David Byrne Brings His Strange, Wonderful World To The Tower Theater, November 8, 2008

by Jeff Boule in Concert Reviews, Editorials, Musician Reviews, Opinion Posts, Reviews, Song Reviews

For those of you not familiar with the name David Byrne, he was the strange man in the suit and horned-rimmed glasses chopping at his forearm in the Talking Heads “Once In A Lifetime” video. Talking Heads long-time producer, Brian Eno, has been a long-time collaborator of Byrne’s. The show was billed as The Songs Of David Byrne and Brian Eno, right there, you know it’s going to be…

At approximately 8:16, the house sound started playing an “ambient” version of “The River” from the album being promoted with this tour, Every Thing That Happens Will Happen Today as the band took the stage. All dressed in white.

The band are: David Byrne: voice and guitar, Mark Degli Antoni: Keys, Paul Frazier: Bass, Mauro Refosco: Percussion, Graham Hawthorne: Drums, Backing Vocals: Kaïssa, Redray Frazier and the stunningly beautiful, talented, Jenni Muldaur formerly of Todd Rundgren’s backing band circa 1989-1990. But also, as part of the show, three dancers would repeatedly adorn the stage with motion set to the music, and they are: Natalie Kuhn, Lily Baldwin and the very brave Steven Reker who at one point in the show did a knee slide between the legs of a playing David Byrne, and then at another point took a running leap over the head of a playing, crouched David Byrne.

Right off, Byrne, addressed the audience and divulged the events yet to unfold. It was at this point that we find out that the evening will be, for the most part, devoted to the works of Byrne/Eno, with Eno’s role being both as a collaborator, and producer.

A few weeks ago, I posted a review of the album, with that knowledge fresh in the minds of faithful PrexBlog readers; I will be semi redundant in that many of Byrne’s live versions were faithful to that record. If you have ever heard any of Brian Eno’s productions will know this is a feat. Not so much for U2 live, all the focus was on Edge’s guitar sound. Give him a rack of effects and they’re fine. But this Eno production was vast. All of the instruments were dramatically effects-laden. As the Every Thing That Happens Will Happen Today story goes, Eno produced most of the tracks to the point where Byrne would come in with the lyrics and guitar parts. This show also featured tracks from their previous album My Life In The Bush Of Ghosts. Even Byrne described the lyrical content of that album as “found”. As well songs that were produced by Eno for Talking Heads and a track from the Twyla Tharp collaboration and even a new, unreleased track were all in store for us.

But we started the evening with the first release off of Every Thing… “Strange Overtones.” The general idea is about communal living and hearing the efforts of a neighboring singer/songwriter. As mentioned, every instrument had a “treatment”. Treatment in this sense is more along the lines of taking the instrument sound and perverting it above and beyond normal expectations of effects processors. Much like Jean Yves (M. Frog) Labat, who was billed as a keyboardist in the 1972-1975 configuration of Utopia, but his principle job was tweaking effects during Rundgren’s guitar solos. It would not surprise me if backline techs and assistant engineers as well as main sound people were tweaking effects left and right, as the performers were also using foot pedal effects, all trying to match the ingenious genius of Eno.

But this version of “Strange Overtones” was ambient live done perfectly. Even the squelchy solo was matched in intensity and dynamic. I do remember saying constantly throughout the evening that Byrne is no Adrian Belew. I think because of their past, this may be intentional. To side track and review, during the early stages of Talking Heads, before they broke big, back while they were doing quality music as opposed to the commercial direction they took, Head’s drummer Chris Franz and bassist Tina Weymouth asked then touring and recording guitarist Belew to join the band full-time and replace Byrne. Belew respectfully declined and finished the tour and left the gig permanently. But Byrne was a capable, innovative guitarist in his own right. The solo for “Overtones” was squelchy enough to suffice, and we were off and running.

The dancers joined the fun for “I Zimbra” by comically moving the mic stands for the background singers in between verses. Fripp’s part was covered adequately by the keyboardist, and the crowd came alive. Apparently there were many revisionists there praying for Talking Heads songs. They wouldn’t be disappointed. But we were there for Byrne/Eno!

During the slow, subtle “One Fine Day”, the drummer sat atop an African Slit Drum, the male background singer played an acoustic guitar, and the percussionist played a large, world drum. I was unable to get a good look at it as he wore it, perhaps a large Djembe? I am woefully lacking in my knowledge of world instruments, sorry Peter Gabriel. The vocals are arranged in almost a tribal manner, highly dense. It was magical when they ended a capella. During the song, there is a vocal saying “oh”, Jenni Muldaur covered this sweetly. Sweet and sexy. Crush much? You bet. I first fell for Jenni with Rundgren in 1989. She added such a rich quality to his vocal arrangements. She shone so bright on the David Letterman show doing Rundgren’s “Waiting Game”; it earned the trio of female singers (Muldaur, Rundgren’s wife Michelle, and Shandi Sinamon) a short-term gig as the back-up singer/dancers on Late Night.

Back to the show, sorry, all gushing aside (I’m sure there will be more later anyway) we were then presented with “Help me Somebody” from My Life… and while the percussionist worked for his money, Byrne kept up the pace with the funky lead line while the he performed the “found” vocals live. That and an abrupt end were the only differences between this and the recorded track.

Things were light but very serious. The evening was constantly punctuated with Byrne’s trademark “Thank You” said in almost a robotic tone. Anyone who has seen the consummate concert film “Stop Making Sense” will have a good idea of Byrne’s mannerisms on stage. His hair may have grayed, but he was still energetic enough to keep up with the young, flexible dancers.

Those flexidancers returned to the stage with “Houses In Motion”. This was another case where Belew’s synth guitar just can’t be replicated, but Eno’s effects came close. It was a very lively version, with an extraordinary distorted keyboard solo at the end, which brought the crowd to its feet with a standing ovation.

Next, a track from Everything That Happens… “My Big Nurse” was played for comedic effect when the male dancer adorned an acoustic guitar and swayed back and forth to the neo-country stroll. Also playing acoustic guitar were the male background singer and percussionist, making for a total of three. I doubt the dancer’s was very high in the mix as capturing the lazy, unhurried tempo and feel live is not an easy task.

Next was a take from the Catherine Wheel project with Twyla Tharp called “My Big Hands…Falling Through The Cracks.” This was a very intriguing performance, breathtaking, especially with the dancers being more or less green lighted to take center stage (let’s face it, they all owned the entire stage). It has impressed me enough to make me want to (after much recalcitrance) buy this disc. Obviously impressive beyond words.

By this time every audience member has signed on full tilt. So imagine the place light up when the opening strains of Fear Of Music’s “Heaven” filled the Tower. If that weren’t enough the version was dead-on so the die-hard Heads fans were enthralled. Byrne’s voice has maintained over the years, handling the end vocal that is more intense despite the still restrained music behind it with passion and ease. I had the opportunity to see this tour kick-off in my backyard, Bethlehem PA. I passed and opted for the show taking place in the heart of obnoxious fan land, and while I was met with more than my fair share of those thoughtless, over zealous hippy types spinning in the aisles after repeated requests from security to vacate those causeways, I was glad I picked the better rehearsed, more well worn show in Philly. Security gave up, but Byrne had a sure fire way to control a rowdy crowd. Play a new song!

“Never Thought” is so new it is not on any album, although Byrne did say it would be on a new album soon enough. So good news for Byrne fans everywhere, he has a new product in the works. This song was interesting as it had what sounded like a Fripp-style guitar solo with a semi-Belew like verse guitar line. No matter what Byrne involves himself with, he seems to sponge every influence around him better than your average O-cello. Not to mention this was a pseudo-duet with Jenni Muldaur, so I know I will be interested in the album that contains this song.

As far as ingesting style, we know Belew had a long involvement in Talking Heads, Fripp played the into and some solos on Fear’s “I Zimbra”, but there is one Robert Fripp track that Byrne did vocals on that is worth the trouble to find. So worth it, my copy is on vinyl and played only once to record onto cassette for preservation purposes. The EP was called Network and the track that involved Byrne was called “Under Heavy Manners” and the lyrics are worth the effort alone!!! Circa 1979, and could be found on the Robert Fripp and The League Of Gentlemen cassette version of God Save the King. Good luck in your search.

Next up at the show was “The River” from …Happens… and it started off with delay laden percussion line that made it very exciting!!! This song was a little hairy around the edges, a very difficult drum line to replicate in concert. But for the break down where Byrne and the singers sing the line “one sad day I will fly away and one sad day I will tiptoe away” was enough to bring goose bumps to even this hardened reviewer’s skin. With the background singers full out on the note before the chorus start was beautifully executed.

A long time arrangement of “Crosseyed and Painless” from Remain In Light cuts the tempo down to a quarter of it’s usual self and injects a reggae/funk feel into the intro which is a severely slow chorus with a lead line over top. But the second the slowed down line plays through once, the band comes immediately together for a double note at the faster tempo and they are off and flying. While Byrne provides great guitar, again, his style is not the same as Belew’s.

The following song “Life Is Long” is one of those easy going but not too slow or anemic songs that had a dynamic that will sneak up on you if you are not careful. But it was relaxed enough where every one on stage except Byrne was having a sit-down. Made the version that much tighter. I know I keep saying the same thing over and over, but this was an accomplished ensemble. If I had to poke at something for this song I would have to say perhaps the bass was a bit heavy. I am stretching here.

Next brought us the crowd pleasing “Once In A Lifetime” also from Remain In Light. In fact that album has been represented quite a bit, the third heaviest represented in the show. First, of course is Everything That Happens… with a total of seven songs, next is Fear Of Music with four, then Remain In Light with three, and then My Life In The Bush Of Ghosts, The Catherine Wheel, More Songs About Buildings And Food and finally Speaking In Tongues each had one. But once those opening notes came across the crowd went wild. This was a much faster (read: pumped up) version, which made the dancers earn their money especially since two would join hands and stand with their arms out at their sides and the third dancer would dance down the line and chop the other two dancers forearms in the manner in which Byrne did mimicking the African (?) religious ritual continuously as when one dancer had both of their arms “chopped”, they would have to run to the other end of the remaining dancer to join hands and keep the continual stream of chopping going.

Same as it ever was.

But what wasn’t the same was the guitar, it was lost in the ambitious mix. Something else that wasn’t the same was, during the second round of the power chord break, at one point Byrne crouches down, almost as if in a hyper-low duck walk. Then from one side of the stage, the male dancer leaps over Byrne clearing not only Byrne’s head for vertical clearance, but also the entire guitar neck for lateral clearance. No margin of error there!

It must be Talking Heads greatest hits time as that bombast was immediately followed by “Life During Wartime”. Again, the band performed this paranoid delusion fantastically for a high quality version with the dancers in full abandon up until the point where the lead dancer takes the end cue and protracts it for dramatic effect.

We end the main show with “I Feel My Stuff”, my particular favorite song from the …Happens… album. It is very strange, it starts off with a delayed lingering piano, and mutates above and beyond from there. It has high- end-high-hat like vocal mixed high in the right channel throughout the song. You can tell because every now and then, the high-hat takes a breath! There are other strange nuances that were negated in the live performance, but it makes no difference, the tune was still stunted and strange with heaping helping of odd. Beautiful! The most fascinating composition I have heard this year. Live, the strangeness was more than represented, even augmented by the interpretive dancers. It was fun to hear Byrne mutate his voice live as he did on the track. The audience didn’t quite get it, the hippies had a tough time spinning and swaying, as the tempo would transition often times with the delayed piano solo, not much beat to work with. Honestly, I couldn’t tell you much of what the others in the audience were doing, I was transfixed on the events on stage, seeing as how the dynamic of the show had built itself up the inevitable end, you could sense this was the finale.

We were fortunate to have a five-song encore to fulfill that want inside all of us for more!!!

The first song was “Take Me To The River” from More Songs About Buildings And Food. This version was more akin to the big band version from the Stop Making Sense film and disc era. The articulate guitar keyboard line as a solo was lost. I was never a big fan of this song, the original or this cover. Usually a cover can sometimes win me over. Not in this case. Again a flawless version. One has to wonder, between the two Pennsylvania gigs that I could have attended, the first in Bethlehem, the second at the Tower, how much different would these songs and performances have been from each other? A new band, new songs, first gig, even the most well rehearsed bands can suffer at the hands of technological mishaps, etc. If you ever have the opportunity, catch a band at the beginning of a tour and then catch them again towards the end (shortly after midway) by the end your lead vocalists voice will be shot. Byrne’s voice was in terrific shape even after weeks of touring.

Encore number two was “The Great Curve” from Remain In Light. The story is the same as with the other tracks from …Light, Byrne is no Belew, but the track was exciting to hear, and intricate in both nature and performance. The additional background vocals made it thrilling, especially towards the end where there are the round vocals orbiting Byrne’s lead vocal. One set of background vocalists singing one line, another singing a separate line, a third set singing something yet different, and so on, punctuated by Byrne doing his best to squeal and bleat a la Belew. Byrne seems to have added an extra energy to this track live, perhaps to make up for the (if you can believe it) lack of vocal parts.

Got to move the world.

A surprise encore was “Air” from Fear Of Music. For those familiar with Jenni Muldaur and this song, you can just imagine what her honey-sweet voice sounded like chiming out those initial phrases of ‘air’ for the intro. The audience responded to the altered line “some people don’t know s*** about the air.” What are we in 5th grade?

The reaction to this next song also has me questioning the mental capacity of the attending audience. Their loudest, most boisterous response all night was for the Speaking In Tongues track and Talking Heads big hit “Burning Down The House.” This was one of only three non-Eno involvement songs of the night. The song “My Big Hands…”, possibly the new song “Never Thought”, I don’t have any background information on it to make that classification, so I will defer to the percentage that Eno did not work with Byrne on it as he did not (I presume) on Catherine Wheel. Like I said earlier in this post, now that I have a sampling of what the music is like for the project, I am willing to shell out the greenbacks for it. Lastly, “Burning…” from the non-Eno produced Speaking… But for the crowd to go hog wild over a song that diverts from the theme of the evening I find a bit betraying. Here Byrne went through the trouble of rehearsing a band to learn all these songs in collaboration with Brian Eno, and they go ape over a song because it has a lot of drums in it. Sure, the percussionist had a field day with it, but all this was lost on me, as “Burning…” never struck a match with me. All pun intended. As far as this live version, it felt a bit protracted to give the audience what they wanted. In true, rude Philadelphia audience fashion, the crowd started to filter out after that because, well, let’s face it, they heard “Life During Wartime”, “Once In A Life Time”, “Burning Down The House” and “Take Me To The River.” They got what they wanted. But those uninitiated were missing out on the beautiful and moving final encore song, the title track from Everything That Happens Will Happen Today. Byrne even enlisted the dancers to stand in a row, opposite the singers at the other end of the stage, and microphones were planted there so they could join the chorus on “Everything…” This song was made huge when it had to be huge, and it was demure when it needed to be. The track itself has beautiful if not haunting imagery, and the performance was reflective and floating.

The accuracy of the band has made this one of the more difficult reviews to tender. You always tend to go for the noteworthy when you are reviewing, quality of song, performance, sound, mistakes, humorous, dramatic, emotional or unusual performance aspects. This ensemble operated like a well-oiled machine. This having been the first time I am fortunate enough to catch David Byrne in concert just makes me mourn the lost opportunity of seeing Talking Heads live. And we all know that a reunion is highly unlikely. Byrne and the rhythm section couple do not see eye to eye, after the Belew debacle and the constant differing of artistic direction. Just compare David Byrne solo albums to Tom Tom Club albums and you can see the variance.

Thanks to ma4utopia for linking to my Arena review, keep up the good work! I hope you feel free to link, peruse, reference my many yieldings about TR, Utopia, etc. Thank you!