With over 150 songs to his name, Costello's capacity to rattle off tune after flawless tune is simply amazing. The prolificacy of Costello's songwriting is remarkable. Usually reserved on stage, Costello joked with the audience throughout, throwing wry barbs at Blue Oyster Cult and Lionel Richie, among others.
He's appeared to have maintained many of his original fans, despite his wide variations in style.
Without The Attractions, Costello had more freedom to draw on his many influences and pull such original old gems out of the closet as "Just a Memory," "Riot Act" and a magnificent "Motel Matches," which he played on the Fender Rhodes.Īrmed Forces' "Green Shirt" was the most refreshing and startling selection, eliciting percussive response from the audience, which clapped its assistance at precisely the right moment of the song. The thick, deep vocal resonance he seems to have perfected dominated Costello's diminutive weaponry: the bare essentials of a Martin, a Telecaster, Fender Rhodes and standup piano. Standing tiptoe on glossy red loafers, the deceptively unassuming Costello opened with "Little Fool" to kick off a 34-song barrage which not only showcased his continued growth as a singer-songwriter, but also unearthed his sprawling, diverse musical roots.Ĭostello's lyrical brilliance came to the fore riding the crest of his rich, husky voice. It devoured virtually every song the tunesmith offered without expectation of dancing delirium. Instead he answered with tender ballads like "Almost Blue." Typical Elvis.īut unlike fans at those past performances, the Warfield crowd was surprisingly patient, undemanding and almost reverent. For instance, during his Imperial Bedroom tour he had fans on their knees begging for screaming, fast dance standards. After all, who, in 1976 or even 1984, would have pictured England's angry young man performing solo for two hours, let alone covering George Jones and Bob Dylan numbers? (Costello's early career was characterized by notoriously short 45-minute shows.)Ĭostello thrives on throwing musical spitballs and is prone to bait fans into thinking they'll get what they want. His recent San Francisco solo performance was no exception. And with a conviction to set his own terms and write his own rules, Costello has consistently remained true to himself and his aim. He's a perpetual fugitive from predictability and has always gambled on the unexpected move.
In the past, Elvis Costello has exhibited the boldness of a mafioso and the cunning calculation of a Boris Spassky.
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