Elvis & The Imposters play Portland, Or , July 8 '15

[johnfoyle]

http://www.portland5.com/arlene-schnitz ... -imposters


ELVIS COSTELLO & THE IMPOSTERS
Wednesday, July 8, 2015, 8:00pm

Playing at: Arlene Schnitzer Concert Hall
Price: $46.50 - $89.00

Tickets go on sale Friday, April 17 at 10am.

[johnfoyle]

Who's going ?

[johnfoyle]

Anyone?

[johnfoyle]

A photographer in Oregon tweets -

David Greenwald ‏@davidegreenwald 14 hours ago

Got a rights-grabbing Elvis Costello photo waiver

Contesting it.

David Greenwald ‏@davidegreenwald 13 hours ago

Costello's PR has pulled the photo waiver (after a round of pushback). Thank you.

[johnfoyle]

Via Twitter















Partial setlist from Charles -

River in Reverse
WTD
Accidents
Flutter & Wow
Man Out Of Time
Bedlam
One Bell Ring
Beyond Belief
Clubland
Walk Us Uptown
Shipbuilding
Cinco Minutos Con Vos
Everyday I Write The Book
I Don't Want To Go
Red Shoes


A clip of Talking In The Dark is also on some sites .

[johnfoyle]

https://twitter.com/t_healy/status/619022268186779648


https://twitter.com/t_healy/status/619023320273416192

[And No Coffee Table]

http://www.elviscostello.info/wiki/inde ... 8_Portland

01. The River In Reverse
02. Watching The Detectives
03. Accidents Will Happen
04. Flutter & Wow
05. Man Out Of Time
06. Bedlam
07. One Bell Ringing
08. Beyond Belief
09. Clubland
10. Walk Us Uptown
11. Shipbuilding
12. Cinco Minutos Con Vos
13. Everyday I Write The Book
14. (I Don't Want To Go To) Chelsea
15. (The Angels Wanna Wear My) Red Shoes
16. Lost On The River #12
17. Ascension Day - EC solo
18. Walkin' My Baby Back Home - EC solo
19. I Still Have That Other Girl - EC & Steve Nieve
20. Talking In The Dark - EC & Steve Nieve
21. Alison
22. Mystery Dance
23. Sugar Won't Work
24. Pump It Up
25. (What's So Funny 'Bout) Peace, Love And Understanding?

[johnfoyle]

http://www.oregonlive.com/music/index.s ... tland.html



Elvis Costello and The Imposters played at the Arlene Schnitzer Concert Hall in downtown Portland on July 8, 2015. Randy L. Rasmussen/Staff


Live review: Elvis Costello gets fired up at the Arlene Schnitzer Concert Hall

By David Greenwald | The Oregonian/OregonLive

on July 09, 2015


"That's the kind of mood we're in tonight!" Elvis Costello said after he and a three-piece band wrapped their fourth song at the Arlene Schnitzer Concert Hall on Wednesday. The crowd was on its feet, which doesn't happen often at the home of the Oregon Symphony. But Costello had come to rock -- and ballad, and jazz and reggae just a little bit. In a precise two-hour, two-encore set, he played over two dozen songs, the only breaks between many of them the time it took for a guitar tech to trade him his next instrument as the band kept the beat going behind him.

Costello has come a long way from the New Wave agitator he started as nearly 40 years ago, though he still plays the oldies: songs such as "Alison," "(The Angels Wanna Wear My) Red Shoes" and "Accidents Will Happen," among them. But he spent more time roaming through his catalog, less a greatest-hits set than a reminder that he's never stopped making records -- including 2008's "Momofuku," from which he pulled "Flutter and Wow," a ballad that turned urgent. He touched on country twang, reggae groove, New Wave synth silliness and fuzz-rock heroics, a mode he stayed in for much of the night. If you didn't know Costello was a guitar shredder, he made sure to let us in on the secret.

There were moments where he seemed to struggle to play catch-up with the tightly packed wordplay he penned as a young man, and perhaps a flat note or two, but otherwise the decades haven't weakened Costello. His voice remains an instantly pleasing rubber band, stretching syllables and never less than generously emotional. He was at his best on the crescendo-filled "I Still Have That Other Girl," a jazz-pop piece from his Burt Bacharach collaboration, "Painted From Memory" -- a song he hadn't played in two years. "Painted From Memory" was an unusual album for Costello, but it's one of my all-time favorites: intricate and sensitive arrangements, a towering vocal performance from Costello and a rare set of lyrics that address heartbreak with learned maturity. The canon of truly grown-up break-up albums is a small one -- Frank Sinatra's 1970 "Watertown" is another -- and I'm glad Costello hasn't forgotten his lesser-known masterpiece.

He was interested in addressing his collaborations on Wednesday, introducing Professor Longhair's "Ascension Day" with banter about Allen Toussaint, the great New Orleans songwriter he worked with on 2006's "The River in Reverse." Despite a night of guitar chops, he was self-deprecating about it: "I transcribed it for the guitar, leaving out all the difficult chords." He did a Bob Dylan song, too, "Lost on the River" -- the title track from last year's "The New Basement Tapes" tribute album, which found Costello, Jim James, Marcus Mumford and others putting new music to old Dylan lyrics. He closed, as he usually does, with "(What's So Funny 'Bout) Peace, Love & Understanding," a Nick Lowe song from 1974. Its message hasn't lost a drop of relevance: Costello hasn't, either.

[And No Coffee Table]

http://www.golocalpdx.com/lifestyle/spo ... s-costello


Elvis Costello listening to D Future's music outside of Arlene Schnitzer Concert Hall. Photo by Victoria Frey.

Spotted in Portland: Local Musician’s Musical Meet Up with Elvis Costello

Friday, July 10, 2015

Byron Beck, GoLocalPDX Features Editor

Julien Leitner, aka rapper/musician D Future, jumped at the chance to meet one of his musical heroes, Elvis Costello.

But instead of grabbing the ubiquitous selfie, Julien asked the musical legend to listen to his music.

Costello had just wrapped a concert with his band, The Imposters, on Wednesday night, July 8, and was leaving the Arlene Schnitzer Concert Hall. That’s when Julien lined up to for a chance to meet him.

“I have been a fan of Elvis and his music most of my life,” said the 17-year-old who might be familiar to Portlanders as the pint-sized philanthropist behind Archimedes Alliance. “”This Year’s Model” is the perfect rock album.”

As DFuture Leitner has been creating his own music for a while now, and on his new album, Cloud 9, he samples Costello’s work on a cut called “Try.” "He’s one of my earliest musical influences, and I wanted to honor him,” said Julien. “And (his sample) makes for a great song!”

Instead of shaking Costello’s hand, or taking a photo when he had a chance to meet him, Leitner explained his story to Costello and asked him to listen to his song.

“He liked it,” said Leitner. “He said it was very cool how I added to and changed the sample so that you can't tell it's a sample. He also offered to clear it! “ In non-music makers terms, that means Elvis will help Leitner possible to release his song with the sample from Costello included in the mix.

“Giddy and surreal,” is how Leitner described the experience. “I’m not sure there's a single word to describe it. I met one of my childhood heroes and played him one of my songs sampling his music. That's a pretty emotional experience.”

D Future will open for Canadian rapper Sonreal “For the Town” tour hitting the Roseland, 8 pm, Friday, July 17th. Click here for tickets.

[verbal gymnastics]

Great story.

Nice one Elvis!

[sweetest punch]

http://www.portlandmercury.com/Blogtown ... wed-july-8

Elvis Costello and the Attractions at Arlene Schnitzer Concert Hall, Wed July 8

People seem to forget that young Elvis Costello was an absolutely terrifying performer. His media reputation as rock ’n' roll’s “angry young man” was not unwarranted—the Attractions’ 1978 appearance on German TV show Rockaplast is a perfect document of that period of Costello’s career. Musically, he combined Paul McCartney’s cherubic penchant for melody with a wry, hyper-literate pessimism reminiscent of Randy Newman or Blood on the Tracks-era Dylan; ideologically, he was everything punk should be. In other words, he was perfect.

In the span of 35 years, Costello’s produced a whopping 24 albums, and very few of them could accurately be classified as “punk” (although most of them are terrific, anyway), but Costello never really lost that verve, even if he isn’t nearly as combustible as he was when he, say, appeared on SNL in 1977. As I was walking out of the Arlene Schnitzer Concert Hall after Costello's Portland show on Wednesday night, I heard someone behind me say that it was “like seeing the Who in their heyday,” and they weren’t wrong—just in terms of sheer endurance Costello outclasses every other artist his age, save maybe Springsteen. And sure, he does some cheesy rock-star shit sometimes—like wear a fedora in earnest and make the guitar “O-face”—but even these minor transgressions come off as largely endearing in a “c’mon, dad!” sort of way.

On the recording front, it’s been a good half-decade for Costello—2010 saw the release of Americana time capsule National Ransom and 2013 gave us Wise Up Ghost, an unlikely collaboration with the Roots which recalled Costello’s underrated early '00s masterpiece When I Was Cruel. Unlike Paul Simon or Neil Young (or shit, Death Cab for Cutie), there’s no shame in celebrating Costello’s newer material—while it’s unlikely he’ll ever produce a complete body of work on par with Armed Forces or Imperial Bedroom, songs like Wise Up Ghost opener “Walk Us Uptown” rank among the songwriter’s best work.

With that said, Wednesday night's set consisted of mainly classics—hits, and songs that should have been hits. The “unbeatable trilogy” of My Aim is True, This Year’s Model, and Armed Forces were amply represented in the set, which was peppered with Costello’s more recognizable, latter-era hits like Trust’s “Clubland” and Punch the Clock’s “Shipbuilding” and “Everyday I Write the Book”. While (naturally) not as eclectic as his Portland stop in 2012 on the “Spectacular Spinning Songbook” tour, it was nonetheless a memorable, varied set—the seemingly never-ending final encore even included a rare piano and voice rendition of This Year’s Model B-side “Talking in the Dark”, continuing a long-standing tradition Costello and keyboardist Steve Nieve have of spontaneously stripping down full-band Attractions songs in a live setting (see: the baroque-pop interpretation of “Accidents Will Happen” on Live at Hollywood High).

Sitting directly in front of me was a kid who couldn’t have been older than 15. He was singing along to everything: all three million syllables in “Beyond Belief,” every word to Momofuku deep cut “Flutter and Wow”—all of it. He had glasses and shaggy hair and reminded me of myself at his age (a 15-year-old who loved Elvis Costello). It probably moved me more than the actual set did; it felt like a telepathic secret handshake. I didn’t really understand “Man Out of Time” until I was 20 and started sabotaging relationships for the sake of being able to relate to pop music, but I connected with it on some essential level way before then. There’s a timeless quality to Costello’s music that some people—regardless of their age—just get. (And yes, those people are probably nerds, but that’s hardly a put-down—it’s 2015.) So here’s to you, kid. You’ve got a lot to look forward to.

[verbal gymnastics]

The Attractions?

Nice overall review otherwise.

[sweetest punch]

http://www.vrtxmag.com/articles/still-w ... e-schnitz/

Still Writing the Book: Elvis Costello at the Schnitz

The English singer-songwriter returned to the City of Roses on July 8, delivering a superlative two-hour set of classics and deep cuts at the Arlene Schnitzer Concert Hall.

If it was ever in doubt, it is no longer: Elvis Costello can rock. Performing at the Arlene Schnitzer Concert Hall on Wednesday night, Costello and his band, the Imposters, tore through an exuberant two-hour set punctuated by several early classics and a finely curated selection of subsequent cuts spanning the duration of Costello’s 40-year career—each showcasing the English singer-songwriter’s chameleonic performance talents and his vast embrace of the modern pop idiom.

Dressed in a navy suit and wielding an enviable quiver of vintage Gibson guitars, Costello’s intentions were starkly apparent from the beginning. Opening the night with an edgy arrangement of "The River In Reverse," Costello and the Imposters would next power through "Watching The Detectives" and a driving iteration of "Accidents Will Happen," noticeably striving to reach and emancipate a potent musical synchronicity and broader communion. Costello would struggle to keep pace with the relentless lyricism of the latter, a standout track from 1979’s Armed Forces. Such a noble misstep is easily forgiven, however, as Costello and the Imposters would lock in on "Man Out Of Time" and never look back.

The extent to which musicians can find and attune to one another is perhaps the most crucial nexus of musical performance and a hallmark of elite live acts from The Rolling Stones to Bruce Springsteen and the E Street Band. Costello and the Imposters reached this rarefied Elysium on Wednesday night, drawing upon a vigorous group dynamic to propel a stylistically variegated, yet hard-rocking set list that allowed ample room for Costello to show off a robust command of the guitar and the fitness of his vocals—by then dialed in—as well as the collective might of a superb rhythm section comprised of former Attractions drummer Pete Thomas and keyboardist Steve Nieve, alongside longtime bassist Davey Faragher.

Amassing inertial fortuity with each successive line on his set list, Costello’s performance soon became a seamless highlight. Acoustic arrangements of "Cinco Minutos Con Vos" (featuring a brief quotation of "The Gentle Rain" by Brazilian guitarist Luiz Bonfá) and "Ascension Day" were both unqualified standouts, as was Costello’s gorgeous rendition of "I Still Have That Other Girl" from 1998’s Burt Bacharach collaboration, Painted From Memory. Bearing many of its author’s stylistic hallmarks, the song’s key modulations and sophisticated harmony would likely prove too treacherous for all but the very best of today’s pop singers. With Nieve’s accompaniment, however, Costello delivered a graceful and supremely emotive performance that was arguably the apotheosis of an altogether stellar evening.

Costello and the Imposters would end the night as they had commenced it, returning to their rock and roll aesthetic for a final time to transform the Schnitzer into a scene ironically reminiscent of an E Street show. Thrust from their seats by an impassioned performance of "Everyday I Write The Book," jubilant audience members cheered and swayed as they were treated to two encores replete with classics like "Mystery Dance," "Pump It Up" and a loose, extended cover of Nick Lowe’s "(What’s So Funny ‘Bout) Peace, Love And Understanding," Costello’s signature closer.

Where time and success may have attenuated the vitality of his contemporaries, it appears to have instead emboldened Costello. Whimsically traipsing around center stage, Costello was clearly enjoying himself—and leaving no doubt as to the state of his abilities. He remains pop’s most formidable intellect. And if Wednesday’s performance was any indication, he doesn’t plan on going anywhere anytime soon.

[Neil.]

Amassing inertial fortuity with each successive line on his set list, Costello’s performance soon became a seamless highlight.

Thanks for posting that Vortex review, Sweetest Punch. Can anyone work out what the above sentence actually means?!

[verbal gymnastics]

It's code for "The gig got better and better the longer it went on".

[Otis Westinghouse]

Pure bullshit (that sentence!).

I Still Have That Other Girl sounds great.

I wonder is he enjoying having his band back. nice recording of EIWTB here, good sound. Sadly the only one from this poster:


Would enjoy seeing Walk Us Uptown. I don't get why either in this format or solo he can resist playing a song as wonderful as Tripwire.

[docinwestchester]

I don't get why either in this format or solo he can resist playing a song as wonderful as Tripwire.

Couple of solo versions:

[verbal gymnastics]

Pure bullshit (that sentence!).

It reminded me of Eric Cantona's seagulls quote! Everyone was trying to make something philosophical about it when it was just a nonsense phrase.