Elvis & The Imposters with Charlie Sexton at Coca-Cola Roxy, Atlanta, GA, January 30, 2024

[Man out of Time]

The 7-0-7 Tour will reach the Coca-Cola Roxy, Atlanta, Georgia on January 30, 2024.

This will be Elvis' 28th concert appearance in Atlanta and his third at the Coca-Cola Roxy.

The venue seats 1,800. Prices range from $64 to $359. Around 10% of the tickets remain for sale.

Will Elvis play "Brilliant Mistake"?

Who's going to be there to find out?

MOOT

[Man out of Time]

Elvis has posted this on his FB Page:

"STOP PRESS: Two Unique "7-0-7" Performances

Following on from last summer's acclaimed appearances, Elvis Costello & The Imposters - and their special guest guitarist, Charlie Sexton - are joined by trumpet player, arranger and composer, Michael Leonhart, saxophonist and bandleader, Donnie McCaslin and trombonist and Nashville resident, Ray Mason for two performances at the Ryman Auditorium, Nashville on Jan 29th and The Coca-Cola Roxy, in Atlanta on Jan 30th. Hear this unique ensemble playing rock & roll, rhythm & blues, ballads, boleros and tangos.

Don't Be Late The Band Hits At Eight! "

The concert has sold pretty well. Some seats are still available at the back and sides in the balcony, but otherwise not apparent that this show needed a "push".

MOOT

[johnfoyle]

Looking forward to reviews

[And No Coffee Table]

https://www.elviscostello.info/wiki/ind ... 30_Atlanta

01. A Town Called Riddle
02. Radio, Radio
03. Pills And Soap - with horns
04. Newspaper Pane - with horns
05. Possession - with horns
06. We Are All Cowards Now - with horns
07. Mystery Dance
08. My Baby Just Squeals (You Heel)
09. Like Licorice On Your Tongue - horns return
10. Watching The Detectives - with horns
11. The Greatest Love - EC at piano
12. Blood & Hot Sauce - EC at piano
13. Shipbuilding - with Michael Leonhart
14. Everybody's Crying Mercy
15. Brilliant Mistake / Boulevard Of Broken Dreams
16. Clubland - including Ghost Town and Insensatez
17. I Do (Zula's Song) - with horns
18. Deep Dark Truthful Mirror - with horns
19. Someone Took The Words Away - with horns
20. I Can't Stand Up For Falling Down - with horns
21. High Fidelity - with horns
22. Pump It Up - with horns
23. Alison - with horns
24. (What's So Funny 'Bout) Peace, Love And Understanding? - with horns

[notangry]

Very similar setlist as Nashville but four songs less. I remember the days when EC would do almost completely different shows from night to night.

[sweetest punch]

https://www.ajc.com/gdpr.html

[jmm]

Very similar setlist as Nashville but four songs less. I remember the days when EC would do almost completely different shows from night to night.

You mean like 10 shows in NYC at the Gramercy last year

[Charles]

Very similar setlist as Nashville but four songs less. I remember the days when EC would do almost completely different shows from night to night.

You mean like 10 shows in NYC at the Gramercy last year

Touche!

[Azmuda]

https://www.ajc.com/gdpr.html

https://www.ajc.com/things-to-do/georgi ... IJ42PIB7M/ (Ed.: fine except please redo without "fete," "iota," "ilk" and "emote.")
Elvis Costello embraces legendary rock hipster status

At age 69, the Rock and Roll Hall of Fame singer has lost none of his groove.

By Rodney Ho
January 30, 2024

What has made Elvis Costello so cool over the decades is his trenchant desire to just do his thing without concern for popularity or critical acclaim. He didn't chase the latest trends. He just found his groove and his own musical lane, building a dedicated fan base that has stuck with him without fail.

Those were the folks who showed up at a reasonably full Coca-Cola Roxy Tuesday night to fete and embrace Costello and his band the Impostors as well as a few special guests.

Over two and a half hours and 24 songs, Costello, wearing his signature fedora, covered more than four decades of his vast array of work, featuring cuts from his 1977 debut "My Aim is True" all the way to his 2020 album "Hey Clockface."

While Costello was lumped into the British new wave sound in the late 1970s when he arrived on the scene, he wasn't remotely like the Clash, Joy Division or the Sex Pistols. He was always his own man. And that has not changed one iota.

And unlike many of his peers, Costello didn't choose to rely on his early hits that everyone in the crowd knows. Only a quarter of his setlist, including "Radio, Radio" and "Clubland" fit that ilk. Even then, he didn't turn them all into nostalgic singalongs. "Watching the Detectives," for instance, was given a slower, even darker, contemplative film noir feel with a smidge of reggae thrown in.

On Tuesday, he gave a nod to all the genres he loves: the blues, jazz, punk, rock, even a bit of Latin. At the same time, he didn't bow to 21st century modernity in any sense of the word. Max Martin doesn't exist in this universe.

Now 69 years old, Costello's vocal abilities have remained potent although some fans who have seen him before said he wasn't in top form. And he showed no ego when it came to passing along credit between songs: he cheerfully namechecked his bandmates not once but five or six times.

Besides bringing in legendary guitarist Charlie Sexton, Costello was joined by a trio of vets: trumpet player, arranger and composer Michael Leonhart, saxophonist and bandleader Donnie McCaslin and trombonist Ray Mason. The horn section gave a delightful jolt to many of Costello's tunes. And McCaslin provided one of the night's most notable highlights with a mesmerizing two-minute sax solo at the end of "Someone Took the Words Away."

Costello's musicianship remains impeccable. Whether he was on the piano emoting heartbreak with "The Greatest Love" or grooving to his classic tune "Pump it Up," Costello was in command of the stage, always cool, never cold, always hip, never stale.

While there is a timelessness to his music, his on-stage patter could have been from 1977 or 1997. He made sly jokes about Groucho Marx, Karl Marx and Richard Marx in one single breath. He name-dropped Jimmy Durante. He told a story about finding novelty 45s from 1963 in a vinyl store in Fort Worth, Texas. He waxed romantic about hearing Bruce Springsteen for the first time in 1972 and wanting to emulate that sound ― if not the muscle shirts. And yes, he still hates Pink Floyd.

And though Costello joked early in the night that he might not sing songs with a woman's name in it, he wasn't cruel. He concluded the night with his still achingly powerful ballad "Alison" followed by "(What's So Funny Bout) Peace, Love and Understanding," a Nick Lowe tune that Costello made famous in 1978 but still feels resonant in 2024.


© 2024 The Atlanta Journal-Constitution.
All Rights Reserved.

[verbal gymnastics]

Very similar setlist as Nashville but four songs less. I remember the days when EC would do almost completely different shows from night to night.

You mean like 10 shows in NYC at the Gramercy last year

Touche!

It’s a fair point though having the horns removes the flexibility.

However this tour has been great for the variety of songs but the days of 10+ different songs per show have long gone.

It’s one of the reasons I don’t go to as many shows as I used to (as much as I love Elvis).

[Harry Lime]

You mean like 10 shows in NYC at the Gramercy last year

Touche!

It’s a fair point though having the horns removes the flexibility.

However this tour has been great for the variety of songs but the days of 10+ different songs per show have long gone.

It’s one of the reasons I don’t go to as many shows as I used to (as much as I love Elvis).

All points well taken here. Still, 72 different songs over 14 dates isn't too bad. Most of Elvis' contemporaries are playing the same setlist every show.

It's always tough to say no to an Elvis concert, verbal. But I understand where you're coming from.

[jmm]

You mean like 10 shows in NYC at the Gramercy last year

Touche!

It’s a fair point though having the horns removes the flexibility.

However this tour has been great for the variety of songs but the days of 10+ different songs per show have long gone.

It’s one of the reasons I don’t go to as many shows as I used to (as much as I love Elvis).

While I agree that the tour lineup often reduces flexibility within the show, adding to the lineup (e.g. horns be they TKO, Crescent City, etc) usually adds diversity between the shows / tours. Gramercy seems to me the ultimate demonstration of this. And I’d suggest that the kind of shows we got with AT, Imposters & CC horns were among the most “flexible” I’ve ever seen (once the band really got to know each other). The only more diverse set lists I’ve seen on one tour have been solo, especially when more covers come easily into play.