Elvis Costello and the Wheel of Fortune: Meeting of a secret society
For half a minute, looking irritated the reviewer to the right. On the stage Elvis Costello & The Imposters play "Human Hands", an eternal favorite of the reviewers. He uttered a cry of ecstasy as he recognized the song.
But then he made the mistake of looking at how the stranger next to him responds. Your response to "Human Hands" is silence.
She had not respond, even on "I Hope You're Happy Now" and "Man out of Time".
Her hands are folded motionless on the Kostümchenhose.
She stares forward througn Zwirbelbügeln glasses
Oh, one more song.
The reviewer also now staring at this woman he has secretly named Tanya, and wants to shake her.
Tanya are there no more sparks of passion in you?
"Human Hands"! Imperial Bedroom!
But he controls himself, probably for fear of the reaction.
Perhaps Tanya was expecting something else when she read the announcement. "Revolver," "The Spectacular Spinning Songbook" - that sounds like Revüe, to cabaret, with go-go dancers and Dixieland jazz.
But of all that, there are only hints.
Viewers may be selected, no, primarily female audience members, guided by an assistant spin of the colorful wheel of fortune choosing the next song.
While dancing on stage left, another assistant ledergestiefelt and netzbestrumpft, behind a beaded curtain and encourages the audience to do the same.
With a top hat and cane, Costello slips into his alter ego and Napoleon Dynamite is the emcee. But 80 percent of the evening is nothing more than a Costello concert.
All good, but obviously not what Tanya has hoped.
“Here’s our audience!"
The muddy sound of "(I Do not Want to Go to) Chelsea" is not Elvis Costello's fault. The blame is not Steve Nieve’s, whose stumbling for the character of the song, which essentially with the organ of a front is flattened out loud too dull and mushy bass guitar.
No, it is the fault Hall 1 of the Hamburg Congress Centre CCH.
And while we're on the blame.
The fact that Costello his only concert in Germany this year, playing in front of, at best, half-filled is sad but the shame of the Reviewer is at the infamous crappy sound at CCH .
Costello takes at least it with humour.
He simply declares the audience meeting of a “Secret Society.”
When a spectator spins the Joker jackpot and was allowed to choose a song, but had to admit that he really doesn’t know any of the songs,
Costello cracks up: "This is our audience."
Eventually, Costello is at once next to the reviewers, in search of new fairies. The reviewer looks intently at his pad, set the pen in hand, to let this cup go past him.
Bashfully he looks left, looks impressed by Costello's sweat-soaked suit, looks to the right to Tanya. Tanya looks forward motionless. Costello continues. Someone else must dance in go-go cage. Thank you, Tanya!
For fans of fortune is sometimes a curse.
You may look at songs that are in the set but above all he sees those which do not make it.
So"Beyond Belief" attracts the wheel of fortune over all the pieces of Painted from Memory, Costello's collaboration with Burt Bacharach.
But every now and then fate smiles on the fans of "Strict Time" and "Green Shirt", which were not expected.
Pianist Steve Nieve is allowed to make a wish. He chooses a popular selection. "She", the schmaltzy song by Charles Aznavour, Costello recorded for the soundtrack of “Notting Hill”
Even Tanya raises an eyebrow.
Ah, that's Hugh Grant, right?
The reviewer, however let’s the pathos pass over him and is pleased for the appeal. This little crowd-pleaser seems to be much of a good thing
Costello takes the auditorium seats, his legs propped the chair back, throws a critic’s notebook up the aisles and laughs and then gives then it back to him.
After a brief hiatus Costello is alone on stage.
The short acoustic set that he plays now is reminiscent of his solo concert in Berlin in 2011 – even then in front of half-full house.
When he sings "Jimmie Standing in the Rain" in Hamburg, he almost ruins the atmosphere that it has been established with "A Slow Drag with Josephine."
Tanya yawns and her eyes are not open, as Costello sings another Josephine, "The Meanest Girl In Town, Josephine."
Even when the Imposters return to the stage Costello and the band play to dizzying heights with a supernatural version of "Shipbuilding", which summarizes this reviewer’s heart, Tanya remains stubbornly unimpressed, externally.
But a little later, the reviewer draws hope.
The band plays on without a pause. The early hits: "Pump It Up," "(What's So Funny 'Bout) Peace, Love and Understanding", "Oliver's Army".
The audience is up and Tanya is not sitting.
But when he just wants her fall in ecstasy around her neck in collective ecstasy, she sits down again.
The reviewer rushes forward on the edge of the stage.
Costello is eligible for a final encore on stage: "I Want You" – in the shadow on the border of an orgy of love pain, as you would expect from this great song.
The reviewer stumbles back to his place, now it is all clear.
"I Want You, Tanya," he moans feverishing.
But his words go unheard in the draining room.
Tanya is already gone.
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