Elvis Costello, or rather Declan Patrick McManus as he was originally known, and his long-term musical partner Steve Nieve put on a vibrant and energetic performance at Vicar Street, Dublin. In the first of four scheduled appearances, the two displayed remarkable vitality on a stage reminiscent of a 1960s performance show, complete with red curtains and soft lighting.
Throughout his career, spanning over half a century and including over 25 albums and countless collaborations, Costello demonstrated his comfort and natural ability in the spotlight. The audience was treated to an intimate journey, starting with the amusing anecdote of how he “abducted” Steve Nieve from London’s prestigious Royal College of Music aged just 18, followed by a plethora of stories involving Budd Schulberg, Cold War themes, and Burt Bacharach.
Their performance, characterized by its sincerity and finesse, was augmented with hints of humour and snippets of ABBA’s Dancing Queen. This technique was echoed later in Clubland’s homage to The Specials’ Ghost Town. The performances, particularly (I Don’t Want To Go To) Chelsea, showcased the in-depth knowledge of musical history that Costello and Nieve share. Nieve’s performance was outstanding, comparable to George Gershwin under the watchful gaze of Philip Glass.
Apollo Ray occasionally joined in, supplying beats from the edge of the stage while Costello and Nieve delivered 20 songs over two hours. Despite a tinge of worldly cynicism, the performance was characterized by an overall light-heartedness.
Costello wistfully admitted that Ireland’s return wasn’t something he had originally envisioned, indicating that the performance was not just a reflection of his past but also mirrored his desire to make peace with old memories.
The bereavement of Mimi Parker, Alan Sparhawk’s spouse and fellow band member from Low, has hit hard with its impact anticipated to be felt indefinitely. Astonishingly creative interpretations, ranging from (The Angels Wanna Wear My) Red Shoes to Newspaper Pane, punctuate each performance, eliciting various reactions from the audience. For each track that incites a reaction from the audience, like Oliver’s Army (that Costello pauses to address its “troublesome” connotations), other songs such as A Face in the Crowd bring about a more subdued response.
An anecdote about Costello’s stay at a motel where the murder of Sam Cooke occurred enhances the performance of Motel Matches. Influenced by the spiritual “naivety”, Costello felt as if Cooke was communicating with him via the air con system. Such narratives add flair to the concert, from accounts of wrestler Mick McManus (which spurred The Man You Love to Hate), to the serendipitous discovery of a themed series of 45s leading us to a vivacious rendition of My Baby Just Purrs (You’re Mine, Not Hers).
Relying heavily on a deep-rooted oral custom, and considering that some of his most famous songs, including She, I Can’t Stand Up for Falling Down, and (What’s So Funny ‘Bout) Peace, Love, and Understanding, are covers, it’s an endorsement of Costello’s unique ability to channel these influences. His performances convey an array of influences, encompassing ragtime, vaudeville, jazz and rock’n’roll. However, this is far from imitation, it’s more of a strategic examination of foundational elements. Towards the end of the concert, with the haunting notes of Shipbuilding, Costello magnificently prompts us that history doesn’t exactly duplicate itself, but often resonates in a rhythmic pattern, illustrating the saying beautifully.