Oct. 11, 1999: Elvis Costello plays a concert at the American Theatre, 15 years since his last St. Louis appearance. The show is mostly acoustic, with longtime keyboard comrade Steve Nieve at times romancing, at times punishing the tunes out of his grand piano. His prodigal return is met with astounding enthusiasm, and he returns the favor by performing over 35 songs. All in all, well worth the wait.
Oct. 10, 2002: Almost exactly three years after his last appearance, Costello returns to town and electrifies the capacity crowd at the Pageant. The acoustic guitar is replaced by his signature Fender Jazzmaster, and the 47-year-old fireplug seems intent on making his fabled rock renaissance a reality.
It’s safe to say that Costello converted the non-believers last Thursday as the pace never dropped during his two-hour performance. Mixing big singles, fan favorites and new tunes from this year’s When I Was Cruel, his set list was virtually shatterproof.
Opening with “I Hope You’re Happy Now,” Costello’s romantic credo was clear: “I knew then what I know now / I never loved you anyhow.” Not exactly lover’s rock, but rock all the same.
Costello’s relentless live sound is due in no small part to the Imposters, his rock ‘n’ soul band featuring former Attractions Nieve and drummer Pete Thomas, who defined Costello’s sound from ’78-’86. Newcomer Davey Faragher handled bass duties affably and added some nice high harmonies to Costello’s chiseled tenor.
Of the new songs, “Spooky Girlfriend” and “Tart” were the most successful, proving that he has learned as much from Destiny’s Child as he did from Burt Bacharach. Costello has always been great at throwing curveballs, and album cuts like “Party Girl” and the soul smasheroo “I Can’t Stand Up for Falling Down” reminded us of the depths of the singer’s well of inspiration.
Sonically the show belonged to Nieve, whose mad-scientist technique has long been integral to Costello’s sound. He couldn’t seem to keep his hands on one single instrument for more than four measures, and many songs would crackle with the sounds of wheezing calliopes, tinkling xylophones and exploding music boxes. The crowd was treated to a bewitching theremin solo during “Tear Off Your Own Head,” and his staccato stabs at the Vox Continental organ during “Less Than Zero” made it feel like 1977 all over again.
Of course there was room in the set for some of Costello’s best-loved singles, and “Alison” never fails to please. This time Elvis C. quoted Elvis P. by pulling snippets of the King’s “He’ll Have to Go” and “Suspicious Minds” over his own plaintive coda.
By the end of the night, Elvis and his Imposters were racing through versions of “Radio Radio,” “Pump it Up” and “(What’s So Funny Bout) Peace, Love and Understanding?” But lest the crowd leave on an elated note, the night ended with “I Want You,” the scariest love song ever (“Did you call his name out as he held you down?”), with Costello’s visage illuminated in a devilish orange light.
Perhaps the stage effects were a bit over the top, but it felt like a fitting ending to a near-perfect night. It wasn’t a celebration of his storied past, but a comprehensive lesson in Costello’s continuing musical progression.
