Photo of David Byrne by Shervin Lainez
The first night of David Byrne’s residency at the Stifel Theatre was proof that live music, when done properly, can be life-affirming. Known for combining media with music, the former Talking Heads frontman’s latest tour once again blends elements of theater, dance, and film with his broad musical palette.
His stage set was once again minimal, with a troupe of musicians carrying their instruments to and fro as they sang and danced in time. Uniformly dressed in orange jumpsuits with yellow sneakers, Byrne and his players played in front of a massive array of projection screens, which wrapped across the entire stage.
Displaying a wide range of images, including flowing water, air, cityscapes, abandoned spaces, and pics from their visit to the City Museum, they were the perfect frame for the music performed. The sparse staging gave Byrne and his troupe of musicians and dancers free rein to move around.
Musically, Byrne delivered a career-spanning set, top-heavy with songs from Talking Heads’ catalog and his most recent album, Who Is the Sky? Accompanying him were a talented group of twelve mobile musicians, all of whom strapped their instruments to them as they moved across the stage.
The set began with Byrne belting out “Heaven.” Gradually joined by a retinue of musicians, the tempo picked up for the new track “Everybody Laughs”and another Talking Heads classic, “And She Was,” which featured an introduction about the song’s origins. The driving percussion of those numbers led into a spruced-up version of “Strange Overtones.”
One of the evening’s highlights was “T-shirt,” a tasty pop burst accompanied by visuals of catchy slogans and catchphrases often found on them. This catchy song exemplified the sense of whimsy that pervaded throughout the concert.
Interspersed between songs was spoken banter by Byrne, who mixed his trademark quirky humor with pointed political commentary. More talkative than on previous tours, the singer enjoyed the vibe he was getting from his audience, most of whom stood for the duration of the show.
Two more classic Talking Heads numbers followed. “(Nothing But) Flowers” was upbeat and featured excellent guitar strumming from his band. “This Must Be the Place (Naïve Melody)”was peppy and infectious.
Another great number was“Independence Day,” which featured his band delivering snazzy percussion and funky keyboard riffs.
This was followed by the groovy “Slippery People,” a Talking Heads tunewhich featured an excellent backing chorus and plenty of sing-along help from the audience.
Introduced by Byrne as his safe place during the pandemic, “My Apartment Is My Friend” featured footage of his dwelling. Emphasizing the themes of home and happiness, the song brought a warm, personal touch to the evening and underscored the communal joy that live music can provide.
Fitting his solo material alongside his Talking Heads work, Byrne weaved a musical tapestry of motion, sight, and sound. This combination allowed him to create an experience that rose above the dreck of traditional concerts.
Accompanied by only one drummer at the beginning, Byrne was literally followed by his own shadow as he launched into a reimagined version of “Psycho Killer.” Joined gradually by members of his troupe, the song picked up steam as it led to a percussion-heavy finale.
The drumming continued, summoning the kinetic energy of “Life During Wartime.” Working with a driving beat, Byrne roamed the stage like a man just released from a care home. Herky-jerky and hooky, it was one of the biggest crowd pleasers of the evening.
Next, Byrne, with his mobile band at his side, threw it down with the seminal “Once In A Lifetime.” Arguably the biggest hit of his career, the song again found the audience doing the yeoman’s share of the singing as they joined him throughout the number. Given a new coat of paint and some energetic visuals, the song showed no signs of age, delivering a musical wallop that closed out the set.
For the encore, Byrne doubled down on his theme of community through music with a rousing “Everybody’s Coming to My House.” This was followed by a prolonged guitar solo signaling the arrival of “Burning Down the House.” A sonically textured burst of nostalgic pop, the song roared thanks to more amazing percussion, some getting down, and lots of audience participation.
Exuberant and euphoric from start to finish, David Byrne’s first night in St. Louis was a musical experience that you never wanted to end. Uplifted and smiling, those witnessing the spectacle were treated to a multimedia feast.
At 73, David Byrne remains relentless in creating art on his own terms. This concert, like his recent musical output, demonstrates that he still has a great deal to say. And his audiences are more than happy to listen. | Rob Levy
