http://www.ticketmaster.com/event/1E003 ... orcatid=60
Elvis Costello and the Imposters
Fillmore Auditorium, Denver, CO
Sun, May 6, 2007 07:30 PM
Elvis plays Denver, May 6 '07
http://test.denverpost.com/entertainment/ci_5596093
Costello true in any guise
By John Wenzel
Denver Post Staff Writer
04/06/2007
Elvis Costello lacks the pithy nicknames of other performers - think Bowie's "Thin White Duke" or Springsteen's "The Boss" - but he doesn't need one, and you probably couldn't make it stick anyway.
The musical chameleon's ratio of hits to misses and the grace with which he weathers them distinguishes his career. As adept at gut-punching guitar riffs as he is at writing experimental classical compositions, Costello's boundless exploration of pop genres signals his continuing genius.
He has suffered notable missteps in his varied 30-year career, but show me someone who hasn't, and I'll gladly toss out my cherished copies of "My Aim Is True" and "This Year's Model."
The 52-year-old Rock and Roll Hall of Famer recently collaborated with New Orleans icon Allen Toussaint in the wake of Hurricane Katrina, but there's little indication of what his set will feature at his May 6 Fillmore Auditorium show.
With a catalog as diverse as his, all bets are off. Tickets are on sale now. ($45, Ticketmaster)
Costello true in any guise
By John Wenzel
Denver Post Staff Writer
04/06/2007
Elvis Costello lacks the pithy nicknames of other performers - think Bowie's "Thin White Duke" or Springsteen's "The Boss" - but he doesn't need one, and you probably couldn't make it stick anyway.
The musical chameleon's ratio of hits to misses and the grace with which he weathers them distinguishes his career. As adept at gut-punching guitar riffs as he is at writing experimental classical compositions, Costello's boundless exploration of pop genres signals his continuing genius.
He has suffered notable missteps in his varied 30-year career, but show me someone who hasn't, and I'll gladly toss out my cherished copies of "My Aim Is True" and "This Year's Model."
The 52-year-old Rock and Roll Hall of Famer recently collaborated with New Orleans icon Allen Toussaint in the wake of Hurricane Katrina, but there's little indication of what his set will feature at his May 6 Fillmore Auditorium show.
With a catalog as diverse as his, all bets are off. Tickets are on sale now. ($45, Ticketmaster)
$45???!!! crap.
tix in boston are $55 and for that i don't even get a seat.
i really must be old - i want a seat. i don't wanna stand for 2.5 hrs, and on a school night.
the boston show is at Avalon, on club row near Fenway. blech.
i'm such a grouch.
tix in boston are $55 and for that i don't even get a seat.
i really must be old - i want a seat. i don't wanna stand for 2.5 hrs, and on a school night.
the boston show is at Avalon, on club row near Fenway. blech.
i'm such a grouch.
... name the stars and constellations,
count the cars and watch the seasons....
count the cars and watch the seasons....
http://www.denverpost.com/entertainment/ci_5812948
Denver Post, CO
Elvis Costello is a living legend. Whether you're listening to vintage classics such as "This Year's Model" or "Armed Forces" or one of his more modern masterpieces - "When I Was Cruel," for example - the songwriter's genius is obvious. He's one of England's most celebrated voices for a reason, and he's experimented lately with releases spanning rock, pop, jazz and classical. He plays the Fillmore tonight (??-J.F.). Tickets are pricey at $45, but Costello is worth it. | Ricardo Baca
Denver Post, CO
Elvis Costello is a living legend. Whether you're listening to vintage classics such as "This Year's Model" or "Armed Forces" or one of his more modern masterpieces - "When I Was Cruel," for example - the songwriter's genius is obvious. He's one of England's most celebrated voices for a reason, and he's experimented lately with releases spanning rock, pop, jazz and classical. He plays the Fillmore tonight (??-J.F.). Tickets are pricey at $45, but Costello is worth it. | Ricardo Baca
http://www.denverpost.com/search/ci_5804532
ONE-TRACK MIND | "No Action," Elvis Costello
Sweetness, paranoia and fury
By John Wenzel Denver Post Staff Writer
05/03/2007
Elvis Costello's signature songs stick in your ear like sugarcoated slivers of metal. The scratchy grace of "Alison," the organ-driven pump of "Radio Radio" and the breathless wordplay of "Veronica" could only have come from this angry Brit.
But perhaps the best overall rock song of Costello's career resides, like "Radio," on his sophomore effort, the barely hinged 1978 masterpiece "This Year's Model." It's everything mainstream music wasn't at the time: concise, intelligent and boiling with bitterness. It was also Costello's first album with the Attractions, a crack group that injected a scary, speedy vigor into his songs.
"No Action" kicks off "This Year's Model" with the barely restrained sexual energy of a frustrated teen. "I don't wanna kiss you, I don't wanna touch," he spits before crashing into a wall of guitar, drums and organ. "I don't wanna see you 'cause I don't miss you that much."
It's an affirmation of his lack of reliance, but one given through gritted teeth, the cry of rejection masquerading as independence. Costello's brilliant melding of punk's ethos and sound with his burning, naked fury belied a tightly controlled persona - a fresh casting of Lou Reed or Iggy Pop in Buddy Holly's clothing.
Costello's songs are my earliest memories in life. My father was an unapologetic fan, and that brainwashed me as a toddler. Hearing "No Action" these days reinforces its timelessness, but also stirs vague memories of clutching my dad's wood-paneled speakers when I could barely walk, shaking them furiously as the glorious melodies inspired a cutesy rock proto- rage.
Credit the Attractions' deceptively simple and accessible playing. "No Action's" unstoppable momentum springs from the band's all-out performance. Taken as a whole it's a roller coaster ride of pounding, instrument-splintering beats and notes. But a close listen reveals the finely tuned cymbal work and lightning-quick fills that made Pete Thomas such a superhuman drummer. Bruce Thomas' rubbery bass line bends punk's energy with the precision of physics equation. And what would "No Action" be without Steve Nieve's menacing circus keyboards?
At just under two minutes the song crystallizes punk's potential and everything Costello had learned about it by 1978. But it's not punk. It's the cry of modern rock as it's spanked unceremoniously on its backside and cut from its umbilical cord.
By song's end our narrator has given in to pain and retracted his fierce, "I'm fine without you" stance. "And I think about the way things used to be, knowing you're with him is driving me crazy," Costello sings. "Sometimes I phone you when I know you're not lonely, but I always disconnect it in time."
It's a sentiment that balances sweetness and paranoia, and one that defines the stylistic freedom Costello has come to live by.
Elvis Costello plays the Fillmore Auditorium on Sunday. Tickets, $45, are available via Ticketmaster.
Staff writer John Wenzel can be reached at 303-954-1642 or jwenzel@denverpost.com.
ONE-TRACK MIND | "No Action," Elvis Costello
Sweetness, paranoia and fury
By John Wenzel Denver Post Staff Writer
05/03/2007
Elvis Costello's signature songs stick in your ear like sugarcoated slivers of metal. The scratchy grace of "Alison," the organ-driven pump of "Radio Radio" and the breathless wordplay of "Veronica" could only have come from this angry Brit.
But perhaps the best overall rock song of Costello's career resides, like "Radio," on his sophomore effort, the barely hinged 1978 masterpiece "This Year's Model." It's everything mainstream music wasn't at the time: concise, intelligent and boiling with bitterness. It was also Costello's first album with the Attractions, a crack group that injected a scary, speedy vigor into his songs.
"No Action" kicks off "This Year's Model" with the barely restrained sexual energy of a frustrated teen. "I don't wanna kiss you, I don't wanna touch," he spits before crashing into a wall of guitar, drums and organ. "I don't wanna see you 'cause I don't miss you that much."
It's an affirmation of his lack of reliance, but one given through gritted teeth, the cry of rejection masquerading as independence. Costello's brilliant melding of punk's ethos and sound with his burning, naked fury belied a tightly controlled persona - a fresh casting of Lou Reed or Iggy Pop in Buddy Holly's clothing.
Costello's songs are my earliest memories in life. My father was an unapologetic fan, and that brainwashed me as a toddler. Hearing "No Action" these days reinforces its timelessness, but also stirs vague memories of clutching my dad's wood-paneled speakers when I could barely walk, shaking them furiously as the glorious melodies inspired a cutesy rock proto- rage.
Credit the Attractions' deceptively simple and accessible playing. "No Action's" unstoppable momentum springs from the band's all-out performance. Taken as a whole it's a roller coaster ride of pounding, instrument-splintering beats and notes. But a close listen reveals the finely tuned cymbal work and lightning-quick fills that made Pete Thomas such a superhuman drummer. Bruce Thomas' rubbery bass line bends punk's energy with the precision of physics equation. And what would "No Action" be without Steve Nieve's menacing circus keyboards?
At just under two minutes the song crystallizes punk's potential and everything Costello had learned about it by 1978. But it's not punk. It's the cry of modern rock as it's spanked unceremoniously on its backside and cut from its umbilical cord.
By song's end our narrator has given in to pain and retracted his fierce, "I'm fine without you" stance. "And I think about the way things used to be, knowing you're with him is driving me crazy," Costello sings. "Sometimes I phone you when I know you're not lonely, but I always disconnect it in time."
It's a sentiment that balances sweetness and paranoia, and one that defines the stylistic freedom Costello has come to live by.
Elvis Costello plays the Fillmore Auditorium on Sunday. Tickets, $45, are available via Ticketmaster.
Staff writer John Wenzel can be reached at 303-954-1642 or jwenzel@denverpost.com.
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CraigM posted the setlist to the Wiki page:
http://www.elviscostello.info/wiki/inde ... 2007-05-06
01. Welcome To The Working Week
02. Shabby Doll
03. The Beat
04. Lovers Walk
05. Less Than Zero
06. Strict Time
07. Big Tears
08. Clubland
09. Beyond Belief
10. Shallow Grave
11. Alibi / I Found Out (John Lennon)
12. Watching The Detectives
13. American Gangster Time
14. Lipstick Vogue (included line from American Girl)
15. Riot Act
Encore 1
16. (I Don't Want To Go To) Chelsea
17. Uncomplicated
18. The Imposter
Encore 2
19. Alison (Elvis solo)
20. Man Out Of Time
21. High Fidelity
22. Radio Radio
23. All I've Got To Do
24. Hey Bulldog
25. Pump It Up
26. Dissolve
27. (What's So Funny 'Bout) Peace, Love And Understanding?
http://www.elviscostello.info/wiki/inde ... 2007-05-06
01. Welcome To The Working Week
02. Shabby Doll
03. The Beat
04. Lovers Walk
05. Less Than Zero
06. Strict Time
07. Big Tears
08. Clubland
09. Beyond Belief
10. Shallow Grave
11. Alibi / I Found Out (John Lennon)
12. Watching The Detectives
13. American Gangster Time
14. Lipstick Vogue (included line from American Girl)
15. Riot Act
Encore 1
16. (I Don't Want To Go To) Chelsea
17. Uncomplicated
18. The Imposter
Encore 2
19. Alison (Elvis solo)
20. Man Out Of Time
21. High Fidelity
22. Radio Radio
23. All I've Got To Do
24. Hey Bulldog
25. Pump It Up
26. Dissolve
27. (What's So Funny 'Bout) Peace, Love And Understanding?
http://www.denverpost.com/headlines/ci_5858627
The Denver Post
05/10/2007
Elvis Costello & the Imposters
Elvis Costello has pumped out records nonstop for 30 years, but the New Wave King showed his age Sunday at the Fillmore Auditorium.
Blame some of it on the sound. The Fillmore has never been one our city's great acoustical venues, but that night the imbalance was pronounced. Like a shotgun in a gymnasium, the keyboards overpowered everything, including Costello's noodly guitar work. An extraneous theremin also wafted far above the guitars and drums.
Costello seemed a bit taxed, barely talking between songs and fumbling the breakneck delivery in "Lipstick Vogue" and "Radio Radio." His vocal timbre was fine, but a grungy take on "I Don't Want to Go to Chelsea" and a botched acoustic "Allison" proved his judgment was a bit off. At least the inspired set closer "(What's So Funny 'Bout) Peace Love & Understanding" reinforced that Costello writes some of the best rock songs around.|John Wenzel
The Denver Post
05/10/2007
Elvis Costello & the Imposters
Elvis Costello has pumped out records nonstop for 30 years, but the New Wave King showed his age Sunday at the Fillmore Auditorium.
Blame some of it on the sound. The Fillmore has never been one our city's great acoustical venues, but that night the imbalance was pronounced. Like a shotgun in a gymnasium, the keyboards overpowered everything, including Costello's noodly guitar work. An extraneous theremin also wafted far above the guitars and drums.
Costello seemed a bit taxed, barely talking between songs and fumbling the breakneck delivery in "Lipstick Vogue" and "Radio Radio." His vocal timbre was fine, but a grungy take on "I Don't Want to Go to Chelsea" and a botched acoustic "Allison" proved his judgment was a bit off. At least the inspired set closer "(What's So Funny 'Bout) Peace Love & Understanding" reinforced that Costello writes some of the best rock songs around.|John Wenzel
