Tuesday, 26 April 2011
There may be someone out there who's still labouring under the delusion that this rock'n'roll caper is essentially a young man's game, but if there is, he or she definitely wasn't at Sydney's State Theatre on the evening in question here.
While two and a bit hours of Elvis and The Imposters mightn't have burnt with the incandescent rage that fueled shows in the Angry Young Man period, there was passion aplenty running right through the opening straight from one to the next salvo of I Hope You're Happy Now, Tear Off Your Own Head, High Fidelity, Uncomplicated, and Either Side of the Same Town.
Elvis poured it out, Davey Farragher's bass threatened the foundations of the building, Steve Nieves burbled away adding punctuation on keyboards and Pete Thomas was, well, Pete Thomas on drums. He mightn't be the most physical drummer in the universe, but if that's the case you wouldn't want to be that other bloke's kit (unless, of course, you're a masochist who's into serious and sustained pummelling).
That probably comes as no news to anyone who's experienced the electric Elvis before, but, given geographic isolation and financial issues, this was the first time I'd experienced the glorious racket with serious intent that is Costello and The Imposters.
In between songs towards the end some bloke down the front interjected "Get serious, Elvis!", prompting a muttered "This is f-cking serious" and another sonic assault on the senses.
Things slowed down a tad for a funky Everyday I Write The Book, an impassioned workout through New Lace Sleeves (lazy writing, that, just about everything on offer was impassioned, but it's the best I can come up with at the moment and, a week later that's still the case so it looks like it'll be staying) and a Watching The Detectives that rocked out without going into total guitar effect overload. Turpentine didn't quite lift the paint off the Gothic, Italian and Art Deco influenced Heritage listed structure, but must have gone close.