CostelloNews.com

Comedian/commentator Margaret Cho has some interesting things to say about Elvis . Westwood One don't like her so she must be doing something right.

Excerpt

In 1983, Elvis Costello was an enigmatic deity in
British pop music; Woody Allen-esque in his avoidance
of the press. He didn't do interviews and was never
seen in public offstage. That year, at the height of
his hermetic glory, he released an album, brilliant
and acidly political, called "Punch The Clock," which
contained the single "Shipbuilding." "Shipbuilding" is
a sorrowful ballad about the Falklands War, and about
Margaret Thatcher sending ships to fight while
simultaneously closing down the shipyards. It is a
wrenching, melodic plea for the working class, for the
protest of the war, for the opposition of the
government that solidly places itself against the
people it purports to represent.

"Radio, Radio"
was a massive hit, and a continual rousing crowd
pleaser at his live shows. He sometimes closes with
it, because it sums up what he has been doing his
entire life. Doing whatever the fuck he wants. Sadly,
the urgency of the message wasn't the same for
"Shipbuilding." They are both incredible songs. These
songs are addressing critical issues as relevant today
as ever: censorship, and the senseless, inhumane
treatment of the working class in times of warfare,
both with beautiful, ominous lyrics and the lushly
layered jangled but symphonic chamber music punk rock
that makes Elvis like no other artist.

"Shipbuilding" was not a success, because the
government sponsored radio wouldn't play it, and it
didn't go far in terms of the charts, but it is a
perennial favorite. It has been covered many times by
diverse artists such as handicapped rock activist
Robert Wyatt, Suede and Tasmin Archer. I would cover
it if I could, but I cannot sing for shit, especially
an important and potently moving song like this one
and I wouldn't be able to make it 'ironic' like at a
Planet Hollywood ribbon cutting, with a beer soaked
wife beater and Ray-Bans on, smoking a cigar.

It speaks volumes about how the government can subtly
and easily disarm anyone in the media, shut them down
without ceremony, no matter who you are, or which
government you are talking about, or which war you are
talking about.

5/27/2004
Maximum Volume
In 1983, Elvis Costello was an enigmatic deity in
British pop music; Woody Allen-esque in his avoidance
of the press. He didn't do interviews and was never
seen in public offstage. That year, at the height of
his hermetic glory, he released an album, brilliant
and acidly political, called "Punch The Clock," which
contained the single "Shipbuilding." "Shipbuilding" is
a sorrowful ballad about the Falklands War, and about
Margaret Thatcher sending ships to fight while
simultaneously closing down the shipyards. It is a
wrenching, melodic plea for the working class, for the
protest of the war, for the opposition of the
government that solidly places itself against the
people it purports to represent.

I am such a music geek, I actually watch all the
extras on "The Old Grey Whistle Test" DVD, so I know
all this arcane music history. Elvis was so intent on
"Shipbuilding" reaching as many people as possible, he
actually physically brought a copy of it directly to
the head of a powerful music magazine in the U.K. and
tried to get as much coverage of it as he could. The
gesture was astounding, considering his status at the
time.

Elvis has always been political. Once on Saturday
Night Live, as a last minute replacement for The Sex
Pistols, he awkwardly but gracefully - the Elvis way
of doing things - stopped the performance of a second
song, "Less Than Zero," to play the song they told him
not to play, "Radio, Radio."

Radio is a sound salvation
Radio is cleaning up the nation
They say you better listen to the voice of reason
But they don't give you any choice
'cause they think that it's treason.
So you had better do as you are told.
You better listen to the radio.

I wanna bite the hand that feeds me.
I wanna bite that hand so badly.
I want to make them wish they'd never seen me.

That is some straight up thug genius. "Radio, Radio"
was a massive hit, and a continual rousing crowd
pleaser at his live shows. He sometimes closes with
it, because it sums up what he has been doing his
entire life. Doing whatever the fuck he wants. Sadly,
the urgency of the message wasn't the same for
"Shipbuilding." They are both incredible songs. These
songs are addressing critical issues as relevant today
as ever: censorship, and the senseless, inhumane
treatment of the working class in times of warfare,
both with beautiful, ominous lyrics and the lushly
layered jangled but symphonic chamber music punk rock
that makes Elvis like no other artist.

"Shipbuilding" was not a success, because the
government sponsored radio wouldn't play it, and it
didn't go far in terms of the charts, but it is a
perennial favorite. It has been covered many times by
diverse artists such as handicapped rock activist
Robert Wyatt, Suede and Tasmin Archer. I would cover
it if I could, but I cannot sing for shit, especially
an important and potently moving song like this one
and I wouldn't be able to make it 'ironic' like at a
Planet Hollywood ribbon cutting, with a beer soaked
wife beater and Ray-Bans on, smoking a cigar.

It speaks volumes about how the government can subtly
and easily disarm anyone in the media, shut them down
without ceremony, no matter who you are, or which
government you are talking about, or which war you are
talking about.

I got confused when I found out that my new film,
"Revolution" was being dropped from promotion by
Westwood One because of 'indecent, inappropriate
content.' I am nowhere near being Elvis Costello in
pre- Falklands England in the early 80s, and could
never dream of the very comparison of the body of work
and the unbelievable talent that he possesses, but
nonetheless, I feel like I might get there eventually.
People telling me what to do, dismissively, unclearly,
insults me, rather than scares me. It is less that I
rebel, but I realize a bit more of my true nature, and
revel in it. Ultimately, it is a good thing, for the
silencing of a voice, only serves to make it louder
later.

I would advise earplugs soon. To paraphrase the edict
of another artist I worship - I will be playing at
maximum volume.

Posted by at 4:29 PM | Permalink

Don't miss the cool pictures hidden in the link from the previous entry.

Posted by at 1:37 AM | Permalink

SONGS IN BOCHUM II
ELVIS COSTELLO, BILL FRISELL & FRIENDS
Ron Miles trumpet, Jenny Scheinman violin, Viktor Krauss bass, Matt Chamberlain drums

1.Painted From Memory (Bill Frisell and band instrumental)
(Elvis comes on)
2.Love Field
3.Toledo
4.Deep Dead Blue
5.You Turned To Me
6.Weird Nightmare
7.The Butcher's Boy
8.Poor Napoleon
9.Radio Silence
(intermission)
10.When It Sings
11.Scarlet Tide (ukelele)
12.Someone Took The Words Away
13.Gigi (Bill Frisell/EC only)
14.Sweet Pear
15.Dust
16.He's Got You
(encore 1)
17.Needle Time
(encore 2)
18.Almost Blue

(Submitted by Joyce Slavik)

Posted by at 6:22 PM | Permalink

2004-05-03: Cagliari, Italy, Teatro Lirico di Cagliari Elvis Costello with Steve Nieve # 45 # Accidents Will Happen # Brilliant Mistake # Shot With His Own Gun # This House Is Empty Now # You Turned To Me # When It Sings # The Delivery Man # Country Darkness # Indoor Fireworks # Toledo # Still # Nothing Clings Like Ivy # Needle Time # Watching The Detectives # Almost Blue # Let Me Tell You About Her # I'm In The Mood Again - END OF MAIN SET # She's Pulling Out The Pin # Shipbuilding # (What's So Funny 'Bout) Peace, Love And Understanding? - END ENCORE 1 # The Scarlet Tide # I Still Have That Other Girl - Elvis sings without mic # Couldn't Call It Unexpected #4 - Elvis sings without mic - END ENCORE 2 2004-05-05: Catania, Italy, Le Ciminiere viale Africa Elvis Costello with Steve Nieve # 45 # Accidents Will Happen # Brilliant Mistake # Shot With His Own Gun # This House Is Empty Now # You Turned To Me # When It Sings # The Delivery Man # Country Darkness # Toledo # Nothing Clings Like Ivy # New Amsterdam/You've Got To Hide Your Love Away # All This Useless Beauty # Needle Time # Watching The Detectives # Almost Blue # Let Me Tell You About Her # I'm In The Mood Again - END MAIN SET # Still # God Give Me Strength - END ENCORE 1 # She's Pulling Out The Pin # (What's So Funny 'Bout) Peace, Love And Understanding? # Alison/Tracks Of My Tears/Tears Of A Clown - END ENCORE 2 # The Scarlet Tide # I Still Have That Other Girl - Elvis sings without mic # Pump It Up # Dark End Of The Street - END ENCORE 3 2004-05-07: Porto, Portugal, Porto Colisuem Elvis Costello with Steve Nieve # 45 # Accidents Will Happen # Home Truth # Shot With His Own Gun # This House Is Empty Now # You Turned To Me # Someone Took The Words Away # When It Sings # Toledo # Indoor Fireworks # The Delivery Man # Country Darkness # Veronica # Still # God Give Me Strength # Either Side Of The Same Town # I Want You # Nothing Clings Like Ivy - END MAIN SET # Needle Time # Watching The Detectives # Almost Blue # Let Me Tell You About Her # I'm In The Mood Again - END ENCORE 1 # Peace In Our Time # (What's So Funny 'Bout) Peace, Love And Understanding? - END ENCORE 2 # The Scarlet Tide # I Still Have That Other Girl - Elvis sings without mic # Pump It Up # Dark End Of The Street - END ENCORE 3 (Submitted by Goichi Ishiwata ) 2004-05-08 Coliseu dos Recreios, Lisbon , Portugal Elvis Costello with Steve Nieve # 45 # Accidents Will Happen # Love Field # Long Honeymoon # Shot With His Own Gun # You Turned To Me # Fallen # No Wonder # Toledo # The Delivery Man # Country Darkness # In The Darkest Place # Veronica # When It Sings # Still # The Birds Will Be Singing # God's Comic # She # Needle Time # Watching The Detectives # Almost Blue # Let Me Tell You About Her (EC no piano) # I'm In The Mood Again - END MAIN SET # Peace In Our Time # (What's So Funny 'Bout) Peace Love & Understanding # God Give Me Strenght # I Want You - END ENCORE 1 # The Scarlett Tide # I Still Have That Other Girl # Pump It Up # Allison (+ Suspicious Minds) # Dark End Of The Street - END ENCORE 2 (Submitted by José Mário Branco )

Posted by at 5:58 PM | Permalink

Read about Elvis in Italy and Portugal - translations appreciated!

Posted by at 2:44 PM | Permalink

Radio Times ( London) 8-14 May 2004

To promote the Jeremy Vine TV interview on
BBC tv next week , this listings mag. has an
interview/feature. It clearly dates from last year.

Excerpt - After his initial success Costello joined another hall
of fame — the pop excess brigade. “I went slightly off
the rails, and didn’t make a big success of my
personal life. I had a fair go at the rock ‘n’ roll
lifestyle — it suits the younger man. Some of it was
fun, and some caused a lot of pain. Bad behaviour
is not necessary for pop Success. Some of my first
lyrics were written bya relatively puritanical young
man who thought, ‘I’ll try this temptation.’ You go
mad for a couple of years, and then deal with the
guilty side and try to regain tenderness, trust, and
a belief in something other than waking with a
headache. You start to look outwards and use some of
the skills you’ve almost accidentally accrued.”

Radio Times ( London) 8-14 May 2004

The raging process.

Andrew Duncan meets Elvis Costello

His music may have mellowed , but the singer -
don't call him ` rock legend `, for pity's sake -
certainly hasn't.

As so often, the image is contradicted by reality.
Admittedly Elvis Costello is prolix, agonising over
three words when one will do, and there’s a
justifiable smidgen of irritability at lazy questions.
But the man with a soft voice, sitting in a London
hotel wearing nerdish horn rims and a three-piece
suit— even though its uncomfortably hot outside— is
far removed from the angry rocker who (according to
his song Tramp the Dirt Down) wanted to live long
enough to dance on Margaret Thatcher’s grave.

Costello’s reputation as a monosyllabic poseur makes
him unnervmg, and he can be truculent. Hes a 'bit of a
workaholic, edgy, and lacking manufactured pop star
charisma, but good for him.We need an antidote to the
bland.
But hang on....his latest incarnation is as a love
balladeer much to the annoyance of some fans,
bewildered by the twists and turns of his pleasingly
eclectic career.

To date Costello’s made more than 20 albums,
collaborated with Burt Baeharach, mezzo-soprano Anne
Sofie von Otter and The Brodsky Quartet, written an
Italian ballet based on Midsumnier Night’s Dream, and
music for Alan Bleasdale's TV opuses Jake’s Progress
and GRH. He even acted as a magician in Bleasdale’s
film, No Surrender.

‘There’s talk about me doing more substantial acting.
I enjoy working with Alan. I’m not sure television is
worthy of him. It's run by morons, and those making
creative decisions are mediocre, their aspirations
constrained by the business environment. I watched The
Great War on DVD. I’d seen it first as a child, and
was shocked at how much more it assumes on the part of
the audience than anything done today”.

Costello’s often angry lyrics were softened in last
year’s album, North, which metamorphoses from his
second divorce (You Left Me in the Dark) to falling in
love with his third wife,acclaimed Canadian singer
Diana Krall ( I`m In The Mood Again),whom he met when
they co-presented the Song of the Year award at the
2002 Grammys. They married at Elton John’s Windsor
home last Christmas.

Predictably North has been on a seesaw of reviews —
from brilliant to ”pompous. pretentious, soporific”.
The lyrics are clearly personal. “lt doesn't matter if
people become morbidly curious that it’s
autobiographical. If you write something direct and
open, you’re inviting listeners to say, ‘Is that you?’
I say, ‘No. I see you in it.’ Songwriters become
identified with their words. Bob Dylan and Joni
Mitchell opened the way for a lot of boring lyricists
to burden us with their less interestiisg lives.
“People ask why I go in different directions. Why not?
As far as I know we only get one life, and when
opportunities come your way, the only reason not to do
them is if you’re defending a brand, which is a
wretched way to think about music.

“Bnt it’s not for me to judge singers who are more
pragmatic — or cynical, depending on how generous
you’re feeling. The record industiy has given me a lot
of money not to play the game. It’s been a huge con
all these years, wasting vast amounts of their money,”
he jokes, but adds more seriously, “I’ve spent my time
making records I like, and some they didn’t like at
all.

“Rock ‘n’ roll has become oddly conservative, although
I’ve had a problem about how financially crooked the
whole game is. A lot of it is falling apart through
its own greed and stupidity."

Some of his lyrics are hectoring, expressing deeply
felt views, but he says, “I haven’t written any
political songs. I’ve written as an emotional response
to events, so they're called political because
they’re not about love.

“You cant have it both ways — serious intent and
Popularity. It doesn’t all have to be insubstantial.
There’s a small rearguard action from smart people who
understand that art needn't be forbidding, and realise
some listeners want to spend time with a record that
isn’t completely disposable.” For the past 13 years
Costello has lived mostly in Dublin, “But I don’t
consider myself based anywhere. When I'm in England I
find the obsession with a handful of invented
celebrities is weird, amid dreamy. But it will pass,
like everything else.”

Time , perhaps , to have a go at him. last year hee
and his hand, the Attractions, were inducted into the
Rock ‘n ’ Roll Hall of Fame (which honours legendary
performers ”), an honour he dismissed as ‘crap” a
few years earlier. “So many friends were really
excited,” he explains now. “I’ve been churlish about
accolades, so I thought, ‘It’s only a party. Go and
see for yourself’ My first instinct was right. It’s
ghastly. Those running it, who are on the business
side of music, spoke so much self—important hot air I
nearly walked out.I thought, ‘Please don’t tell me
these people think I’m good.’ Awards are a joke, but
I’m not sure who on. Nobel invented dynamite and now
has a peace prize. Is he trying to get in good with
God?” And as for being called a rock ‘n’ roll legend,
now he’s in his 50th year, he becomes almost
apoplectic. “I don’t see myself like that. I’d never
use ‘rock’ in a description of myself, or ‘legend’ — a
word promoters use to sell a few tickets for someone
who’s not so good as he thinks he is.”

Alter his initial success Costello joined another hall
of fame — the pop excess brigade. “I went slightly off
the rails, and didn’t make a big success of my
personal life. I had a fair go at the rock ‘n’ roll
lifestyle — it suits the younger man. Some of it was
fun, and some caused a lot of pain. Bad behaviour
is not necessary for pop Success. Some of my first
lyrics were written bya relatively puritanical young
man who thought, ‘I’ll try this temptation.’ You go
mad for a couple of years, and then deal with the
guilty side and try to regain tenderness, trust, and
a belief in something other than waking with a
headache. You start to look outwards and use some of
the skills you’ve almost accidentally accrued.”

He said he was motivated by revenge and anger.
‘There’s an element of truth,as well as exaggeration.
It’s obvious to anyone who listened that there were
many more emotions being expressed, but that first
image is potent. It made better copy, and I can’t be
blamed for that. It was journalists and advertising
men collaborating in myth-making.

"Attitudes you pretend to have at 23 stay with
you. When you’re starting you like to come in hot and
determined, flatten everything around you while you
learn who you are and what you’e going to do. Then it
goes wrong, and from that you accumulate knowledge,
not necessarily wisdom. I never attached myself to any
gang or movement. Obviously I’m not an opera singer.
I’m in pop, but that’s a dirty word now, meaning
contrived and manufactured music. Everyone is just
trying to do their job — that’s what I say.”

In 1979 — when he was drunk and trying to goad
rockstar Stephen Stills during a bar-room brawl — he
described singer Ray Charles as an ‘ ignorant blind
nigger”. The comment — for which Costello later
apologised — could have ruined his career. “Is this a
skeleton I hear? I spend a lot of time explaining the
effect even 25 years later, It’s complex. I’d like you
to read an essay I wrote about Get Happy!!, the album
that came out after that event [“it was the product of
crazed indulgence, the exact opposite of my true
beliefs”]. In the larger scale of transgressions there
are much more wicked things we can all say we did. I
did worse, hut I’m not telling you what.”

I wonder if he was a bit up himselF “What a
charming expression,” he mutters. “I think everyone
is. But the most idiotic criticism of anyone creative
is that it’s self-indulgent. What in the world is
creativity supposed to be? It can be useless and
boring, but to criticise it for being self-indulgent
is missing the point entirely.”

What next? “I don’t have ambitions as such. Never had.
I didn’t go for fame. I’d rather the songs were
better-known than me. It worked out that I’m a little
hit known in a lot of places, rather than so
uncontrollably known my life is bent out of shape. I
have friends like that, and I’m not sure that even all
their rewards are worth it . I’m big and ugly, so
people don’t confront me.”
------------------------------------------------------
This side feature also appears -

Who is Elvis?
Real name

Declan Patrick Aloysius McManus, Renamned by manager
in I977
—Costello is his great-grandmother's maiden name, and
Elvis to annoy people.

Born
25Auguat 1954, in Paddington, London, Family moved to
Birkenhead. Married (I) Mary Burgoyne, November 1974.
One son: Matthew, 29, musician; (2)CaitO’Riordan, the
Pogues’ basslst, May 1986; (3) Canadian jazz singer
Diana Krall, December 2003.
Family
Grandfather was a travelling musician. Father Ross
was a singer (he sang the R Whites’ “Secret Lemonade
drinker ”TV advert). Mother sold records. Younger
brothers have a band.
Before fame
Left school at I8, worked in a bank, and then
computer programmer for EllzabethArden.
First success aged 22 in l977 with debut album My Aim
Is True.

and Jeremy adds this comment -

ELVIS COSTELLO (Friday)
One of my big heros.I’ve seen him l6 times in concert
and I think he’s the most important UK songwriter
since Lennon and McCartney. For me, This Years Model
is the greatest rock ‘n’ roll album of the second half
of the 20th century , so I was nervous about meeting
him. The impression I got, though, was of a bright
bloke who thinks about what he’s writing and who
welcomes the chance to talk about it at length.
Place In rock history
Up there with the greats; the problem for his fans is
that he's moved so fast in so many different
directions that he’s been quite difficult to follow.

Posted by at 7:36 PM | Permalink

Elvis and his old flame Alison make the BBC's list of top 10 opening song lines. Warren Zevon wins.

Posted by at 1:42 PM | Permalink

Bournemouth International Centre, England

Elvis Costello with Steve Nieve

Needle Time
Suit Of Lights
Party Girl
45
New Amsterdam/You've Got To Hide Your Love Away
Indoor Fireworks
When It Sings
Home Truth
Good Year For The Roses
Inch By Inch/Fever
Watching The Detectives
Almost Blue - EC on piano at end
Nothing Clings Like Ivy - EC solo on piano

Encore 1
The Delivery Man
Shipbuilding
She's Pulling Out The Pin
(What's So Funny 'Bout) Peace, Love And Understanding?

Encore 2
Bedlam
Country Darkness
Monkey To Man

Encore 3
The Scarlet Tide - EC on ukelele
Dark End Of The Street
(Submitted by William Munro)

Posted by at 6:12 PM | Permalink

The Bournemouth Daily Echo reports -

IT'S all a very long way from the Village Bowl in 1978 when Elvis Costello lead a packed house of sweat-drenched punks in a chorus against the one pitiful soul who dared spit at the bespectacled one.

These days the specs remain, but there's only the odd hint of that early bile even though Friday's show opened with the line: "I wish I didn't hate you half as much as I do."

But it was a subdued affair. Anyone expecting Oliver's Army and I Don't Want To Go To Chelsea was in the wrong place. This was Elvis' show, played the way he wanted it, at the pace he wanted (90 minutes, no interval, no support) and in the order he wanted. New Amsterdam segued into The Beatles' You've Got To Hide Your Love Away; a neo-dub version of Inch By Inch gave way to Fever. Almost Blue was taken straight, no rocks, Good Year For the Roses sounded larger than his hit single, while Watching the Detectives had all the same ingredients but tasted like a whole new dish. Shipbuilding brought the house down.

Indoor Fireworks got a rare run-out, as did the gutsy 45 and the McCartney collaboration Nothing Clings Like Ivy.

But the best was left to the very end - and it wasn't even his song. Costello's lifelong love affair with southern soul found him summoning every ounce of feeling for that most telling and tender tale of stolen love, Dark End of the Street. The song was Dan Penn's, the original belonged to Percy Sledge. This version was pure Costello playing keeper of the flame; the tears were my own.

None of Costello's contemporaries can hold a flame to his skill and the fact he's still up there taking chances at his own expense is to be applauded long and loud. Luckily, nobody spat!

The Bournemouth Daily Echo

Date Published: Monday 03 May 2004

Elvis Costello & Steve Nieve, Windsor Hall, BIC

by Nick Churchill

IT'S all a very long way from the Village Bowl in 1978 when Elvis Costello lead a packed house of sweat-drenched punks in a chorus against the one pitiful soul who dared spit at the bespectacled one.

These days the specs remain, but there's only the odd hint of that early bile even though Friday's show opened with the line: "I wish I didn't hate you half as much as I do."

But it was a subdued affair. Anyone expecting Oliver's Army and I Don't Want To Go To Chelsea was in the wrong place. This was Elvis' show, played the way he wanted it, at the pace he wanted (90 minutes, no interval, no support) and in the order he wanted. New Amsterdam segued into The Beatles' You've Got To Hide Your Love Away; a neo-dub version of Inch By Inch gave way to Fever. Almost Blue was taken straight, no rocks, Good Year For the Roses sounded larger than his hit single, while Watching the Detectives had all the same ingredients but tasted like a whole new dish. Shipbuilding brought the house down.

Indoor Fireworks got a rare run-out, as did the gutsy 45 and the McCartney collaboration Nothing Clings Like Ivy.

But the best was left to the very end - and it wasn't even his song. Costello's lifelong love affair with southern soul found him summoning every ounce of feeling for that most telling and tender tale of stolen love, Dark End of the Street. The song was Dan Penn's, the original belonged to Percy Sledge. This version was pure Costello playing keeper of the flame; the tears were my own.

None of Costello's contemporaries can hold a flame to his skill and the fact he's still up there taking chances at his own expense is to be applauded long and loud. Luckily, nobody spat!

Posted by at 12:11 PM | Permalink

Listen to Elvis sing Matter Of Time with Los Lobos

Posted by at 1:35 AM | Permalink

The above is for sale on ebay. Currently there are no bids. Coincidence?

Posted by at 5:53 PM | Permalink

verbal gymnastics reports -It was a very strange show. Elvis did not say a single word to the audience until he said "Steve Nieve" after Steve left the stage and he thensolo performed Nothing Clings Like Ivy" as the final song of the main set.

He only spoke once more as he spoke about the Scarlet Tide. He did not say Good Evening, Good Night, Thank You. Nothing. It was very strange. I've never seen anything like it.

My initial thoughts were that something had upset him - the audience perhaps which was a bit subdued. There was also no sound check before the show. The show was not sold out.

The show contained some new songs; Needle Time (which opened the set), Nothing Clings Like Ivy, Monkey to Man, The Delivery Man, Country Darkness and She Pulled Out The Pin as well as Scarlet Tide and the closing Dark End of the Street. He also threw in some gems such as Party Girl, New Amsterdam/YGTHYLA, and Suit of Lights.

The show was very short by Elvis' standards - 90 minutes with the main set being an hour.

It was therefore with trepidation and a degree of pessimism that we went to the stage door...

...but that was a completely different story.

Elvis came out and was charm personified. He was in a happy mood and pleased to sign autographs, tickets, posters, anything and was happy to pose for photos. The flyer for the show said "Elvis Costello with Steve Nieve performing songs from NORTH and other favourites". Elvis joked that it should have read "song from NORTH" as he only performed When It Sings.

Elvis explained that he had a throat infection which hampered his voice. This would explain why the set list was written so briefly. He said he was basically deciding songs depending on what his voice could handle.

I asked him if he was touring the UK later this year as he had a new album to promote. He immediately corrected me and said he have two new albums out this year (guess that answers that one then!). He also told me that he still does not feel he has toured North properly and wants to play shows with a full orchestra. He said the beauty of TJL and North was that he could play them with an orchestra. I guess that means any shows would also include the Brodsky Quartet.

Paddy also let slip that Elvis would be on Later With Jools Holland later in the year but didn't/wouldn't(!) elaborate further. So if you've got any BBC contacts...

Apparently Elvis is now off to Sardinia which I overheard from the sound engineer. He also said Elvis would be touring with The Impostors around October/November but wasn't sure if the tour would be starting in the UK or the US.

Elvis was wearing the obligatory black suit (but with an open necked patterned shirt). Steve wore a black suit and tie.

Elvis met the fans with his also obligatory black leather jacket for you completists!

(Submitted to the Costello Fan Forum)

It was a very strange show. Elvis did not say a single word to the audience until he said "Steve Nieve" after Steve left the stage and he thensolo performed Nothing Clings Like Ivy" as the final song of the main set.

He only spoke once more as he spoke about the Scarlet Tide. He did not say Good Evening, Good Night, Thank You. Nothing. It was very strange. I've never seen anything like it.

My initial thoughts were that something had upset him - the audience perhaps which was a bit subdued. There was also no sound check before the show. The show was not sold out.

The show contained some new songs; Needle Time (which opened the set), Nothing Clings Like Ivy, Monkey to Man, The Delivery Man, Country Darkness and She Pulled Out The Pin as well as Scarlet Tide and the closing Dark End of the Street. He also threw in some gems such as Party Girl, New Amsterdam/YGTHYLA, and Suit of Lights.

The show was very short by Elvis' standards - 90 minutes with the main set being an hour.

I got Elvis' setlist which is now owned by SoLacklustre (can you scan it?). It was written as a short set.

It was therefore with trepidation and a degree of pessimism that we went to the stage door...

...but that was a completely different story.

Elvis came out and was charm personified. He was in a happy mood and pleased to sign autographs, tickets, posters, anything and was happy to pose for photos. The flyer for the show said "Elvis Costello with Steve Nieve performing songS from NORTH and other favourites". Elvis joked that it should have read "song from NORTH" as he only performed When It Sings.

Elvis explained that he had a throat infection which hampered his voice. This would explain why the set list was written so briefly. He said he was basically deciding songs depending on what his voice could handle.

I asked him if he was touring the UK later this year as he had a new album to promote. He immediately corrected me and said he have two new albums out this year (guess that answers that one then!). He also told me that he still does not feel he has toured North properly and wants to play shows with a full orchestra. He said the beauty of TJL and North was that he could play them with an orchestra. I guess that means any shows would also include the Brodsky Quartet.

Paddy also let slip that Elvis would be on Later With Jools Holland later in the year but didn't/wouldn't(!) elaborate further. So if you've got any BBC contacts...

Apparently Elvis is now off to Sardinia which I overheard from the sound engineer. He also said Elvis would be touring with The Impostors around October/November but wasn't sure if the tour would be starting in the UK or the US.

Elvis was wearing the obligatory black suit (but with an open necked patterned shirt). Steve wore a black suit and tie.

Elvis met the fans with his also obligatory black leather jacket for you completists!

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