Elvis & The Imposters play Louisville, KY, November 17, 2019

Pretty self-explanatory
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Man out of Time
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Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby Man out of Time » Tue Nov 05, 2019 1:51 pm

Elvis and The Imposters, plus Briana Lee and Kitten Kuroi play the Louisville Palace in Louisville, KY on Sunday November 17, 2019.

Looking at the concert ticket page on LiveNation.com, there still seem to be a lot of unsold seats. This may explain why Groupon are offering tickets with a 33% discount here: https://www.groupon.com/deals/gl-lnc-elvis-costello-the-imposters-louisville-2019 . Balcony seats, priced usually at $53 are on offer for $35. The Groupon offer only seems available for this show.

On Elvis' previous visits to play in Louisville, Brigid Kaelin has joined him on the accordion and the musical saw. Five years ago, Jim James also made a guest appearance (see below). So who knows who will be on stage this time - let's hope Brigid's saw is in tune.

2014-06-17_Louisville_photo_01.jpg
Elvis, Jim James & Brigid Kaelin
2014-06-17_Louisville_photo_01.jpg (62.06 KiB) Viewed 8766 times

Elvis at the Louisville Palace June 17, 2014.

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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby Man out of Time » Fri Nov 15, 2019 10:20 am

Decent ticket sales for this show in Louisville, judging by the seating plan (below) showing the sold and unsold seats. Unsold seats in blue, sold seats in grey. Possibly the discount offer helped. There has been a notable lack of publicity for these shows since the tour was announced in June.

Louisville seats available.png
Louisville Seats Available November 15, 2019
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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby FAVEHOUR » Sat Nov 16, 2019 9:43 pm

Can't use my two tickets. Want them? First PM gets them for free. I can do the Ticketmaster transfer thing, or I think I could email you the .pdf copies. Row E left aisle


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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby bronxapostle » Sat Nov 16, 2019 9:47 pm

I wish..... I'D GET TO MEET ERIC AND SEE ELVIS ON THE 17TH at last. Sorry you must miss Dave

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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby And No Coffee Table » Sun Nov 17, 2019 10:06 pm

From setlist.fm:

01. Strict Time
02. Clubland
03. Green Shirt
04. Accidents Will Happen
05. Little Triggers
06. Come The Meantimes
07. Suspect My Tears
08. Watching The Detectives
09. The Greatest Love
10. A Face In The Crowd
11. Blood & Hot Sauce
12. (I Don't Want To Go To) Chelsea
13. Radio, Radio
14. High Fidelity
15. Mr. & Mrs. Hush
16. Getting Mighty Crowded
17. Pump It Up
18. Next Time 'Round
19. (The Angels Wanna Wear My) Red Shoes
20. Everyday I Write The Book
21. (What's So Funny 'Bout) Peace, Love And Understanding?
22. Alison
Last edited by And No Coffee Table on Mon Nov 18, 2019 10:19 am, edited 1 time in total.

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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby sulky lad » Mon Nov 18, 2019 3:28 am

I notice the Trust count is going down - that's a bit sad imho! :(

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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby bronxapostle » Mon Nov 18, 2019 5:32 am

sulky lad wrote:I notice the Trust count is going down - that's a bit sad imho! :(


Yes, guess he is not aiming for all 14 before end of tour.

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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby Man out of Time » Sun Sep 06, 2020 9:24 am

Review by Walter Tunis, published on The Musical Box blog on November 18, 2019.

" in performance: elvis costello and the imposters

When a four-decade career has weathered numerous shifts and detours through the pop universe, an audience can become understandably fractured. The problem with that? Fashioning a concert program that appeals to as much of that far-reaching fanbase as possible. Elvis Costello made all that look ridiculously easy Sunday evening at the Louisville Palace with a fun, vital and immensely electric performance alongside with his long-running Imposters band. It was part garage-rock brawl, part pop-soul manifesto and part post-punk carnival.

Fancy the favorites? The Imposters covered just about every lasting hit in the Costello catalog, from a playful “(The Angels Want to Wear My) Red Shoes” and to a prayer-like concert finale of “Alison” that morphed into the 1968 Supremes/Temptations hit “I’m Gonna Make You Love Me.” The most beguiling of the classics, though, remained “Watching the Detectives.” Costello hotwired it with a subtle but pronounced urgency over the dub-like atmospherics of keyboardist Steve Nieve and drummer Pete Thomas (holdovers from the singer’s Attractions band of the ‘70s and ‘80s) and a visual backdrop of vintage film noir posters (including “Kansas City Confidential” AND “New York Confidential,” no less).

Looking for obscurities? Ah, this is where the show really got interesting. Costello spent roughly half of the concert rummaging through the more distant chapters of his songbook. The excavation began at the onset of the evening with the show-opening “Strict Time” (from 1981’s exquisite “Trust” album) that was delivered with a punctuated, Bo Diddley-inspired groove. Later, the show downshifted with Costello at the piano for Allen Toussaint’s stately “The Greatest Love” (a bonus track from the 2006 Costello/Toussaint collaboration “The River in Reverse”). The biggest surprise, though, had to be “Next Time ‘Round,” a dark hullabaloo off of 1986’s “Blood and Chocolate” full of ragged melodic hooks, glorious vocal support from Kitten Kuroi and Briana Lee and an ensemble Imposters sound that framed the song’s Brit-pop accent with punkish immediacy.

Want a song from the present day? For all of the time tripping, Costello stayed current. There were a pair of tunes from 2018’s “Look Now” – a pared down reading of “Suspect My Tears” that replaced the studio version’s lush orchestration with a leaner neo-soul sheen, and the more outwardly Motown-ish “Mr. and Mrs. Hush” with its jubilantly defiant chorus chant of “Are you ready?” There were also intriguing previews of a musical Costello is basing around the 1957 film “A Face in the Crowd” highlighted by the snake-oil spiritualism of “Blood and Hot Sauce” (“Keep your hand on the Bible and your finger on the trigger”).

For all of his considerable rock ‘n’ roll persona, Costello often revealed himself as a traditionally minded stage entertainer, whether it was through occasional vaudeville-esque wisecracking (“I have the face of a priest. He wants it back.”) or letting a wildly fervent “(What’s So Funny ‘Bout) Peace, Love and Understanding” slip briefly into the calmer romantic breeze of the “West Side Story” serenade “Somewhere.”

Such is the odyssey of a pop journeyman mindful of his musical past and future but still very much at home in his performance skin of the moment."

"Post-punk carnival" ?

MOOT

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Re: Elvis & The Imposters play Louisville, KY, November 17, 2019

Postby sulky lad » Sun Sep 06, 2020 11:26 am

Man out of Time wrote:Review by Walter Tunis, published on The Musical Box blog on November 18, 2019.

" in performance: elvis costello and the imposters

When a four-decade career has weathered numerous shifts and detours through the pop universe, an audience can become understandably fractured. The problem with that? Fashioning a concert program that appeals to as much of that far-reaching fanbase as possible. Elvis Costello made all that look ridiculously easy Sunday evening at the Louisville Palace with a fun, vital and immensely electric performance alongside with his long-running Imposters band. It was part garage-rock brawl, part pop-soul manifesto and part post-punk carnival.

Fancy the favorites? The Imposters covered just about every lasting hit in the Costello catalog, from a playful “(The Angels Want to Wear My) Red Shoes” and to a prayer-like concert finale of “Alison” that morphed into the 1968 Supremes/Temptations hit “I’m Gonna Make You Love Me.” The most beguiling of the classics, though, remained “Watching the Detectives.” Costello hotwired it with a subtle but pronounced urgency over the dub-like atmospherics of keyboardist Steve Nieve and drummer Pete Thomas (holdovers from the singer’s Attractions band of the ‘70s and ‘80s) and a visual backdrop of vintage film noir posters (including “Kansas City Confidential” AND “New York Confidential,” no less).

Looking for obscurities? Ah, this is where the show really got interesting. Costello spent roughly half of the concert rummaging through the more distant chapters of his songbook. The excavation began at the onset of the evening with the show-opening “Strict Time” (from 1981’s exquisite “Trust” album) that was delivered with a punctuated, Bo Diddley-inspired groove. Later, the show downshifted with Costello at the piano for Allen Toussaint’s stately “The Greatest Love” (a bonus track from the 2006 Costello/Toussaint collaboration “The River in Reverse”). The biggest surprise, though, had to be “Next Time ‘Round,” a dark hullabaloo off of 1986’s “Blood and Chocolate” full of ragged melodic hooks, glorious vocal support from Kitten Kuroi and Briana Lee and an ensemble Imposters sound that framed the song’s Brit-pop accent with punkish immediacy.

Want a song from the present day? For all of the time tripping, Costello stayed current. There were a pair of tunes from 2018’s “Look Now” – a pared down reading of “Suspect My Tears” that replaced the studio version’s lush orchestration with a leaner neo-soul sheen, and the more outwardly Motown-ish “Mr. and Mrs. Hush” with its jubilantly defiant chorus chant of “Are you ready?” There were also intriguing previews of a musical Costello is basing around the 1957 film “A Face in the Crowd” highlighted by the snake-oil spiritualism of “Blood and Hot Sauce” (“Keep your hand on the Bible and your finger on the trigger”).

For all of his considerable rock ‘n’ roll persona, Costello often revealed himself as a traditionally minded stage entertainer, whether it was through occasional vaudeville-esque wisecracking (“I have the face of a priest. He wants it back.”) or letting a wildly fervent “(What’s So Funny ‘Bout) Peace, Love and Understanding” slip briefly into the calmer romantic breeze of the “West Side Story” serenade “Somewhere.”

Such is the odyssey of a pop journeyman mindful of his musical past and future but still very much at home in his performance skin of the moment."

"Post-punk carnival" ?

MOOT


For Kentucky I guess that reads as Last Of the Mohicans :wink:


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