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At age 26, a startlingly prolific and impatient Elvis Costello has released seven albums in four years, toured almost constantly and established himself as an extraordinary, stylistically-diverse pop songwriter and singer.
Playing only three dates in the U.S. (the Sports Arena in LA, the Grand Ole Opry in Nashville and New York) on his Almost Blue tour, Elvis Costello and the Attractions gave an unforgettable two-hour, 20-minute, 45-song extravaganza here on New Year's Eve.
Dressed in unflashy sport coat and open-collar shirt and looking slim again compared to his bloated appearance on the Trust tour, Costello and band took the stage and immediately raced into "Lipstick Vogue." Through the next six songs, Costello kept a brisk pace, taking only enough time to give a dose of trademark outrage to a stagehand responsible for his malfunctioning monitors.
After "Radio, Radio" Costello announced the reason for the tour: the Almost Blue album of country classics favored by E.C. and recorded in Nashville with producer Billy Sherrill. He brought out John McFee of the Doobie Bros. (who backed Costello on his debut LP, My Aim Is True as well as Almost Blue) to play steel guitar. The 10 songs Elvis sang from the album were generally slower and more deliberate than the LP versions.
He seemed right at home shifting his obsessive, fierce critiques of contemporary relationships to less complicated, commonplace world of booze and infidelity; wrenching guts out of words and cliches usually soaked in syrup and sentiment. A longtime country fan, Costello has blended his influences well. His phrasing was thoughtful and sensual, particularly on "Success," "How Much I Lied" and "Sweet Dreams." John McFee grabbed a guitar and E.C. led his retinue through a hard rockin' "Why Don't You Love Me" and "Honey Hush" to close the first set.
Fifteen minutes into the 30-minute intermission, Steve Nieve came out and extemporized his brand of mood music on electronic piano — ranging from "White Christmas," Bach, "Imagine," "Cruel to Be Kind" and finally "Auld Lang Syne." At this point E.C. strolled back out dressed in a black tuxedo and small bow tie. He wished everyone a "Happy New Year" and without further fanfare unleashed an all too appropriate "What's So Funny 'Bout Peace, Love and Understanding."
On the last tour Costello didn't move around on stage at all, instead he stood in one spot, a la Roy Orbison and belted out his tunes. However, this year's model saw a return to animated form, though still nothing like his jerked-knee contortions of a few years ago.
The power and range of the Attractions (surely the best back-up band in rock 'n' roll) was more integrated and precise than ever, with Nieve's keyboards taking a leading instrumental role.
Costello introduced several new songs from his upcoming album Revolution Of The Mind. "Pidgin English," "Human Hands," "As Strong As This" and "She's Just a Shadow Doll" were all brilliant vignettes dressed in tailor-made melodies.
Costello's: singing keeps getting better. On occasion he would lean into the microphone stand, one arm outstretched, and croon in a rich, supple baritone — something like a Frank Sinatra for now people. He was obviously enjoying himself, and you should've seen his delirious audience!
His lyrics, always foreboding and laden with double meaning, were unusually unnerving and evocative in the certain phrases he chose to boldface with vocal emphasis and timing: "Who's making lover's lane safe again for lovers"; "Nothing here has changed, just the beat"; and "Think you're young and original, get out before they get to watch your step."
In a spirit of magnanimity that characterized the whole evening, Costello and company treated the crowd to two encore's worth of five songs, ending with "Alison." "I know this world is killing you, Oh Alison, my aim is true." Is there anyone listening who would deny that?
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