Photo Credit: Allen Halas
Elvis Costello & The Imposters at BMO Harris Pavilion
Just over four and a half decades into his career, Elvis Costello is still the coolest one in the room whenever he steps on stage. He didn’t need to prove it, but he did anyway on Saturday night, to a full BMO Pavilion stage at Summerfest.
Wasting no time to jump into “Lipstick Vogue” and “Mystery Dance” from his first two albums, Costello and the Imposters had a fire about them, almost eager to show that the night was not going to be a sit-down affair. Drummer Pete Thomas, guest guitarist Charlie Sexton and keyboardist Steve Nieve followed Costello’s lead, at the ready to jump into a song at a moment’s notice. Thomas even jumped the gun early on, with Costello stopping the drummer so that he could tell a story about his first time hearing Bruce Springsteen, calling him “fucking brilliant” for being able to romanticize a town like Asbury Park, New Jersey before abandoning where he was going to launch into “Radio Radio.” Costello could be a storyteller if he wanted to, but much of the night was focused on giving Milwaukee as much music as the band could.
In fact, Costello could do just about anything and pull it off, because well, he’s Elvis Costello. He knew it, too, often taking liberties with the vocal performance and cadence of his verses. “Watching The Detectives” had an extended introduction, and an even more drawn out delivery that took the song into more poetic territory than any semblance of a recorded version. Costello would often go at his own pace vocally, but with an astounding group of veteran musicians around him, he could give alternate takes on his classics without derailing the evening.
For the better part of an hour and 40 minutes, Costello and the Imposters held the spotlight, taking songs in unique directions at will. While there weren’t signs of fatigue, the setlist did offer for some spots for the band to catch their collective breath. Specifically, the middle of the set saw Costello slow the tempo down, and the musicianship of the collective took over. Nieve was, as always, a crowd favorite, jumping from several organs to a piano or a melodica if the song called for it. While Costello is the name on the marquee, The Imposters certainly do their fair share to make the experience special.
The back half of the set would see the tempo pick up once again, with “(I Don’t Want To Go To) Chelsea” starting the ascent back up from the band. There was a missed opportunity for opener Nick Lowe to join for his song, “(What’s So Funny ‘Bout) Peace, Love, and Understanding,” an idea that was probably floated and ultimately declined due to its late placement in the set. After rifling through the hits to bring things home, “Pump It Up” seemed like a logical conclusion to the night. With the house lights coming up, Costello asked if it was too late for the crowd, which was met to a resounding “no!” He then finished by asking if it was too late to announce his candidacy, and that he had a campaign song, the unreleased “Blood and Hot Sauce” from his musical “A Face In The Crowd,” which may have overstayed its welcome.
Although an awkward finish, again, he could do that, because he’s Elvis Costello. It was undeniable that Costello and the Imposters gave a spirited, lengthy set that didn’t lack for quality with age. There doesn’t seem to be any slowing down for Costello and co., and Saturday night was a reminder of that.
