Rockin' Radio City - Elvis Costello & Darryl Hall

Score: 84/100 

Concert Date: 7/17/24

Venue: Radio City Music Hall, NYC

Genre: Rock, Pop

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The unlikely pairing of Hall and Costello raised my reluctance as the show date drew near. I thought about driving my sister around town in the 1980s and fighting over which station to choose: my favorite alternative mainstay, WFNX, or my sister's pop pablum, KISS108. "Okay," I said. "FNX on the way there, KISS on the way back." And so became my attitude approaching this show.  

After walking fifteen blocks in 95-degree city heat, walking into Radio City Music Hall felt like walking into a refrigerator. I stared at the stoic God on the massive "Quest for the Fountain of Youth" mural standing on the mountaintop, staring into the clouds, and felt a similar sense of hope and wonder. Like Elvis and Daryl, perhaps I, too, was in search of that 80's atmosphere of boundless possibility when This Year's Model spun like a black hole of hope on the turntable in my bedroom when a bright light might have indeed cornered the market. 

The lights dimmed, and The Imposters with Charlie Sexton took the stage. In the key of B, a thumping bass and drum line began. Elvis rushed out, adjusted his microphone, and pumped out the intro to the suggestive This Year's Model anthem, "Pump it Up." Elvis approached the mic like it had stolen his lunch and sang, "I've been out on the tenderhooks. Ending in dirtly looks." reminding me that a lyricist as gifted as Dylan made me look words and phrases up to understand their meetings, thus filling in the cracks of my suburban Boston education.  

The vibe chilled as the band led us into the highlight of the evening, a reimagined "Watching the Detectives," which felt less like pop shop crafting and more like a soundtrack to a forgotten noir film from the 50s. Bruce Thomas'  stretched-out bass line and Pete Thomas' delayed staccato drum beat allowed Sexton to fill in the gaps with sublime outcries from his pedal steel guitar. All the while, Steve Nieve's hauntingly mysterious keyboard underscored the sonic atmosphere with attitude and amplitude.  

As the evening wore on, Elvis masterfully blended his well-known songs such as "Green Shirt," "Every Day I Write the Book," "Mystery Dance," and "Alison" with the more obscure "No Flags," "Indoor Fireworks," and "Everybody's Cryin' Mercy." The show came to a resounding crescendo with his two closing numbers, "I Don't Wanna Go to Chelsea" and "What's so Funny 'bout Peace, Love and Understanding," the latter striking a nerve given today's volatile political climate.  

After a brief intermission, came the ride home, and my sister got to change the station. Elvis' low-lit, dark, and dusty stage setting had been replaced by bright blue and white lights illuminating a stage full of shiny, candied instruments. As the pop priest in a pompadour and shades laid out some velvet vocals over a chill, yacht rock vibe, I felt overcome with a taste so sugary, I could barely swallow. "Maneater" set the tone for what was to come. A string of songs most pleasing to a Hall & Oates fan base, I'm sure, but my palette just needed to be cleansed. 

Settling in, I realized Hall's songs have more hooks than a strip of Velcro. There are few variations with Hall. "Rich Girl" came across as vibrant a pop masterpiece as it was in 1976. Hall's voice, the range at once so incredibly broad and daring, has aged quite gracefully and now takes on a different identity, which, despite the lack of variation, gives the songs a fresh sound. Never the more evident on this night than when he transitioned from "Every Time You Go Away" into "Sara Smile", two songs brilliant in their simplicity. 

In this reviewer's humble opinion, Elvis Costello should have headlined this tour, but record sales dictate the billing, not the depth of lyrics and musicianship. Understanding this, Darryl Hall delivered his form of the goods, and like my drives with my sister back in the day, I thoroughly enjoyed myself.  

- Tom Endyke | Guitar & Pen