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(Public domain) |
Few men can boast talents comparable to David Byrne’s.
The man is known for such electronic tinkerings as “Once in a Lifetime” and “Burning Down the House;” both international hits of the '80s from his band Talking Heads.
Reproducing his dance moves is an entirely different feat. I’d like to see anyone successfully attempt the moves he performs nowadays, or better yet, those of the big suit, circa Stop Making Sense.
And he’s still got it. From the twitchy inflection of his sometimes wailing vocals, to the syncopated motion of his limbs, somehow on time with the music, he’s still got it.
On Thursday, Oct. 30, Byrne brought the “Songs of David Byrne and Brian Eno” tour to Metropolis in Montreal to an appreciative crowd, many of whom appeared likely to recall a time before the Head’s plucky sound graced even CBGB’s stage. The tour promotes music of the two artists past collaborations, as well as the material from three Talking Heads albums that Eno produced. Byrne is also debuting songs from the new Eno collaboration, Everything That Happens Will Happen Today (ETHWHT).
The concert began in the seamlessly awkward spirit of the artist, who addressed the crowd for several minutes on the show and what to expect. Seconds after stating the obvious, Byrne and company burst into the first single from ETHWHT, “Strange Overtones.”
From the first note, arms moved involuntarily upwards and heads bobbed non-stop through the hour-and-a-half set.
New, predominately acoustic songs like “Home,” “My Big Nurse,” and “Life is Long” contrasted the classic Head’s get-up-and-dance tunes like “I Zimbra” and “The Great Curve,” with no visible loss of energy from the crowd.
Despite being in a foreign country, Byrne addressed the current political situation of America before appropriately strumming another new song “The River,” where Byrne repeats a largely shared sentiment, “Change is gonna come.”
Byrne’s emphasis on a complex stage show, featuring dancers, multi-instrumentalists and background singers, was at times distracting. Three dancers clad in white streaked across the stage through intense musical moments, drawing my unwilling eyes from Byrne's standing shuffle.. I was unfortunately reminded of the European version of American Idol’s 2008 semi-final, where Dima Bilan debuted his epic ingrish ballad, “Believe.” At around 1:52, Bilan was joined by one of the most exciting advancements in dance since shoes.
While the guy on ice skates could only add to Bilan’s performance, several dancers in white whisking quickly around the stage in spins and kicks detracted from Byrne’s sheer presence that he manages to maintain by simply standing there.
While the music was strong throughout, the highlights were often the oldest songs. During Talking Heads songs like “Air” and their cover of Al Green’s “Take Me to the River,” I was saddened at the improbability of a reunion. Obviously sharing my sentiments, the audience brought the band back on stage for two encores, while always showering the artist in support during song breaks.
Until I am once again graced by David Byrne and his solid white hair, limbs of putty and his signature Fender Stratocaster, I’ll bask in the memory of decades ago, when a band as strangely normal as the Talking Heads was writing the hits. |
