Elvis Costello‘s September 5th, 2024, performance at Glasgow’s Theatre Royal , alongside long-time collaborator Steve Nieve, was a celebration of their near 50-year musical partnership. The intimate setting, stripped back to just the two performers and a handful of instruments, allowed for a deep dive into Costello’s extensive catalog, spanning genres and decades.
The gig was a masterclass in versatility. Costello and Nieve, supported by his roadies, effortlessly transitioned between different instruments and musical styles. The show felt like a carefully curated journey through both familiar hits and lesser-known gems. Highlights include the first song in his set , a new melodica-driven rendition of their early hit “Watching the Detectives,” and a poignant performance of “Almost Blue” that segued from a story about Costello’s father. His storytelling, peppered throughout the evening, added a personal, intimate layer to the performance, connecting him with the audience through tales of family and musical heritage.
Costello said the Theatre Royal had a long history and it has featured artists including Charlie Chaplin . He said there was history coming out of its walls . ” At least that’s what I think it is “
Elvis Costello later on said ” Correct me if I’m wrong but I think this is the first time I’ve played a gig here “. A fan in the audience promptly shouted , in typical Glasgow style , ” You’re wrong ”
Nieve’s accompaniment was as much a part of the experience as Costello’s vocals. His keyboard work was at once subtle and commanding, providing a rich backdrop that allowed Costello’s emotive lyrics to shine. The pair’s chemistry, honed over decades of collaboration, was evident, with Nieve responding to every shift in Costello’s mood and energy.
The setlist spanned Costello’s career, blending beloved classics like “Oliver’s Army” with newer tracks such as “We Are All Cowards Now.” A standout moment was Costello’s rendition of Charles Aznavour’s “She,” which earned him a standing ovation. Other highlights included a barnstorming version of “Face in the Crowd,” written for a new musical to be performed at the Old Vic, and the enduring anthem “(What’s So Funny ‘Bout) Peace, Love, and Understanding” that closed the show on a high note of cathartic release.
Costello’s voice, though not as youthful as it once was, carried a depth and gravitas fitting for the more reflective tone of the evening. His ability to rework his older songs to suit this phase of his career added a fresh layer of meaning to his performance. The vaudevillian echoes of the historic Theatre Royal seemed to resonate with Costello’s blend of wit, showmanship, and musical storytelling.
In short, this concert was a reminder of Costello’s enduring relevance and versatility. It was a superb performance where both artist and audience revelled in the richness of his musical legacy, buoyed by Nieve’s brilliant accompaniment. Fans left the Theatre Royal with a renewed appreciation for Costello’s artistry, both past and present.