I'm sure there are many people in Japan who have become addicted to Costello's Japan tour after his first tour in eight years (lol), but this time, the content of each performance was so different. It went beyond the level of "different setlists" and was a very varied performance that I would call a Costello live gacha. While the previous day's performance was a surprising and aggressive opening, the second day in Tokyo was a real Costello & Naive performance that immediately knocked us off our feet with a flow from "Watch Your Step" to "Talking In The Dark". After singing these two songs, Costello said, "I'm going to play a different song from yesterday," but now it seems more accurate to say that it will be a different live performance from yesterday. Looking back, the second day in Tokyo was a series of Costello 80's classics that I would like to call it "Eighties Night." The best example of this is the development from "Mr. Crescent" to "Everyday I Write The Book" which was a little forceful. More than that, the pipe organ version of "Shipbuilding", which was only possible at this venue, makes you imagine Steve Nieve happily heading towards the organ. In addition, the deadly Costello 80's classics such as "Almost Blue" and "Good Years For Roses" are performed as much as possible. The highlight of this flow is "The Comedians" from the album "GOODBYE CRUEL WORLD". It was a set list that could not help but be called Costello Eighties Night. While such maniacal repertoires were performed one after another, the most popular song in Japan along with "She", "Veronica", was also performed on this day, but since this was a folk-singing arrangement that did not retain its original form, it was nice to see the atmosphere of "?" felt from the original sound source when it started. Also, in "Alison," Costello started singing without connecting a cable to his acoustic guitar, and although the roadie immediately brought a cable, Costello made a gesture like "Let's just go with it because the vocal microphone picks up the sound of the acoustic guitar..." and excited the audience. Perhaps it was a blessing in disguise, but as a result, the acoustic flavor was emphasized more than usual, making "Alison" even more moving. This is the fastest release of the second day in Tokyo, which was a superb stage with content that made maniacs cry, on the exclusive audience master. The mania who provided the sound source this time was in the front row, and the recording position was Nantes. In this case, the sound image is close as usual, but even so, the closeness of Costello's singing voice is... a word of masterpiece. This is the latest and greatest audience album that captures not only the stage where the changes were too drastic every day, but also the singing voice of Costello that I was captivated by, with an exquisite balance. Sumida Triphony Hall, Tokyo, Japan 9th April 2024 TRULY PERFECT SOUND(from Original Masters) Disc:1 (60:05) 1. Intro 2. Watch Your Step 3. Talking in the Dark 4. All This Useless Beauty 5. The Long Honeymoon 6. Isabelle in Tears 7. When I Was Cruel No. 2 8. Veronica 9. Mr. Crescent 10. Everyday I Write the Book 11. Shipbuilding / We Are All Cowards Now Disc:2 (54:44) 1. Everybody's Cryin' Mercy 2. A Good Year for the Roses 3. Dio, come ti amo / Almost Blue 4. The Comedians 5. She 6. Toledo 7. Watching the Detectives 8. Alison 9. (What's So Funny 'Bout) Peace, Love and Understanding
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