play one more for my radio sweetheart

I could get used to walking to Golden Gate Park for concerts--though yes, I skipped the gig by that one major U.K. act back in August (I was waiting for an important delivery, dammit!). As if the ease of proximity weren't enough, I was in low-key mode all weekend and wandered over to the Star Stage in the early afternoon instead of my usual pre-dawn stakeout. Even then, I still had plenty of time to get comfortable for Elvis Costello's set.

Elvis Costello's High Whine and Spirits, Hardly Strictly Bluegrass Festival, October 5, 2008: Love it or hate it, you gotta admit that Elvis Costello hasn't stuck to the typical rock-and-roll rule book. I admit I haven't followed along every step of the way; not so long ago, for example, I realized his jazz forays are not for my thing, and I couldn't convince myself to check out his collaboration with the San Francisco Symphony either.

Call me predictable, but my favorite Elvis incarnation is with the Impostors (I was a bit too young for the Attractions, alas). As luck would have it, the Impostors were represented at this gig by Pete Thomas and Davey Farragher, while Austin DeLone filled in for Steve Nieve on the keyboards. The top of their set referred to their history with a triple shot of "(The Angels Wanna Wear My) Red Shoes," "Uncomplicated," and "Radio Sweetheart." Had I been sitting in a chair, I would've toppled out of it upon hearing "Uncomplicated." I don't think I've ever heard it live; even better, it comes from probably my favorite Elvis album.



But when the set is billed as "Elvis Costello's High Whine and Spirits," you can't expect merely the greatest hits, and the musicians obliged, much as they did at Elvis's 2006 festival appearance. After the opening trifecta, Bill Kirchen and Jim Lauderdale soon joined in for a handful of covers and stayed on for the rest of the set. Also not surprising: Emmylou Harris's arrival for "Love Hurts" or the near closer "(What's So Funny 'Bout) Peace, Love and Understanding" for the second time this weekend.

In no way, though, was this some run-of-the-mill set. For one thing, Elvis's young twins watched their dad (apparently for the first time) from the side of the stage. Wearing big headphones to protect their ears and High Whine tour t-shirts to support their father, they stomped away and waved drumsticks in time to the music--as befits their lineage. Elvis referred to them quite often during the set too, his paternal pride clearly evident and very endearing.

The toddlers nearly stole the show, but they had to cede the spotlight to a few dozen more guests--mostly the Burlington Welsh Male Chorus, accompanied by Jon Langford, Warren Hellman, and even more friends--for the moving finale. Their performance further punctuated a set that beautifully embodied everything Hardly Strictly Bluegrass represents.



I also caught most of Ben Kweller's set. It's been a while since the one time I've seen him in concert (opening for Evan Dando and Jon Brion), but it wasn't hard to determine that his music has definitely matured, as has he. He even dedicated one song to his wife and son. Ben and his band sounded great, and I think even the older folks around me were impressed.

Yeah, I could really get used to walking to Golden Gate Park for concerts.

See also:
» used to be one of the rotten ones
» now I try to be amused
» searching for light in the darkness of insanity

now I try to be amused

It's a good thing I'm not working these days, as I needed no excuse to stroll down to Golden Gate Park and check out Elvis Costello, one of my all-time favorites. The Blue Angels, overcast skies, and secondhand pot smoke aside, it turned out to be an incredible day.

Elvis Costello, Hardly Strictly Bluegrass Festival, October 6, 2006: One of the fun things about plodding on with easily fooled is that I finally get to blog some of my most beloved musicians, such as Elvis Costello. I'm far from the Elvis hardcore, but I've seen him many, many times, and I always look forward to his gigs. Venue snobbery is the main factor that keeps me from going to more of his shows these days, but when he's playing a few blocks from my flat for free, I can't refuse.

If I had been paying attention to the Hardly Strictly Bluegrass lineup, I would've seen that we were promised Elvis in both solo acoustic form and with a band, but my attention span didn't even need that much information. I saw the two magic words--end of story.

Elvis wasted no time, launching into "The Angels Wanna Wear My Red Shoes" and sparking off a nice singalong to the fan favorite. He carried us through a few more songs from all phases of his career. This set the tone for the next two hours, which featured a truly varied selection of his own classics, newer releases, and inspired covers that still has my head spinning.

I have no problem admitting I was out of my element at the festival, especially when I heard the name "Bill Kirchen" mentioned about a hundred times around me. It turned out that he was backing Elvis on electric guitar and that his upcoming CD, The Hammer of the Honky Tonk Gods, inspired the name of the band. They were joined by Pete Thomas and Davey Faragher, as well as local player Austin DeLone on keys. Though it was certainly Elvis's show, he turned over the mic to both Bill and Austin during the main set, and Austin's rendition of "Satisfied Mind" was especially moving.

They weren't the only guest players we'd see, though apparently I was the only person who was surprised when Emmylou Harris joined in. Never mind that we'd already been treated to a sublime "Good Year for the Roses" (which I never thought I'd hear live)--they had "I Still Miss Someone" in store for us. As if that weren't enough, Gillian Welch and David Rawlings dropped in for a couple of titles, including my favorite tune of the day: "Mystery Train," a hootenanny performed around an old-fashioned mic.

I thought for sure that Elvis had given us everything we could ask for, but he returned for an encore of "There's a Story in Your Voice" and "(What's So Funny About) Peace, Love and Understanding." And gluttons that we are, we ate up the return of Emmylou, Gillian, and David for the closers, especially the magnificent "When I Paint My Masterpiece."

Five years ago, you wouldn't have seen me at the Hardly Strictly Bluegrass Festival. Though my tastes have changed since then, it's safe to say that the festival's has too. Elvis Costello's performance was a perfect example of the futility of dogged reliance on genres. It's funny to think I was listening to "Indoor Fireworks" and "Good Year for the Roses" at a time when I shunned nearly everything that didn't have a synthesizer or some kind of dance beat. Fortunately, truly excellent music knows no timetable.