August 12, 2004 By Jennifer Van Evra
Vancouver Sun
"We decided that if George Bush
gets elected, we're all moving here," said David Byrne shortly
after taking the stage with his 9-piece band at the Centre for the
Performing Arts on Tuesday night. By the end of Byrne's mesmerizing
set - which spanned three decades of material, four languages and
styles that ranged from art pop to dance to opera - there were undoubtedly
at least a few fans secretly wishing for a George W. win.
To cries from the audience for legendary Talking Heads tunes such
as "Burning Down the House" and "Psycho Killer,"
Byrne kicked off his 2 hour-long performance with the beautifully
dense, percussion-heavy "Glass, Concrete & Stone"
from his latest solo album, Grown Backwards . But
those who had come for the classics were soon won over by the newer
material which takes them from outer space to the grocery checkout
line and back up into heaven, all the while making the mundane seem
massive and the massive seem graspable.
Dressed like his bandmates in a brown UPS-like uniform, Byrne -
his black hair having given way to grey - also performed several
talking heads classics, including the quirkily nonsensical Dada
song "I Zimbra," the tack-sharp, bass-driven "Once
In A Lifetime," and the hard-hitting political indictment,
"Blind." By the time the band kicked into the rhythm-heavy
"Road to Nowhere," much of the overly polite, seat-bound
crowd couldn't resist jumping to their feet and dancing their way
toward the front of the hall. And not only did Byrne perform all
of the material with remarkable skill and presence; he made it seem
perfectly natural that the classic songs from the '70s and '80s
were mingling comfortably with opera, Latin music, afrobeat and
dance music.
While strings usually provide little more than background ambience
in pop music, the music of the Tosca strings - a six-member group
from Austin, Texas - was central to the show from start to finish.
During Byrne's rendition of Verdi's "Un di Felice, Eterea,"
they provided sweeping operatic gusts; in his knockout delivery
of "Psycho Killer," their taut, eerie lines added to the
song's ill-ease; and on lightheartedly upbeat songs like "The
Other Side Of This Life" and "Why," they brought
a sense of playful drama.
Byrne himself seemed full of energy, relaxed and happy after an
evening spent at the UBC Observatory and an afternoon cycling around
the Stanley Park seawall with several bandmates. During the
sensuously sultry bridge in a cover of Cesaria Evora's "Ausencia,"
he danced with himself like a teenager practicing for the prom as
the strings wept behind him. During the up-tempo Talking Heads
tune "This Must Be The Place," he stared straight toward
the back of the hall and ran on the spot. At other points, he did
goofily geeky little dance moves, swiveling his knees and hips to
the music before cracking a wide grin like a kid who just got away
with something.
Byrne's breadth and eclecticism were equally evident in his two
encores, made up of "Desconocido Soy" (a soaring, fluid
song sung in Spanish), "Life During Wartime" (a sharp,
angular Talking Heads song), "Lazy" (a highly modern dance
tune which, according to Byrne, was a live version of a remix of
one of his songs), and "Heaven," the classic tune by the
Talking Heads that goes, "The band in Heaven plays my favourite
song. They play it once again, they play it all night long."
If that's really how it works up there, most of the glowingly
satisfied audience members were more than happy to, for now, be
right here on earth, listening to a pop legend whose work remains
amazingly varied, unique and vital.
Vancouver's Po' Girl kicked off the highly memorable evening with
a soul-drenched set of rootsy songs that move easily between lightness
and dark, and offer tinges of myriad shades in between. Singing
songs that ranged from a sombre tribute to the Downtown Eastside's
missing women to a breezy tune about meandering along the shoreline,
the trio captivated the audience with their fireside-warm sound
and laid-back performance style.
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