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We haven't seen much of Elvis Costello on this continent lately, aside from his appearance at Canada's Heatwave Festival in August, which makes his sudden plunge back into the concert scene all that much more surprising. But then again, Costello's never been one to conform to anybody's expectations.
His absence from North America since the Armed Forces tour seems the result of incidents on that last tour, which found Costello fending off charges of being a "racist" after some drunken remarks in a barroom confrontation with some "old wave" rockers — Stephen Stills' band. Costello's revenge appears to have been to avoid America for a bit.
But as far as Costello's fans are concerned, they are oh-so happy for his return. And if Elvis deserted the continent nearly two years ago seeming the perfect embodiment of his angry-young-man image, he's returned graceful, talkative, even smiling. One suspects that this is actually the real Costello — more like the romantic sensibility behind his songs and less the touchy presence some took him for.
The pressures of new-found stardom probably made Costello edgy as he resisted the seductive aura of the star trip, determined to remake the mold of a pop star. And be appears finally to have succeeded.
But creating a new mold is hardly his greatest contribution, because one cannot ignore Costello's music. On this tour be highlighted cuts from all his albums while giving his fans a healthy introduction to his latest — Trust — and tossing in a few surprises.
In Nashville he delighted his college audience by including some American roots: an inspired cover of the old Patsy Cline hit "I Got the Mansion, But He Got You," his own "Stranger in the House" (which Costello cut with George Jones) and some Memphis R&B on such standards as "Hold Me" and "Little Sister."
His Attractions are an incomparable backing band, fashioning surrealistic rock structures around Costello's songs. Steve Naive is one of the most inventive keyboardists in rock; together with Bruce and Pete Thomas' taut rhythm work the quartet sounds bigger than many bands with a much less "minimalist" outlook. Added treats were the addition of Martin Belmont (from The Rumour) on guitar for the second half of the set, and even an E.C. guitar solo.
Good-naturedly chatting with his audiences, Costello seems determined to show the world who be really is. Having watched him carefully from the beginning in numerous situations, we always figured be was far less the misanthrope than his public image made him out to be. His antagonism towards a generally supportive press hasn't helped matters any, but one senses that Costello wants to remain a normal bloke (with exceptional talents) and not be harassed.
Given that this tour proves Costello to be as strong as any rock act out there, his future stardom seems to be sealed. Now that the real Elvis Costello is stepping out, we're inclined to think that America might give him the "Trust" be wants.
Costello's special guests on this recent tour were another bright band of future British stars, Squeeze. With the intelligent pop-rock quintet playing the Beatles to Elvis' Elvis, this seemed the perfect bill for anyone interested in the future of rock 'n' roll.
Squeeze spun out a number of new and (as usual) wickedly captivating songs from their upcoming album — produced by Costello — garnering legitimate calls for a second encore both nights we saw the show.
Since the departure of keyboardist Jools Holland (to form his own band, The Millionaires), Squeeze has been the object of much speculation, especially after they placed an ad in a British music paper looking for "the best keyboard player in England."
They seem to have found him. Paul Carrack adds a new element to this wonderful band, filling Jools' shoes with a different twist. He also brings to their repertoire his well-known hit song, "How Long," which Carrack wrote when be was with Ace.
The band's songwriting duo — Glenn Tilbrook and Chris Difford — remain as pungent and witty as ever, while the ensemble work with drummer Gilson Lavis and bassist John Bentley has grown to an exciting level of precision and energy.
Squeeze was named a band to watch last year by just about everybody who does that sort of thing. Keep your eyes and ears peeled for them in 1981.
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