Austin SXSW show

Pretty self-explanatory
bradeliz
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Austin SXSW show

Post by bradeliz »

Does anyone know if any groups beside Lost Highway are sponsoring the EC showcase at La Zona Rosa on Wednesdy, the 16th? (Austin Citly Limits, Capital Sports and Entertainment, SXSW...etc.) We're trying to find a way in!
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Post by wwallace »

As far as I know its just a Lost Highway showcase. If you didn't get a SXSW wristband, I've heard there will be some made available tomorrow at Waterloo Records ($150 per I think...) There's a whole lot of good music besides EC this week at various SXSW venues.

My plan for getting into that show is to get there ridiculously early in the evening and camp the venue until the doors open, and once I'm in I won't leave until EC has played. I figure it'll work if I get there many hours ahead of time. Its going to be easily filled to capacity by midnight though. (although Billy Idol and the Austin Music Awards are also going on around the same time, so they should draw some people away)

Good luck to anyone else trying to get in!

-Will
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Post by johnfoyle »

BBC Radio 2 is doing shows from Austin all this week - Elvis is sure to turn up somewhere .

http://www.bbc.co.uk/music/southbysouth ... dule.shtml
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Post by wwallace »

Just got back from the SXSW show in Austin at La Zona Rosa. I was directly under Mr. Costello, leaning against the rail in front of the stage for the whole show. Never thought I'd get to see EC in a place this small. A really beautiful show all around.

The setlist was a lot like Dallas:

King Horse
Uncomplicated
Clown Strike
Hurry Down Doomsday
Radio Radio
Button My Lip
Country Darkness
Needle Time
Blame It On Cain
Chelsea
Clubland
Heart Shaped Bruise
Deep Dark Truthful Mirror/You Really Got A Hold On Me
Kinder Murder
When I Was Cruel
Watching the Detectives
The Delivery Man
Monkey to Man
Mystery Dance
Either Side Of The Same Town
I Can't Stand Up For Falling Down
High Fidelity
Why Don't You Love Me Like You Used To Do?
There's a Story in Your Voice
Pump It Up
Love That Burns
Bedlam
Peace, Love and Understanding
Scarlet Tide

-Will
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Post by King Hoarse »

Speaking of Elvis on Austin City Limits, I guess you've all seen the cool live clip of Pump It Up (including presentation of the band) there:

http://www.pbs.org/klru/austin/artists/ ... a-z.html#t

I especially like the end, where Elvis invites the audience down to the stage for a singalong and jumparound and then as the song finishes he doesn't really know what to do so he repeats his 'thank you very much' one time too many, throws his arms out like a regent and punches the air to the drum fill. Then when it's over a girl next to him takes out a handkerchief and wipes his ever-sweaty brow :oops: , but luckily another girl kisses him on the cheek before he reacts on it. :D
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bradeliz
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last night's show

Post by bradeliz »

I'm the one who originally posted this string and I actually got into the La Zona show, without a wristband or badge. I was the sixth to last person they let pay to get in. It was 9:15. We positioned ourselves at the front for the first two shows, and by the time EC came on we were against the front rail. Incredible. I was overwhelmed by the energy he was throwing off and he seemed really excited to be back in Austin. Great night.
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Post by invisible Pole »

This excerpt is from Billboard.com :

http://www.billboard.com/bb/daily/artic ... 1000845685

Sardine-like conditions greeted Costello and the Imposters as the clock welcomed St. Patrick's Day, and the group turned out 28 songs in a set that broke generally accepted SXSW rules by running more than two hours. Nearly all of his latest album, "The Delivery Man," was laid out amid old favorites like "Mystery Dance," "Chelsea" and "Radio Radio" and more recent fare such as "When I Was Cruel No. 2," "Bedlam" and the Oscar-nominated "Scarlet Tide."

Being that it was a rare club date during a tour of theaters, it was not surprising that the set opened a little looser than would have been expected. The band barreled through about eight songs before Costello was able to rein in his mates, who seemed on the verge of unraveling at any moment. With things more under control and the sound mix improved, the band relaxed into a stellar showcase that the bandleader visibly enjoyed conducting.

"I don't know about you, but I'm having a fantastic time," Costello told the crowd, adding that he's just caught a performance by veteran blues artist Hubert Sumlin across town at Antone's.

As the one-hour mark approached, many in the audience exited, no doubt to catch 1 a.m. sets at other venues, but those who stayed were handsomely rewarded. After playing such songs as "The Delivery Man," "Monkey to Man," "High Fidelity" and "Watching the Detectives," Costello could have ended the set to no one's dismay. But he continued pulling out new and old songs to keep the remaining audience reeling past 2 a.m.
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Post by ReadyToHearTheWorst »

It looks like SXSW are making most (all?) of the Festival available as a PodCast (but I think non iPod persons can still join in).

This seems to include our chap Elvis.

Check this out: http://2005.sxsw.com/geekout/fest4pod
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Post by johnfoyle »

Elvis is in photos 30 and 32 of the gallery for Wednes March 16 -

http://alt.coxnewsweb.com/austin360/sxs ... index.html
invisible Pole
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Post by invisible Pole »

Yet another report from Austin :

http://www.popmatters.com/music/feature ... usic.shtml

ELVIS COSTELLO & THE IMPOSTERS — 12.00am, La Zona Rosa
This was my fifth time seeing Costello, and clearly the second best show I've seen him give. Though it had its peaks and valleys, about half-way through Elvis turned on the gas and never let up, finishing his set after 2.00am. Wearing a blue & pink tie with orange-tinted glasses, Elvis was, as always, the epitome of cool, and he seemed quite pleased to be at SXSW, reporting that he had just jammed with Hubert Sumlin up the street. Elvis ripped through dozens of songs, connecting his newer material with his classics and demonstrating again and again the incredible depth and breadth of his artistry. Jumping from frenetic, Northern soul to offbeat, discordant ballads, from straight-ahead rock to pure, traditional country, he somehow managed to tie everything together cohesively. Some of his classics, like "Radio Radio" and "Watching the Detectives", sounded kind of tired, but many others he breathed new life into, especially "Blame It on Cain", which turned into an extended jam. "High Fidelity", "I Don't Want to Go to Chelsea", "Clubland", and "(What's So Funny 'Bout) Peace, Love, & Understanding" were other highlights, but for me, the show's best moment came in the juxtaposition of two fantastic soul songs. The best song on Elvis's latest album, "Either Side of the Same Town", sounds to me like a very successful tribute to the soul classic "The Dark End of the Street", and Elvis followed it with his cover of "I Can't Stand Up for Falling Down", which flowed slowly out of "Either Side" at first and then exploded into a full-fledged romp. As I exited the show, I saw Elvis, drenched in sweat and satisfied, board his bus and head on out into the Austin night. Indeed, the King had left the building.
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Post by johnfoyle »

Hubicka writes to listserv -

Salon.com on EC at SXSW



First on the agenda Wednesday, after an interminable registration
process,
was Bill Flanagan's public interview with Elvis Costello. Flanagan is
the
creator of VH1's "Behind the Music" and a big wheel in the industry. He
was
also a ponderous interviewer, slow to follow up and without a single
question of substance. The first 15 minutes of the conversation were
spent
discussing how many different major labels Costello has recorded for,
and
in which years.

Costello is as charming, witty and articulate as his songwriting would
lead
you to expect. He also has a rather extraordinary ego, which led him to
say
of bad reviews of his album "North" that "anyone reading them would
just
laugh at how idiotic they are," to comment that his band, the
Attractions,
"were the best musical group in '77 by a country mile," and to declare,
in
regard to the length and diversity of his career, "What I'm doing is
unprecedented." The only times the conversation came to life were when
Costello veered from Flanagan's questions to tell anecdotes about his
encounters with David Bowie, Jerry Lee Lewis, George Jones and others.
But
these were inevitably followed by more useless questions: "Are there
any of
your records or songs that you just don't like?" (No.) "Is there anyone
you're intimidated by?" (No.)

By contrast, Costello in concert, late Wednesday night, was anything
but
dull. The SXSW schedule is so jam-packed that compromises are
necessary,
and catching Costello's showcase meant missing not just Billy Idol, but
also Sleater-Kinney, Peter Rowan, Jason Moran, the Wrens, American
Music
Club and many more. It also meant standing in line for 45 minutes
before
squeezing into La Zona Rosa, stuffed to capacity with 1,500 or so
people.
And it was so worth it. Costello and the Impostors put on a dazzling
two-hour-plus, 30-song-plus show, a tour de force performance by one of
the
greatest rock bands in the world. They were lean, fast and powerful --
not
a trace of age-related fatigue -- and they were also extraordinary
tight.

It's amazing that the band can sound so tight even with the presence of
a
wild card like mad-scientist keyboardist Steve Nieve, who keeps up a
steady
barrage of fevered ornamentation and gloriously over-the-top
flourishes.
That they do is largely thanks to Pete Thomas, one of the great rock
drummers of all time, with an amazing, jittery, ahead-of-the-beat feel
--
it's as if he's always rushing, but by some strange trick of space/time
relativity, staying perfectly in time.

The Impostors played many of the songs from 2004's "The Delivery Man,"
Costello's best record in years, but they also ranged through that
inexhaustible catalog of songs, playing hits like "Radio Radio,"
"Watching
the Detectives," "Pump It Up" and "Peace, Love and Understanding," as
well
as more obscure gems like "Kinder Murder," "Clown Strike" and "Hurry
Down
Doomsday."

Even when the band played Costello hits from the '70s, the versions
they
played were often radically reimagined, and always performed with
passion
and ferocity and without pandering to the crowd. I was reminded of
something Costello had said in his interview earlier in the day, that
he
was trying to make music without nostalgia. And it occurred to me that
in
all of his recent music, however bad some of it has been (and some of
it
has been very bad indeed), he's been succeeding at that not
inconsiderable
task. The only artists of comparable endurance and stature I could
think of
who have managed to keep their music so fiery, full of vitality and
free of
nostalgia, are Bob Dylan and Neil Young -- certainly rarefied company.
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Post by martinfoyle »

Here are some photos posted by the Beeb

Image

Image

Image

Image

Image
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Post by johnfoyle »

But since hooking up with singer-pianist Diana Krall, he seems to have ferociously applied himself to his instrument.
Frankie Howerd couldn't have said it better !

-------------------------------------------------------------------------------------
http://www.austin360.com/sxsw/content/s ... html#elvis


Meet Elvis Costello — guitarist?

Elvis Costello
La Zona Rosa, 12 a.m.

Marrying a jazz musician has turned Elvis Costello into a new man. Back in the day, the guitarist-by-default considered his chops so lacking that he nicknamed himself L.H.C. — Little Hands of Concrete. But since hooking up with singer-pianist Diana Krall, he seems to have ferociously applied himself to his instrument. During Costello's two-plus hour gig at La Zona Rosa, he played solo after solo — most of them brief, but all of them respectable. During a long version of 1981's "Clubland," he actually played two solos — which is two more than he used to play in an entire show. (And one of them quoted Leonard Bernstein's "I Feel Pretty"!) Actually, there was a lot of everything; Costello and The Imposters (longtime Attractions Steve Naive and Pete Thomas on keyboards and drums and Davey Faragher on bass) whipped through 29 songs by my count. Many of them were from the band's recent, pretty good album, "The Delivery Man," though Costello wisely warmed up the crowd with two vintage favorites, "King's Horse" and "Uncomplicated."

It was the old semi-hits — "Radio, Radio," "Blame It On Cain," "I Don't Want to Go to Chelsea," "Pump It Up," "Mystery Dance" and "High Fidelity" — that, predictably, got the most response from the audience. But when the show hit a lull at the mid-point, it was, unpredictably, the new "Monkey to Man," not the can't-miss "Watching the Detectives," that brought the show back to life. If the crowd occasionally seemed listless, though, the same couldn't be said for Costello and his stagemates. For a guy who's been doing this for three decades, he's admirably committed to his intention, declared earlier that day at the convention center, not to become an oldies act. His voice, which was a somewhat tentative instrument even when he was a young man, has taken on a surprising strength. Having gotten a lot of ill-advised crooning out of his system in the '90s, he's turned bracingly aggressive with his phrasing, which can veer from behind the beat to a Dylan-esque rush of words to a hoarse shout that would hold its own in front of a metal band.

The band was just as assertive, though less fluid — they hammered at almost every song as if it was "Pump It Up," as if they had decided to turn themselves into a Little Band of Concrete. This proved wearying after an hour or so, and you half suspected that they were trying so hard because the new songs, for the most part, aren't as good as the old ones. But give them credit — well after 1 a.m., when plenty of bands would be shutting down, Costello and the Imposters revved the crowd back up with a breathless near-medley of covers, old faves and new songs. They probably didn't convince anyone that "The Delivery Man" is another "Get Happy!!," but they probably convinced everyone that they might have another "Get Happy!!" in them.

— Jeff Salamon
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Post by lostdog »

His voice, which was a somewhat tentative instrument even when he was a young man, has taken on a surprising strength.
'Tentative' is not a word I would ever apply to EC's voice!
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Post by King Hoarse »

That review must be the first I've seen where it's hinted that Elvis is the best instrumentalist in the band.

And writing that the new songs aren't as good as the old ones is pretty dumb. The Delivery Man's not my favorite record either, but which artist can release an album that beats the highlights of his/her three decade back catalog?

(Wouldn't you hate to see EC&I play an AC/DC-type show, where they play all the early hits - let's call Imperial Bedroom his Back In Black - no mid-period songs, and only sneak in one or two singles from the latest record?)
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Post by johnfoyle »

http://www.cmt.com/news/articles/149830 ... lines=true

However, I was far more interested in Hubert Sumlin, a legendary blues guitarist who played with Howlin' Wolf and Muddy Waters. This type of beer-soaked blues is exactly why Antone's -- one of Austin's most famous clubs -- was built in the first place. Robert Plant enjoyed the set from the side, but good friend Elvis Costello marched onstage to sing with Sumlin, and you couldn't mistake their mutual admiration. I gotta get this record.
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Post by Otis Westinghouse »

6 or so songs from the show on BBC Radio 2 right now. (bbc.co.uk/radio then find radio 2!)

Country Darkness, Mystery Dance, Either Side of the Same Town, I Can't Stand Up, High Fidelity, Why Don't You Love Me Like You Used To Do? So all in sequence apart from the omitted Monkey To Man (following the listing above). The pace is truly furious in MD and the last 3. Excellent.

Should be on the site for a week. It's the last 15 mins of a 90 min show introduced by Mark Radcliffe, which starts off with some rather boring stuff from a much-deeper voiced (compared to the 70s) Robert Plant.
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Post by martinfoyle »

Elvis' set starts about 1hour 8minutes into this

http://www.bbc.co.uk/radio/aod/mainfram ... o2/r2_sxsw

Setlist
1.Deliver Man
2.Mystery Dance
3.Either Side Of The Same Town
4.I Cant Stand Up
5.Hi Fidelity
6.Why Dont You Love Me
sweetest punch
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Post by sweetest punch »

You can listen again to two other tracks from this gig on BBC Radio 2:

http://www.bbc.co.uk/radio/aod/mainfram ... o2/r2_sxsw

Select the show: Mark Lamarr: presenting live from South By Southwest in Texas.

King Horse is at 01:15:43
Chelsea is at 02:10:50
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Post by Who Shot Sam? »

Thanks all. I'll check this out tonight after the kids hit the hay.
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martinfoyle
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Post by martinfoyle »

sweetest punch wrote:You can listen again to two other tracks from this gig on BBC Radio 2:

http://www.bbc.co.uk/radio/aod/mainfram ... o2/r2_sxsw

Select the show: Mark Lamarr: presenting live from South By Southwest in Texas.

King Horse is at 01:15:43
Chelsea is at 02:10:50
Thanks for the tip, thoug hthe timings are 00:15:43 and 01:10:50 on the archived version, rather than the GMT b'cast times above. There is also extreme obnoxious opinionated Mark Lamar content as well, so approach with caution.
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Post by Otis Westinghouse »

Surely not about EC, who he appears to love as unconditionally as us lot! (And Dexy's, apparently.) He can be tiresome, but he's great as a DJ. Has an incredible passion for and knowledge of obscure but often impressive examples of his favourite genres like reaggae and psychedelia.
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Post by MistakenForLilies »

Thanks for posting these links. It was great to hear "Why Don't You Love Me (Like You Used to Do)" again. Heard him do it for the first time in TN last week and loved it.
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Post by bobster »

johnfoyle wrote:He also has a rather extraordinary ego, which led him to sayof bad reviews of his album "North" that "anyone reading them would just laugh at how idiotic they are," to comment that his band, the
Attractions, "were the best musical group in '77 by a country mile," and to declare, in regard to the length and diversity of his career, "What I'm doing is unprecedented."
But these statements are all true (well, I'd argue so, anyway)...and, probably, taken somewhat out of context to make the writer's little gotcha point. Gotta say that every day I have less respect for most entertainment journos. Actually, only the last of EC statements sounds a bit over the top to me (he's praising his band more than himself, and many of the bad reviews of "North" weren't reveiwing the album at all, but the were merely excuses for the writers to slag EC's uppity inability to not try new things damn him), but it's true too. Is it egotism if you're also accurate?

I think the writers at Salon are determined to show us how brilliant they are all by proving that they are just ever so slightly superior to all those stupid celebrities they write about. Kind of makes me sick.
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Post by johnfoyle »

http://seattletimes.nwsource.com/html/a ... xsw22.html


Image
Elvis Costello entertained the crowd at La Zona Rosa during the South By Southwest music festival in Austin, Texas, last week.THE AUSTIN AMERICAN-STATESMAN
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