "Alison" (need I go on?), all in the same evening, is just sheer joy. And there's a case for closing every gig everywhere with "Peace, Love, and Understanding" being a legal requirement.

Elvis, in a way, has a similar approach to Springsteen with his live shows; he wants to draw the audience in, he goes for length (Elvis is on for nearly 2 hours 40 minutes), getting through about 31 songs, allowing for big hits, current creative directions, and deep cuts for the hardcore. Where Springsteen opts for pulling signs out of the crowd to add spontaniety to the set, Elvis has opted for a giant wheel which allows for audience interaction. It's just so well-judged.

I left the venue giddy with joy. That was up there with the best gigs I've ever seen. I don't even think I would've minded a longer journey home.       

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