Elvis Costello brought his band, the Imposters, with Charlie Sexton to The Orpheum Theatre for two nights as part of his Radio Soul: The Early Songs of Elvis Costello Tour. Focusing mostly on the first ten years of his career, Costello played a set that shows why he’s one of the most prolific songwriters of our time in several genres.
Given the heavy-handed response to the protests in Downtown Los Angeles the last few weeks, I was elated to find that the show was still happening after the implemented curfew had been lifted. This was my first trip to the Orpheum, and I was surprised that despite sitting up in the balcony, the view was still great. The seats were angled in a way to get a good view of the whole stage, even being near the top of the balcony section.
Like a lot of theaters in Los Angeles, The Orpheum has a history. This ninety-nine-year-old theater was a vaudeville theater opened in Los Angeles in 1926. Many of the biggest performers of that time, such as the Marx Bros., Will Rogers, and jazz greats like Duke Ellington and Ella Fitzgerald, performed there. In the 1960s, rock concerts became more frequent, making way for artists like Little Richard, Aretha Franklin, and Stevie Wonder. Eventually, in 1989, it was remodeled into the venue we have today. The interior still resembles the vaudeville theater it started as nearly one hundred years ago.
However, the band has a history, too. Elvis Costello has been recording for close to half a century which makes for a vast songbook. Each night typically features the hits, but it’s the deep cuts in between that vary throughout the different sets. Costello is one of the few artists who does a great job of weighing the hits and fan favorites with deep cuts. While the song “Green Shirt” definitely falls into the category as a perfect song to play during this tour, it seems to be absent as he has included it in previous years’ outings.
Dressed in a blue suit with gold shoes, Costello walked out to Heaven 17’s song, “(We Don’t Need This) Fascist Groove Thing,” which set a good tone for the night. Steve Nieve was set up house left with a grand piano, a synth, a keyboard, and a Hammond organ behind that. Davey Faragher and former Bob Dylan guitarist Charlie Sexton were set up on the opposite side to Costello’s left. Pete Thomas kept the beat behind Costello as he has for almost fifty years.
From the opening chords of the Mersey beat, “I Hope You’re Happy Now,” this show felt special. Elvis Costello and the Imposters tore through “Mystery Dance” and then steadied the tempo with “Watching the Detectives.” In recent years, a lot of the songs have been rearranged a bit; “Detectives” isn’t typically one of them. Yet, ever the master of any instrument with a keyboard attached to it, Steve Nieve played the song’s repeated guitar riff using a melodica. Rearranging songs is nothing new for Costello and it has a great payoff for the most part.
After welcoming the crowd, Costello played “Watch Your Step,” “Big Tears,” and “Accidents Will Happen” with Nieve’s grand piano intro. Costello joked that “early songs” could have also meant songs written earlier that day. He then played a couple of newer tracks out of the scope of the first ten years, “We Are All Cowards Now” and “God’s Comic.”
Eventually, Costello switched over to an acoustic guitar and Davey Faragher picked up a stand-up bass and played some cuts from King of America, and some stripped-down versions of classics like “(The Angels Wanna Wear My) Red Shoes” and “Clubland.” During “Clubland,” Costello snuck in a quick verse of the Specials’ Ghost Town.
When the band went back to their spots, they were joined by Spanish singer La Marisoul, who took over on vocals for “Detonates” (“Little Triggers”) and a cover of Nina Simone’s “Don’t Let Me Be Misunderstood.” La Marisoul’s vocals brought the energy back up after a mellow detour in the set. The rest of the set was a grab bag of hits. It’s not an Elvis Costello show without hearing “Alison,” “Pump It Up,” “Radio, Radio,” and of course, “(What’s So Funny ‘Bout) Peace, Love and Understanding.”
Seeing Elvis Costello is always a good time. A set list that jumps genres and a band that can play them all with the greatest of ease make for a great show. The Imposters have never sounded better. Watching Steve Nieve swivel around between his synth, grand piano, and keyboard is always a treat. Charlie Sexton’s addition to the band in the last few years has been a wonderful addition. I’ve been going to see Elvis Costello for about fifteen years now. Davey Faragher and Pete Thomas are hands down one of the best rhythm sections I’ve ever seen. I’ve seen Costello close to ten times, and nearly every show is different. Elvis Costello doesn’t seem to be slowing down anytime soon, but he does keep aging like fine wine.
Sean
Saw them in Portland, Oregon, previously. Great show also. We will see them anytime they are back in town. Sean Patrick Surlow.
Michael DeWees
The 6/21 was horrible. Off-key, late & sloppy delivery of vox; two guitar solos that sounded like the guitar tech handed EC the wrong instrument for the tune; an apathetic at best delivery from the front man. This seems to be the same formula for the San Diego show three nights later per the Union Tribune. The orchestra section’s latter rows began to clear 2/3 through the carnage. Total disappointment.