Tag Archive: David Byrne


Burning down the house

LITTLE FIRES EVERYWHERE by Celeste Ng (Penguin Press, 2017)

220px-little_fires_everywhereWhen I first saw the cover of this book, it brought to mind the artwork for ‘Everything That Happens Will happen Today’ , an album by David Byrne and Brian Eno released in 2008. This association proved to be not so wide of the mark. David Byrne’s work with Talking Heads often cast a sardonic eye on suburban living. In ‘The Big Country’, for instance, he gazed down from an airplane at the neat houses and comfortable urban amenities below and concluded “I wouldn’t live there if you paid me to”.

Celeste Ng is not quite so scathing in the way she presents Shaker Heights in Cleveland, Ohio but, equally, she is not blind to the faults of a community that smugly prides itself on having a plan for anything and doesn’t see race.

This is “a town built for cars and for people who had cars” and a place where “an un-mowed lawn would result in a polite but stern letter from the city”. Anything regarded as a flaw to the domestic perfection is regarded as a threat. Continue reading

David Byrne live at the Ravenna Festival (Pala De André, 19th July 2018)

band in motion

The band in motion

Expectations for this show were raised when David Byrne announced that this was his most ambitious stage project since the celebrated ‘Stop Making Sense’ Talking Heads tour which has been captured for posterity by Jonathan Demme’s groundbreaking 1984 concert movie.

Fortunately, it doesn’t disappoint.

It is a visual and aural treat from start to finish not least because all the conventional trappings of rock gigs are radically reimagined and redefined. The show is based on the core idea of enabling singers and musicians to be mobile on an empty stage. Continue reading

HOW MUSIC WORKS by David Byrne (McSweeneys, 2012)

how-music-works-david-byrne“What is it we’re talking about here?” David Byrne asks rhetorically on page 220 (out of 358) in a section headed ‘What is music?’

It is as though he is oblivious to the fact that this is what many would expect the whole of this book to be about.

To those expecting to find  straightforward answers to either of these two questions, all I can say is :  you don’t know David Byrne.

It is not that he is deliberately obtuse or willfully obscure, but he has never been an artist who puts much stock in simplifying complex ideas. The subtext is that the creative process itself is a mystery and it doesn’t do to be over analytical about it. Continue reading

Wes Anderson is one of the great originals of modern cinema. In his relatively short career to date he has already developed a fascinating style that is completely his own.

I have blogged already about THE ROYAL TENENBAUMS (2001) and, having been enthralled by his latest movie THE GRAND BUDAPEST HOTEL, I was prompted to return to earlier movies THE LIFE AQUATIC WITH STEVE ZISSOU (2004) amd MOONRISE KINGDOM (2012).

All of these films boast strong ensemble casts. The quality of the writing is so strong that it’s not surprising that big names want to be associated with his films, even if it means playing a small cameo role. Continue reading

TRANSMISSIONSVII_poster70x100_aggiornatoIn 1999, David Byrne wrote an article for the New York Times provocatively entitled I Hate World Music . It isn’t the music itself that the ex-Talking Head hates but the media label that lumps everything which is not English-language pop/rock into the same category.

He wrote that “the use of the term world music is a way of dismissing artists or their music as irrelevant to one’s own life. It’s a way of relegating this “thing” into the realm of something exotic and therefore cute, weird but safe, because exotica is beautiful but irrelevant; they are, by definition, not like us”.

Byrne noted that by virtue of record sales alone some artists escaped such lazy pigeon-holing. No one refers to Ricky Martin or Sigur Ròs as world music artists even though most of their best known songs are sung in Spanish or Icelandic (or Hopelandic!) respectively.

Instead, this genre name is reserved  for the kind of artists who festival curators Jeremy Barnes and Heather Trost (aka A Hawk And A Hacksaw) assembled for a unique concert at Ravenna last night. The performers flown in from Balkan countries are the kind that have most western listeners (myself included) automatically reaching for glib adjectives like ‘authentic’, ‘traditional’ and ‘exotic’. Continue reading