Elvis Presley has been a presence in my life since I’ve had memory to report. He’s also been a strange influential presence in the Western and global mind for decades now, and his influence only seems to be getting more significant.
No other performer has engendered such a sectarian brood of descendant impersonators (or as the parlance of our times calls it: tribute artists). Yes, TV Guide and a number of other publications named Elvis Entertainer of the Century; there is no other performer, regardless of their status, who has achieved this notability.
It was with interest and my distinct pleasure recently to witness one of the newer Presley tribute artists at the Templeton Performing Arts Center—truly a premier facility on the Central Coast. The TPAC is a welcoming and comfortable, albeit hidden, pro venue. I dug being there for the first time to cover the auspicious advent of an Elvis avatar appearing live on its stage.
Matt Stone showed up as Elvis, and he puts on a show worth watching. He delights and surprises, fulfilling the expectations of what Elvis always delivered to his fans and followers—not just a concert, but an intimate gathering and community experience, no matter how big the crowd.
For those of you who consider yourself Elvis fans, but haven’t seen the groundbreaking concert film Elvis: That’s the Way It Is, watch it. Baz Luhrmann mines it along with the film Elvis On Tour and the live broadcast event Aloha from Hawaii via Satellite for his 2025 documentary EPIC: Elvis Presley in Concert—but go see the originals first.
Stone has obviously studied That’s the Way It Is to prepare his performances; I recognized not only the lineup of songs but even his physical movements—down to his sliding on one knee with his right hand extended forward and head down. Here’s where Stone actually gets it: Elvis was always about his audience.
Stone’s show follows much of the course of That’s the Way It Is including the set list and white jumpsuit with slack chains keeping it cinched (one of the chains dangled free to one side at one point just as it did in the film after Elvis “endures” a walk through the audience of mostly female fans).
Even the TPAC’s primary-colored light background silhouetting Stone and his band followed the film’s reds, golds, yellows, and oranges.
It was absolutely great seeing Stone perform songs like “I Just Can’t Help Believing” and “Blue Suede Shoes.” But it was a special treat to see live performances of “How Many, But I Really Don’t Want to Know” and a personal favorite, “Patch it Up.”
I’ve been an Elvisologist for nearly 30 years, trained by my Hollywood Uncle John, and Stone and his traveling show have my blessing. Stone came out after his long set and talked to fans, something Elvis would never do.
“Elvis has left the building” has become a part of contemporary language, but few know its origins. Presley NEVER did encores; it was best to leave audiences waiting. In all those sold-out stadiums with audiences chanting “ENCORE! ENCORE!” Elvis was long gone in his white limousine, which is why the PA would eventually come on and make the announcement.
Stone, however, comes out, mingling with the crowd and signing copies of his book, ELVIS 1971: Heavy Is the Crown. He naturally displays the King’s humble charisma as he meets fans and the press.
As a longtime fan, I give Matt Stone as Elvis my nihil obstat. I hope to see him again and cheer on a long career for him, young lad that he is.