Best EC show I have ever seen (27 years). Just all around unbelievable! The Great AT has moved things to another level IMHO. Everyone has to get out and see this tour. I will leave the details (highlight after highlight) to others.
One funny side note is EC didn't understand the boos when he mentioned playing Green Bay the prior night. Hope somebody clued him in about DC's obsession with the NFL Red Skins. LOL!
EC & AT @ Wolf Trap, Vienna, VA 06/15/06
You're right Sabreman - it was awesome. I can't think of one thing that could have been better.
I think the setlist was prettty close to what the past few shows have been - but he did say that last night was the first time they pulled out That Day is Done - and of course - they nailed it.
It was also a joy to watch and hear the Crecent City Horns. The trombone player stole the show every time he soloed. And when he wasn't playing - he was dancing around with such enthusiasm you just couldn't help but smile. It really made me wonder if he is a new Elvis fan (as well as a collaborator).
I think the setlist was prettty close to what the past few shows have been - but he did say that last night was the first time they pulled out That Day is Done - and of course - they nailed it.
It was also a joy to watch and hear the Crecent City Horns. The trombone player stole the show every time he soloed. And when he wasn't playing - he was dancing around with such enthusiasm you just couldn't help but smile. It really made me wonder if he is a new Elvis fan (as well as a collaborator).
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
The trombonist seems to have been a hit with this blogger as well
http://lifeboatlaura.blogspot.com/2006/ ... naire.html
http://lifeboatlaura.blogspot.com/2006/ ... naire.html
also, i was in love with the trombonist on the end rather quickly. well, i started out amused. i liked the way he moved and he always looked like he was having fun and the way his pants hung it looked like his legs moved like noodles sometimes, but i think it was just his pants. thru/out the night, it grew to love. and then, in general, i think i was just in a good mood and it was very fun. yay for fun.
Just returned from Wolf Trap and all I can say is Holy S***! This is the best out of 9 times seeing EC since '92 or so. The band are so relentlessly in the pocket, it is just out of this world. The Attractions were the reasonable facsimilie of a soul band when they wanted, The Imposters plus AT and CCH and AB ARE a soul band.
The setlist:
What's So Funny 'Bout Peace Love and Understanding
Monkey to Man (Allen appears)
On the Way Down
A Certain Girl (AT vocals)
Clown Strike
Tears Tears and More Tears
Tears Before Bedtime
That Day is Done
Broken Promise Land
Freedom for the Stallion
The River in Reverse
Who's Gonna Help Brother Get Futher? (AT vocal)
Nearer to You
Deep Dark Truthful Mirror
Play Something Sweet (3 chord blues?) - (AT vocal and then he leaves for the remainder of the set proper; horns remain to amazing effect)
Bedlam
Dust
Watching the Detectives
I Can't Stand Up For Falling Down
High Fidelity
Pump It Up
Encore 1:
Allen Toussaint does Longhair
Ascension Day
Wonder Woman
International Echo
Alison/Tracks of My Tears
Clubland
All These Things
6 Finger Man
Encore 2:
That's How you Got Killed Before
Yes You Can
Working in a Coal Mine
Fortune Teller
The Sharpest Thorn
General comments:
- We arrived early enough to hear the soundcheck and listened as EC and AT worked out the horn arrangments for Clubland and That Day is Done. Truly amazing- I probably heard 3 full and 3 partial renditions of TDID, with the horns adding more and more each time and Elvis in full vocal mode. The subtleties they labored over for Clubland (especially during the bridge) made me appreciate the whole swinging version later.
- Excellent, full attendance. Even at 2 1/2 hours plus, a great majority of folk were there until the bitter end. The sound was horrendous on the opener but dynamite by the middle of Monkey to Man and superb from there on out.
-After That Day is Done, EC's speaking voice was a little raspy to my ears, but his singing was the best I've heard.
- The backing vocals from Davey (and sometimes Allen) just made the whole thing great. Songs like 'Tears Before Bedtime' (which sounded just like the recording, with EC taking the low part on the chorus and Davey the falsetto) would not have been nearly as good without this newly added element to EC's live show.
- The horns, the horns, the horns, the horns. There on every song save the opener, with charts mostly by AT (with a few by EC), I felt these enhanced every single song, especially Dust, That Day is Done, Watching the Detectives and Clubland. The chart for Alison (by EC) got a little muzaky, but still gave an old warhorse new legs. And that was the thing- usually WTD is my bathroom break, but this time it was just thrilling. The charts for Clubland and WTD retained elements of the 'My Flame Burns Blue' versions, but instead of getting swirly and unrecognizable, they just added to the 'oomph' of the original arrangements. Lots of solos on WTD by the horn players and SN.
- Steve, Steve, Steve. Sounded and looked terrific. Davey looks to have lost some serious weight! And Pete looked like he was loving every minute of it- singing along and just bashing on the new stuff.
- The crowd gave lots of love to AT and the horns and AB, and they all deserved it. EC didn't have as much to say about the administration as I thought he would, give the proximity to the White House. There was a reference to 'numbskulls' and 'jackasses' at one point which got wildly enthusiastic response. He also appeared to have a GWB action figure, which he claimed had a 'life-size' brain.
- Elvis is clearly having a ball doing this tour. He's like a kid up there, and he's singing and playing his ass off. Dust was just unbelievable with the horns, as was Bedlam, showing how these two late - period album tracks sit beautifully with some of the classics. He clearly loved conducting the horn section, as he did several times, and finally being a swinging band leader on his own terms, sans tuxedo.
- Got to spend a few minutes with Shatterproof and her friend, and was reminded what a wonderful person she is! Can't wait to hear her impressions of the show.
That's all for now folks. Beg, borrow, steal, fly, whatever you have to do - SEE THIS TOUR.
The setlist:
What's So Funny 'Bout Peace Love and Understanding
Monkey to Man (Allen appears)
On the Way Down
A Certain Girl (AT vocals)
Clown Strike
Tears Tears and More Tears
Tears Before Bedtime
That Day is Done
Broken Promise Land
Freedom for the Stallion
The River in Reverse
Who's Gonna Help Brother Get Futher? (AT vocal)
Nearer to You
Deep Dark Truthful Mirror
Play Something Sweet (3 chord blues?) - (AT vocal and then he leaves for the remainder of the set proper; horns remain to amazing effect)
Bedlam
Dust
Watching the Detectives
I Can't Stand Up For Falling Down
High Fidelity
Pump It Up
Encore 1:
Allen Toussaint does Longhair
Ascension Day
Wonder Woman
International Echo
Alison/Tracks of My Tears
Clubland
All These Things
6 Finger Man
Encore 2:
That's How you Got Killed Before
Yes You Can
Working in a Coal Mine
Fortune Teller
The Sharpest Thorn
General comments:
- We arrived early enough to hear the soundcheck and listened as EC and AT worked out the horn arrangments for Clubland and That Day is Done. Truly amazing- I probably heard 3 full and 3 partial renditions of TDID, with the horns adding more and more each time and Elvis in full vocal mode. The subtleties they labored over for Clubland (especially during the bridge) made me appreciate the whole swinging version later.
- Excellent, full attendance. Even at 2 1/2 hours plus, a great majority of folk were there until the bitter end. The sound was horrendous on the opener but dynamite by the middle of Monkey to Man and superb from there on out.
-After That Day is Done, EC's speaking voice was a little raspy to my ears, but his singing was the best I've heard.
- The backing vocals from Davey (and sometimes Allen) just made the whole thing great. Songs like 'Tears Before Bedtime' (which sounded just like the recording, with EC taking the low part on the chorus and Davey the falsetto) would not have been nearly as good without this newly added element to EC's live show.
- The horns, the horns, the horns, the horns. There on every song save the opener, with charts mostly by AT (with a few by EC), I felt these enhanced every single song, especially Dust, That Day is Done, Watching the Detectives and Clubland. The chart for Alison (by EC) got a little muzaky, but still gave an old warhorse new legs. And that was the thing- usually WTD is my bathroom break, but this time it was just thrilling. The charts for Clubland and WTD retained elements of the 'My Flame Burns Blue' versions, but instead of getting swirly and unrecognizable, they just added to the 'oomph' of the original arrangements. Lots of solos on WTD by the horn players and SN.
- Steve, Steve, Steve. Sounded and looked terrific. Davey looks to have lost some serious weight! And Pete looked like he was loving every minute of it- singing along and just bashing on the new stuff.
- The crowd gave lots of love to AT and the horns and AB, and they all deserved it. EC didn't have as much to say about the administration as I thought he would, give the proximity to the White House. There was a reference to 'numbskulls' and 'jackasses' at one point which got wildly enthusiastic response. He also appeared to have a GWB action figure, which he claimed had a 'life-size' brain.
- Elvis is clearly having a ball doing this tour. He's like a kid up there, and he's singing and playing his ass off. Dust was just unbelievable with the horns, as was Bedlam, showing how these two late - period album tracks sit beautifully with some of the classics. He clearly loved conducting the horn section, as he did several times, and finally being a swinging band leader on his own terms, sans tuxedo.
- Got to spend a few minutes with Shatterproof and her friend, and was reminded what a wonderful person she is! Can't wait to hear her impressions of the show.
That's all for now folks. Beg, borrow, steal, fly, whatever you have to do - SEE THIS TOUR.
Play Something Sweet (3 chord blues?)
PLAY SOMETHING SWEET (BRICKYARD BLUES)
(written by Allen Toussaint)
Three Dog Night - 1974
Maria Muldaur - 1974
She said "Man, that's the same old thing I've heard before"
And I'm too tired to go for your show (again and again)
And she started to explain
She said "Man, I ain't sayin' what you're playin' just can't make it
But I just can't take it anymore"
Play somethin' sweet, play somethin' mellow
Play somethin' I can sink my teeth in like Jello
Play something I can understand
Play me some Brickyard Blues
Play somethin' sweet and make it funky
Just let me lay back and grin like a monkey
Play something I can understand
Play me some Brickyard Blues
Well, I started to sweat
She said "Don't get upset 'cause you just might break a string
And that won't do a thing for your show
So I said to myself
I said "Self, do you see what is sailin' through my soul?"
And I gotta have some more, don't ya know
Play somethin' sweet, play somethin' mellow
Play somethin' I can sink my teeth in like Jello
Play something I can understand
Play me some Brickyard Blues
Play somethin' sweet and make it funky
Just let me lay back and grin like a monkey
Play something I can understand
Play me some Brickyard Blues
It's enough to make it light in the dark
It's enough to make a bite just a bark
It's enough to make a body move around
It's enough to make a rabbit hug a dog
Play somethin' sweet
------ instrumental break ------
Well, I tried to run my game
She said "Man, that's the same old thing I've heard before"
And I'm too tired to go for your show (again and again)
And she started to explain
She said "Man, I ain't sayin' what you're playin' just can't make it
But I just can't take it anymore"
Play somethin' sweet, play somethin' mellow
Play somethin' I can sink my teeth in like Jello
Play something I can understand
Play me some Brickyard Blues
Play somethin' sweet and make it funky
Just let me lay back and grin like a monkey
Play something I can understand
Play me some Brickyard Blues
Play somethin' sweet, play somethin' mellow
Play somethin' I can sink my teeth in like Jello
Play something I can understand
Play me some Brickyard Blues
Play somethin' sweet and make it funky
Just let me lay back and grin like a monkey
Play something I can understand
Play me some Brickyard Blues
http://www.dcist.com/archives/2006/06/1 ... rrange.php
Photos by Andi Kling/Courtesy of Wolf Trap.
DCist.com, DC
Posted by Amadie Hart
June 16, 2006
Elvis, Rearranged
Elvis Costello has built an illustrious career around not being a conformist. He has dipped his fingers into so many musical genres and collaborated with such a wide range of music legends that it is hard to know which Elvis will show up during his annual summer stop at Wolf Trap. Will it be angry, loud, rocker Elvis (2002)? Romantic Elvis (2004)? Country and bluegrass-infused Elvis (2005)? It is precisely that uncertainty that makes the anticipation of an Elvis Costello concert so much sweeter. However, not all Elvises are equal.
Last night's concert was, quite simply, the best Elvis Costello and the Imposters concert this region has seen in several years. In a 34-song, two hour and forty-five minute set, Costello and legendary New Orleans songwriter Allen Toussaint put together a diverse mix of pieces from their new album, The River in Reverse, as well as from their extensive catalogues of work spanning four decades of prolific songwriting. Sure, there were the requisite Elvis Costello hits - rocking versions of "(What's So Funny 'Bout) Peace, Love and Understanding" (which kicked off the set), "High Fidelity," and "Pump It Up"; new arrangements of "Watching the Detectives" and "Clubland"; and a sweet rendition of "Alison" featuring an almost orchestral-sounding horn opening and seamlessly segueing into "Tracks of My Tears." But Costello also picked lesser known tracks off albums ranging from 1980's Get Happy!! to 2004's The Delivery Man.
But it was Toussaint's touch that made the evening so interesting for Costello fans. Toussaint's fresh arrangements renewed such past Costello songs as "Clown Strike" (from 1994's Brutal Youth), "Tears Before Bedtime" (from 1982's Imperial Bedroom), "Deep Dark Truthful Mirror" (from 1989's Spike), "Dust 2..." (from 2002's When I Was Cruel), and "Clubland" (from 1981's Trust). His four-piece Crescent City Horns (Amadee Castenell, Brian Cayolle, Joe Smith and Sam Williams) added new depth and polish to Costello's material, alternately playing a supporting role to biting lyrics, and shining brightly on such pieces as "That's How You Got Killed Before." Particularly notable were "Big" Sam Williams' trumpet trombone solos - aggressive and captivating, conveying the wide range of emotions that were on view during the concert.
From the audience's perspective, it is evident that Costello and Toussaint are two men who truly love music in all its forms. They love to play with melodies, hooks and lyrics. The two performers seem to work seamlessly together, riffing off each other and the horns to create at times an almost improvisational jazz vibe. They also crafted a set list that flowed seamlessly back and forth from old to new. Costello overcame some initial hoarseness and pitch problems on the new arrangement of "That Day is Done" - originally a collaboration between Costello and Paul McCartney - to shine on such songs as "The River in Reverse," "Nearer to You" and "Ascension Day." The Imposters and the Crescent City Horns ably supported and complemented the vocal talents with clear, polished music that projected well through Wolf Trap's superlative sound system.
The specter of Hurricane Katrina hovered over much of the concert, as it does the album, recorded late last year in the wake of the devastation in New Orleans. The new songs excoriate the governmental response to the catastrophe (So count your blessings when they ask permission/To govern with money and superstition) - underscored last night by Costello's characterization of the response to Katrina as being "ably assisted by a handful of jackasses. . .and numbskulls" - while the repurposed Toussaint songs, such as "Tears, Tears and More Tears" and "Who's Gonna Help a Brother Get Further?," evoke the sadness, melancholy and regret felt by the many thousands of New Orleans residents displaced by the flooding. "Oh, Lord, you got to help us find the way," pleads Costello on "Freedom for the Stallion." The mood onstage shifted gears, though, following Toussaint's bluesy rendition of the Three Dog Night hit that he wrote, "Play Something Sweet (Brickyard Blues)."
Beginning with the urgent and increasingly discordant Bedlam, ending with competing, overlaid horn solos, Costello, the Imposters, and the Crescent City Horns worked the crowd into a frenzy with a jazzy, improvisational feeling version of "Dust 2..." with its signature Wilco-esque keyboard work; a radically different arrangement of "Watching the Detectives" that Costello debuted earlier this year on My Flame Burns Blue, an album recorded with the Metropole Orkest at the North Sea Jazz Festival in the Hague; and rocking versions of "I Can't Stand Up For Falling Down," "High Fidelity," and "Pump It Up."
For the first encore, Costello and Toussaint took to the stage without their backing bands, with Toussaint paying homage to New Orleans blues legend Professor Longhair on the piano, followed by Costello singing "Ascension Day," a new song inspired by Toussaint's minor key variation of Professor Longhair's "Tiptina." The bands then joined the two singers on stage for a mix of songs from The River in Reverse, as well as crowd favorite "Alison/Tracks of My Tears," and a Latin-infused jazzy version of "Clubland."
Nearly two-and-a-half hours after the start of the set, the musicians retook the stage with a fun version of the Dirty Dozen Brass Band's "That's How You Got Killed Before," a swinging, big band-sounding song that features smokin' horn solos from each member of the Crescent City Horns, followed by several Toussaint-penned hits from the 1970s and 1980s - "Yes We Can Can" (popularized by the Pointer Sisters), "Working in a Coal Mine" (a hit for both regular Toussaint collaborator Lee Dorsey and 1980s new wave pioneers Devo), and "Fortune Teller" (recorded by the Rolling Stones and the Who). Finally, the evening closed on a somewhat off note, as Costello tried somewhat unsuccessfully to prod the audience into a sing-along on "The Sharpest Thorn," a new song from The River in Reverse with which the audience was generally unfamiliar. Despite this final misstep, the show was still a standout effort, featuring gems for both the long-time and casual Costello fan. And on a perfect early summer night, this DCist couldn't think of anything she'd like better.
Photos by Andi Kling/Courtesy of Wolf Trap.
DCist.com, DC
Posted by Amadie Hart
June 16, 2006
Elvis, Rearranged
Elvis Costello has built an illustrious career around not being a conformist. He has dipped his fingers into so many musical genres and collaborated with such a wide range of music legends that it is hard to know which Elvis will show up during his annual summer stop at Wolf Trap. Will it be angry, loud, rocker Elvis (2002)? Romantic Elvis (2004)? Country and bluegrass-infused Elvis (2005)? It is precisely that uncertainty that makes the anticipation of an Elvis Costello concert so much sweeter. However, not all Elvises are equal.
Last night's concert was, quite simply, the best Elvis Costello and the Imposters concert this region has seen in several years. In a 34-song, two hour and forty-five minute set, Costello and legendary New Orleans songwriter Allen Toussaint put together a diverse mix of pieces from their new album, The River in Reverse, as well as from their extensive catalogues of work spanning four decades of prolific songwriting. Sure, there were the requisite Elvis Costello hits - rocking versions of "(What's So Funny 'Bout) Peace, Love and Understanding" (which kicked off the set), "High Fidelity," and "Pump It Up"; new arrangements of "Watching the Detectives" and "Clubland"; and a sweet rendition of "Alison" featuring an almost orchestral-sounding horn opening and seamlessly segueing into "Tracks of My Tears." But Costello also picked lesser known tracks off albums ranging from 1980's Get Happy!! to 2004's The Delivery Man.
But it was Toussaint's touch that made the evening so interesting for Costello fans. Toussaint's fresh arrangements renewed such past Costello songs as "Clown Strike" (from 1994's Brutal Youth), "Tears Before Bedtime" (from 1982's Imperial Bedroom), "Deep Dark Truthful Mirror" (from 1989's Spike), "Dust 2..." (from 2002's When I Was Cruel), and "Clubland" (from 1981's Trust). His four-piece Crescent City Horns (Amadee Castenell, Brian Cayolle, Joe Smith and Sam Williams) added new depth and polish to Costello's material, alternately playing a supporting role to biting lyrics, and shining brightly on such pieces as "That's How You Got Killed Before." Particularly notable were "Big" Sam Williams' trumpet trombone solos - aggressive and captivating, conveying the wide range of emotions that were on view during the concert.
From the audience's perspective, it is evident that Costello and Toussaint are two men who truly love music in all its forms. They love to play with melodies, hooks and lyrics. The two performers seem to work seamlessly together, riffing off each other and the horns to create at times an almost improvisational jazz vibe. They also crafted a set list that flowed seamlessly back and forth from old to new. Costello overcame some initial hoarseness and pitch problems on the new arrangement of "That Day is Done" - originally a collaboration between Costello and Paul McCartney - to shine on such songs as "The River in Reverse," "Nearer to You" and "Ascension Day." The Imposters and the Crescent City Horns ably supported and complemented the vocal talents with clear, polished music that projected well through Wolf Trap's superlative sound system.
The specter of Hurricane Katrina hovered over much of the concert, as it does the album, recorded late last year in the wake of the devastation in New Orleans. The new songs excoriate the governmental response to the catastrophe (So count your blessings when they ask permission/To govern with money and superstition) - underscored last night by Costello's characterization of the response to Katrina as being "ably assisted by a handful of jackasses. . .and numbskulls" - while the repurposed Toussaint songs, such as "Tears, Tears and More Tears" and "Who's Gonna Help a Brother Get Further?," evoke the sadness, melancholy and regret felt by the many thousands of New Orleans residents displaced by the flooding. "Oh, Lord, you got to help us find the way," pleads Costello on "Freedom for the Stallion." The mood onstage shifted gears, though, following Toussaint's bluesy rendition of the Three Dog Night hit that he wrote, "Play Something Sweet (Brickyard Blues)."
Beginning with the urgent and increasingly discordant Bedlam, ending with competing, overlaid horn solos, Costello, the Imposters, and the Crescent City Horns worked the crowd into a frenzy with a jazzy, improvisational feeling version of "Dust 2..." with its signature Wilco-esque keyboard work; a radically different arrangement of "Watching the Detectives" that Costello debuted earlier this year on My Flame Burns Blue, an album recorded with the Metropole Orkest at the North Sea Jazz Festival in the Hague; and rocking versions of "I Can't Stand Up For Falling Down," "High Fidelity," and "Pump It Up."
For the first encore, Costello and Toussaint took to the stage without their backing bands, with Toussaint paying homage to New Orleans blues legend Professor Longhair on the piano, followed by Costello singing "Ascension Day," a new song inspired by Toussaint's minor key variation of Professor Longhair's "Tiptina." The bands then joined the two singers on stage for a mix of songs from The River in Reverse, as well as crowd favorite "Alison/Tracks of My Tears," and a Latin-infused jazzy version of "Clubland."
Nearly two-and-a-half hours after the start of the set, the musicians retook the stage with a fun version of the Dirty Dozen Brass Band's "That's How You Got Killed Before," a swinging, big band-sounding song that features smokin' horn solos from each member of the Crescent City Horns, followed by several Toussaint-penned hits from the 1970s and 1980s - "Yes We Can Can" (popularized by the Pointer Sisters), "Working in a Coal Mine" (a hit for both regular Toussaint collaborator Lee Dorsey and 1980s new wave pioneers Devo), and "Fortune Teller" (recorded by the Rolling Stones and the Who). Finally, the evening closed on a somewhat off note, as Costello tried somewhat unsuccessfully to prod the audience into a sing-along on "The Sharpest Thorn," a new song from The River in Reverse with which the audience was generally unfamiliar. Despite this final misstep, the show was still a standout effort, featuring gems for both the long-time and casual Costello fan. And on a perfect early summer night, this DCist couldn't think of anything she'd like better.
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
http://blog.myspace.com/index.cfm?fusea ... =133413020
Leslie blogs -
Thursday, June 15, 2006
Elvis Was In The Building
Costello, that is.
Wow, what a great show.
What a great day! We had the morning off, the load-in went quick and smoothly, the lighting director was easy-going, the whole crew was pleasant to work with. And then there was the show.
I had considered not working this show. Another staff electrician was not scheduled to work today, and was disappointed he would miss the show. I've heard of Elvis Costello, but couldn't name a single song he did. If it was possible, I would have switched days with Jeff so he could work the show. It wouldn't have bothered me to have today off. But a schedule change was not in the cards, so I headed to the spot booth for a show that would run close to 3 hours. Not what you look forward to when you think you might not like the music.
Good thing Elvis Costello is an awesome performer. Right from his first song I was entertained. And as it turns out, I do know some of his tunes! It was a very "no frills" show...no video, no moving lights, no special effects, no elaborate staging...just Elvis and his band, the Imposters, joined by Allen Toussaint with the Crescent City Horns. And they were wonderful. My co-spot op, Steve, said that Allen doesn't tour much, so I'm lucky I got to see this New Orleans legend in Northern Virginia. I'm not sure how often either of them play with the Crescent City Horns, but they should definitely keep it going. Everyone on that stage seemed to genuinely be having a great time performing, which unfortunately you don't see at every show. I loved it.
Time flew. What was over 2.5 hours passed without realization, and a short hour later, the stage was empty yet again. Gone was a show that was powerful in the joy of music radiating off each musician. Gone were the performers who modestly left through the loading dock to board their tour bus. Gone was the crew who said thank you with a "Cheers, Love." And gone was a performance that I'm glad I got to see.
And as the staff left, the guy at stage door got to make the announcement he'd been waiting for all day:
"Elvis has left the building."
Hurry back, guys. And thanks.
Leslie blogs -
Thursday, June 15, 2006
Elvis Was In The Building
Costello, that is.
Wow, what a great show.
What a great day! We had the morning off, the load-in went quick and smoothly, the lighting director was easy-going, the whole crew was pleasant to work with. And then there was the show.
I had considered not working this show. Another staff electrician was not scheduled to work today, and was disappointed he would miss the show. I've heard of Elvis Costello, but couldn't name a single song he did. If it was possible, I would have switched days with Jeff so he could work the show. It wouldn't have bothered me to have today off. But a schedule change was not in the cards, so I headed to the spot booth for a show that would run close to 3 hours. Not what you look forward to when you think you might not like the music.
Good thing Elvis Costello is an awesome performer. Right from his first song I was entertained. And as it turns out, I do know some of his tunes! It was a very "no frills" show...no video, no moving lights, no special effects, no elaborate staging...just Elvis and his band, the Imposters, joined by Allen Toussaint with the Crescent City Horns. And they were wonderful. My co-spot op, Steve, said that Allen doesn't tour much, so I'm lucky I got to see this New Orleans legend in Northern Virginia. I'm not sure how often either of them play with the Crescent City Horns, but they should definitely keep it going. Everyone on that stage seemed to genuinely be having a great time performing, which unfortunately you don't see at every show. I loved it.
Time flew. What was over 2.5 hours passed without realization, and a short hour later, the stage was empty yet again. Gone was a show that was powerful in the joy of music radiating off each musician. Gone were the performers who modestly left through the loading dock to board their tour bus. Gone was the crew who said thank you with a "Cheers, Love." And gone was a performance that I'm glad I got to see.
And as the staff left, the guy at stage door got to make the announcement he'd been waiting for all day:
"Elvis has left the building."
Hurry back, guys. And thanks.
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
Sounds like Elvis' road crew are a very civilised bunch of chaps. Todays Guardian has an amusing piece about roadies as part of the build up to Steve Coogans new tv series. Some interesting obervations about keyboardist and bassists
"So often you go on the road cos you really want to be in a band. I mean they say rock'n'roll critics are frustrated musicians but us lot ... guys like Noel and Lemmy, they are real proof of that, but they're also exceptions. The weird thing is that a lot of time the band behave like they want to be doing your job. They'll sit on your bus rather than their own, they'll join in the banter, and a few of them actually get quite good at it. And it's like they're frustrated roadies. In a way that explains the whole groupies thing. Groupies wanna get as close to the band as possible, they're after the ultimate autograph. And there's this definite hierarchy. Normally, singer at the top of the wish list, then guitarist, then bassist and finally drummer. Unless of course you're the good-looking cunt from U2, in which case you shoot straight to the top. The keyboardist, if there is one, is a bit of a floating point, cos keyboardists are, as a rule, pretty depraved. Don't ask me why. Anyway after that there's us lot. I mean you know what they say, don't you? Sleep with us and you've almost fucked a quarter of a bassist."
http://clubd.blogspot.com/2006/06/coste ... in-to.html
Tuesday, June 20, 2006
Costello, Touissant Have Fans Movin’ to the Groove at Wolf Trap
June 15, 2006
Recommended beverage to go with this show:
A glass of red on the lawn
Elvis Costello has experimented with different formats at Wolf Trap in recent years. He has performed acoustic, accompanied by pianist Steve Nieve. He has played with the Imposters in a semi-uninspired short set and then sped out of the park. Last year, he and the Imposters rolled through a long, rocking set. But this year, on this tour, Costello was truly in his element, and the crowd seemed to love this jazzy, bluesy, swingin' side of him.
I got a preview of what this show might offer when I saw Costello perform at the New Orleans Jazz Fest in 2005, five months before Katrina blew through. The hurricane’s devastation would inspire him to collaborate with New Orleans R&B Legend Allen Toussaint on a new album, The River in Reverse, most of which he performed at this show to receptive fans.
It was ambitious of Costello to open with “[What’s So Funny About] Peace, Love, & Understanding,â€
Tuesday, June 20, 2006
Costello, Touissant Have Fans Movin’ to the Groove at Wolf Trap
June 15, 2006
Recommended beverage to go with this show:
A glass of red on the lawn
Elvis Costello has experimented with different formats at Wolf Trap in recent years. He has performed acoustic, accompanied by pianist Steve Nieve. He has played with the Imposters in a semi-uninspired short set and then sped out of the park. Last year, he and the Imposters rolled through a long, rocking set. But this year, on this tour, Costello was truly in his element, and the crowd seemed to love this jazzy, bluesy, swingin' side of him.
I got a preview of what this show might offer when I saw Costello perform at the New Orleans Jazz Fest in 2005, five months before Katrina blew through. The hurricane’s devastation would inspire him to collaborate with New Orleans R&B Legend Allen Toussaint on a new album, The River in Reverse, most of which he performed at this show to receptive fans.
It was ambitious of Costello to open with “[What’s So Funny About] Peace, Love, & Understanding,â€