WORDS AND IMAGES GOSIA CZYZNIEWSKA
Elvis Costello, alongside his long-time collaborator Steve Nieve, graced the stage at the Manchester Opera House on Sunday night for a performance that blended humor, intimacy, and deeply memorable music
But before him a real treat Liverpool troubadour Ian Prowse took to the stage to open for Elvis Costello with nothing but his voice and an acoustic guitar – no band in sight, just one man determined to captivate a crowd. And captivate he did. Kicking things off with an a cappella version of “Lest We Forget,” Prowse instantly grabbed the room’s attention.
His second offering, “Takin’ On the World,” was dedicated to “anyone struggling right now.” Prowse’s heartfelt introduction was met with appreciation from the audience, who seemed to connect deeply with the song’s spirit of resilience.
One of the moments of the night came when Prowse performed a song recorded for his daughter. He explained that this song was intended as a message for her, should she need advice in the distant future when he may no longer be around. It was a tender moment, filled with fatherly love, as he reassured both himself and the audience that, in spirit, he’d always be by her side.
Despite his apprehension about performing solo, Prowse’s nerves didn’t hold him back. When he invited the crowd to join in for “I Did It for Love,” the audience wholeheartedly obliged.
The emotion didn’t let up as he dedicated “Fair Blows the Wind for France” to friends who might have come to the show the night before. The song carried a sense of camaraderie and nostalgia, connecting both past and present. He also took a moment to reassure anyone in the audience with a broken heart, promising “it gets better, I promise,”
The night closed with Prowse’s signature song “Does This Train Stop at Merseyside.” But before the final chords rang out, Prowse shared a playful plea – promising to meet everyone in the foyer after his set, humorously asking the crowd, “Please don’t leave me standing by the merch stand on my own!” It was a light-hearted end to a heartfelt set, leaving the crowd with a lasting impression of Prowse’s warmth and sincerity. In an intimate, stripped-back performance, Ian Prowse showed that even without a full band behind him, his songs – and the stories they tell – are more than enough to fill a room. He left the stage not just as a support act, but as an artist who had truly connected with his audience.
Elvis Costello, alongside his long-time collaborator Steve Nieve, walked onto the stage, opening with “When I Was Cruel No. 2,” the duo set the tone for what would be an evening of eclectic melodies and Costello’s iconic storytelling. From the first note, the synergy between Costello and Nieve – who has played with him through The Attractions and The Imposters – was undeniable.
Costello, always charming and full of wit, shared his happiness to be back in Manchester. He playfully teased the crowd before launching into “Green Shirt,” noting, “We need a sexy beat for this song, but don’t get too excited.” Steve Nieve’s keys, combined with Costello’s soulful vocals, cast a spell that was both intimate and electric.
As the lights dimmed to red, Nieve brought out the mouth organ for a brooding rendition of “Hey Clockface.” Then came “(The Angels Wanna Wear My) Red Shoes,” with the stage bathed in pink. The audience was entranced, and their applause turned into a roar as the song came to a close.
A standout moment came when Elvis performed “Dio, Come Ti Amo/Almost Blue,” a nostalgic tribute to his father, who liked to sing in Spanish, he learned it in bed which is why Elvis doesn’t like it, as Costello humorously revealed. The performance was filled with tenderness and fondness.
In between songs, Costello kept the audience entertained with his sharp wit. At one point, he swapped guitars, sharing that the one he held was a gift from Steve and the band – a Jimmy Reed model – before launching into a lively version of “Mystery Dance.”
A humorous anecdote followed as he recounted how his son advised him to consult great philosophers. Costello quipped that while he likes French philosophers, the greatest minds come from Mississippi, introducing the brilliantly performed “Everybody is Crying Mercy.”
The audience also got a sneak peek of “A Face in the Crowd,” a new song featuring a man with questionable morals. The crowd welcomed this preview, soaking in the story behind it.
“Watching the Detectives” came next, with the stage darkening as Costello set up some loop pedal effects. The performance was spine-tingling, enhanced by Nieve’s use of a harpsichord effect on the keys, creating a haunting backdrop.
Costello took a seat behind the piano for “Veronica,” admitting he wasn’t feeling particularly confident, but the audience quickly cheered him on. When the song concluded, the crowd’s applause erupted, and Costello blew a playful kiss to the piano, thanking it for cooperating.
The chemistry between the duo and the audience was evident throughout, especially during “The Long Honeymoon,” which brought a roar of approval from the crowd. Later, Costello playfully alluded to Oasis getting back together, stating it inspired him to put his best foot forward before launching into the stirring “Whirlwind,” his voice resonating throughout the venue.
“She” delighted the crowd, as did an unexpected moment where a ukulele appeared onstage. Costello joked about “following in the footsteps of Judy Garland” and broke into a humorous, impromptu song about popping pills, which had the audience laughing out loud.
The mood shifted back to seriousness with “Dr. Watson I Presume,” a song about a real-life murder that gripped the room with its gravity and storytelling.
As the main set drew to a close, Costello reflected on his debut Manchester performance with Tony Wilson at the age of 22, leading into a heartfelt performance of “My Aim Is True.” A falsetto moment caught the crowd by surprise, demonstrating Costello’s playful range and continued innovation.
“Shipbuilding” brought a wave of recognition from the audience, receiving cheers from the first few notes. The song’s poignant message resonated deeply, and its conclusion was met with a huge ovation. The set was then finalized with a spirited cover of “What’s So Funny ‘Bout Peace, Love and Understanding,” featuring Steve Nieve on vocals. The duo received a standing ovation.
Not ready to leave the stage just yet, Costello returned for an encore featuring four more songs. Each one was greeted by another standing ovation, with the energy in the room continuing to build. The intimate setting, reminiscent of a late-night session in a smoky French jazz bar, added a layer of timelessness to the evening. The only thing missing was absinthe and the haze of cigar smoke.
Elvis Costello and Steve Nieve treated Manchester to a masterclass in storytelling, musicianship, and humor, leaving the audience craving more. This wasn’t just a concert; it was an unforgettable night of connection, history, and pure musical magic.
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