REVIEWS
Elvis Costello by Thomas Jackson
ELVIS COSTELLO AND THE IMPOSTERS @ SUNDERLAND EMPIRE (03.03.20) Words: Ewan Gleadow The fear of a performer locking eyes with me as I pretend to mouth the words to their B-side classics is something that strikes fear into my heart. My first ever gig would have to be someone whose music I knew inside and out; Elvis Costello and The Imposters is just that for me, and what a truly incredible experience it was. Costello and his Imposters were on top form for the evening in a superb display of their most well-known tracks, including Pump It Up and Accidents Will Happen. It wasn’t without its problems though, and the sound was inconsistent with Costello’s voice drowned out by drums. The performance starts strong, the fast-paced Clubland opens up a spectrum of nostalgic favourites like The Detectives, which sets a moody, sleuth-like tone through a song held up by a heavy bassline and sultry vocals. Costello presents us with a strong, emotive vocal solo toward the end of Alison and an extended version of Oliver’s Army, which is as politically charged now as it was forty years ago. Surprisingly lacking in new album material, Costello’s latest tour looks to bring about the glory days of a musical career that spans nearly fifty years. A half century later, and Costello can still belt out the classics without missing a beat.
FASTER THAN BOLT @ LIVE THEATRE, NEWCASTLE (14.03.20) Words: Damian Robinson Showcased as part of the Live Theatre’s Elevator Festival, work in progress production Faster Than Bolt may be one to keep a close eye on when looking for interesting theatre work to be excited about for the coming year. An interesting exploration of the UK Government’s early 2010 programme of ‘dispersing’ asylum seekers away from London and into ‘regions’, Faster Than Bolt uses a story about hitch-hiking from Newcastle to the London 2012 Olympic Games as a metaphor for the physical and emotional journeys taken by refugees as they acclimatise with new cultures and new surroundings.
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Cleverly interspersed with moments of aerobics and innovative use of house lighting, with their implied suggestions of defying gravity and stereotypes, Faster Than Bolt is a piece which encourages not only a reflection on how we treat asylum seekers but also of the limiting beliefs often imposed onto unheard and marginalised voices. Set within the context of Faster Than Bolt having only had four initial rehearsals before its first ‘draft’ performance, this one-person show offers serious promise for the future.
GARY WILKINSON, WORRY PARTY @ THE CUMBERLAND ARMS, NEWCASTLE (13.03.20) Words: Damian Robinson Whilst some events may be struggling with attendance challenges, it’s good to see a strong turn-out already in place in time for tonight’s main support act Worry Party. Channelling themselves into XX territory, Worry Party’s dreamy synth textures are performed perfectly; moving us in and out of a style of down-tempo, almost trip-hop, pop which glistens with emotional directions and moves between male and female vocal leads. Nicely warmed up, and comfortable in our electronic world, the evening climaxes with three separate movements from local synth pioneer Gary Wilkinson. Supported by interesting, often claustrophobic, visuals, Wilkinson’s core strength is in his ability to imagine and create different electronic spaces, each making subtle but distinct social and political points. Showcasing three different electronic movements, each with their own distinct sound and atmosphere, Wilkinson proves himself a master of electronic production. Wind Farm (with themes about mass usage of wind turbines) glistens with hypnotic, often ambient rhythms, whilst Fixed Odds Betting Terminals and Cannabis Farm see Wilkinson move into darker, more menacing, environments; the former showcases the desperation of addiction, employing a dark/techno feel, while the latter uses a more menacing, trippy sound to build up its sense of fear, alienation and paranoia. Serious messages and serious music.
