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David Byrne  

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Making his fame in the iconic new wave band Talking Heads, front man David Byrne (born 14 May 1952) from Scotland, UK, boasts not only his Grammy award winning talent as a singer-songwriter but in his prolific career adds actor, writer and director to his impressive list of accolades.

Early on Byrne developed a love for music developing an obsession with the family record player and at five this inquisitiveness grew as his flair for music took control as started learning to play the harmonica. With his family migrating to America at nine, Byrne spent the rest of his childhood raised in Baltimore, US where he picked up guitar, playing in a few local bands.

A brief stint at Rhode Island School of Design marked the beginning of his musical path and in 1975 created the band Talking Heads who would become a beacon for new wave American rock bands of the 80’s. Whilst having a majorly successful run in the band as principal songwriter and distinctive vocalist responsible for hits such as “Psycho Killer” and “Burning Down the House”, Byrne established a solo career which allowed his creativity to blossom outside of Talking Heads.

Striking a bond with musician and producer Brian Eno would push Byrne’s experimental tendencies starting with the incredible debut solo release “My Life in the Bush of Ghosts” in 1981 which critics praised as one of the best albums of the 80’s with its pioneering use of sampling and fusing electronic with world music. With iconic solo albums such as “Rei Momo” (1989), Feelings (1997) and “Look into the Eyeball” (2001) and the entire Talking Head discography, Byrne has influenced major contemporary acts such as: Radiohead, R.E.M. and Vampire Weekend.

Embracing all genres and styles of music, Byrne time after time strikes gold with his ability to adapt and inject his personal style into everything he touches, creating musical masterpieces which transcend time and genre while inspiring generations.

Live reviews

I could hardly maintain my excitement when I heard David Byrne was performing in my hometown! I absolutely adored his music with the Talking Heads and was at that time getting lost in his boundless genre defying discography. I drove down to the venue the day tickets went on sale planing to get the best seats possible within the lowest price tier. When I asked the attendant what the best seats in the $45 range was he provided me with a few options some which were excellent balcony seats. However he said that if I wanted I could get front row center seats to the show for $75. I have rarely spent that much money on a ticket, but I simply couldn't resist and I am absolutely thrilled that I didn't. It was one of the most memorable shows of my life! David Byrne was touring with a group of first class musicians all coming from very different backgrounds. Some were classically trained horn players, some played the trumpet and saxophone in Jazz groups, even one of the musicians played in the indie rock group Yellow Ostrich. All the members on stage including David Byrne were dressed in matching white uniforms. Their sense of timing was utterly impeccable. All of the musicians were perfectly coordinated both in music and their choreographed routines. On one song they marched in a circle around David Byrne while he sung and played his guitar, and sometimes the musicians would disperse on stage in a turbid manner alternatively playing their instruments in an unpredictable order. It was simply astonishing to see all these performers work together with such precession.

I was lucky to catch David Byrne on his Love This Giant tour because he was accompanied by another amazing performer, St. Vincent. They played their collaborative album in its entirety and on top of that they alternated songs from their own catalogue. St. Vincent tracks like "Cruel," "The Party" and "Cheerleader" were performed. During "Cheerleader" David Byrne lay down on his side and would lift up his head and his back when ever the song reached its apex. David Byrne played the fantastic club hit "Burning Down the House" which inspired a hoard of people to start dancing and coerce others to join in. He also performed some selections from his verbose solo career, such as the infectiously catchy "Strange Overtones" a song on his album 'Everything That Will Happen Will Happen Today" an album on which he worked with Brian Eno.

David Byrne has dabbled in sampling, world music, theatrical productions such as the "Catherine Wheel" and "Here Lies Love" and even film scores ("Last Emperor" and "Big Love"). Hands down he has one of the most exciting and unique careers in pop music history and his tours often tend to mirror this sentiment.

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Tuesday 19th June, Hammersmith Odeon, London, David Byrne. Day three of my three gigs in three days and easily the most anticipated one with a not really knowing what we are going to experience sort of expectation.

This will not be a long review as the dictionary is yet to invent enough superlatives to accurately describe what we witnessed. I have been to more than 750 gigs or concerts and nothing prepared me for the audio visual display tonight. Stunning, gorgeous, moving, spell binding, enigmatic, thought provoking, hip swaying might describe this but really do not touch the sides. Quite simply the best show I have ever seen. (Please don’t necessarily confuse this with best gig as this was not a gig in any conventional terms.)

For those that don’t know it’s a two hour choreographed show without the usual stage setup, no fixed amps, monitors, or instruments. Everything and everyone is mobile with all instruments attached to the performers. All performers are bedecked in matching grey suits that support the military precision of the show.

The set begins with Byrne alone with a table and a brain and then he is slowly joined by his fellow artistes through silver beaded curtains that surround the stage. What follows is a moving mass of bodies acting in unison belting out heavily percussed Talking Heads hits and David Byrne solo classics. Yes there’s guitar, bass, keys and drums but there’s also probably about twenty other instruments from all around the world used throughout the evening.

There is no let up for the band or Byrne for the whole evening and it’s exhausting just watching. There is so much going on that Byrne who would usually dominate your attention is another cog in this utopian big wheel.

The light show complements the sparse set perfectly but none more so than the shadow puppets effects later in the set that shows you don’t need to spend thousands on lasers to achieve stunning results when a single floor based light will suffice.

Whilst I think the new album is a little hit miss on record, live the songs are transformed but its obviously the oldies that really rock the Odeon (I will never call it the Apollo) tonight.

There is little point trying to pin down a highlight. Although that said, it’s quite easy really, it started at 8.30 and went on until 10.30

A stunning show that hits six on the five star review scale.

Keep on keeping on y’all

Talking Heads frontman David Byrne has gone on to have an equally successful, critically acclaimed career of his own which crosses the disciplines of music, film and theatre. The Scottish new wave musician has always been at the cutting edge of performance and his live show is considered to be one of the most captivating and engaging experiences on the circuit.

When a musician reaches a level where he can be also be considered an artist it allows freedom in terms of performance and David Byrne definitely uses this mentality onstage. His latest dual tour of the UK with St. Vincent promoting 'Love This Giant' was considered a triumph. The two eccentrics stand centre stage bathed in eerie part light as they conduct a rich brass section through the avant garde stylings of 'Lightning' and 'Weekend In The Dust' with surpassable proficiency. Byrne demonstrates his incredible skill with the guitar during complex instrumentals during a cover of Annie's 'Cheerleader'. The audience leaves the venue in a state of shocked contentment, discussing and interpreting what they had seen as if leaving a gallery or a theatre.

Dressed in his famous ensemble, looking dapper in an all-white suit, and with a fabulous array of backing singers and musicians crowding the stage around him, David Byrne looks exactly like the musical icon we know him to be. Byrne stands in front of them all, guitar in hand and microphone to lips, and belts out his classics to the audience’s delight. With his silver fox hair, dapper suit and the spotlight hitting him at all the right angles, Byrne burns just as bright as he always has. He has a natural stage presence that owes to years and years of experience and having confidence in bucket loads. The former frontman of Talking Heads sang mostly his own, solo songs, including ‘Lazy’, ‘Who’, ‘Interview’ and ‘This Must Be The Place’. His song ‘Strange Overtones’ got the entire crowd on their feet, dancing away to the catchy tune and clapping their hands wildly. The entire stage was like a circus, in the best possible away! The backing dancers with their perfected routine, the different array of instruments… let’s just say that Byrne puts on one hell of a performance.

Sony centre Toronto show was a great night!! ten musicians and 2 performance art dancers. I really enjoyed every moment. Beaded curtains on a brightly lit matted stage had my eyes focused on everyone and the sound that was happening was amasing. No speakers or equipment were visible, the drumming was shared by many and playing in sync was amazing. It was musical as well as a visual show..I remember talking heads playing at the kingswood in the 80's, they were great live and david byrne is still able to put on a great show..I loved it! The crowd was singing very loudly along with most of the songs.

Good vibe. I appreciate that the songs were different from the cd making them longer and jamming here and there. I love live music.

Next shows Car seat headrest, simple minds, bob moses.

can't wait. Support your fav. artist !!!

David Byrne and his percussive band of fantastically choreographed and constantly moving musician/singers totally captivated and energized a packed house of mostly senior citizens last night at Sony Centre. Unfortunately for Barb (in a wheel chair), the crowd was on its feet from the opening song and for the entire two hour show. That didn't stop her from thoroughly enjoying the music and watching sometimes through the camera display of the guy standing on her left. Mixing biting and culturally observant songs from the recently released Utopia album with Talking Heads hits (including my fave Life During Wartime) this is a must see show if, as both Don Henley and Keb Mo' sing"she just wants to dance."

outstanding show..the amazing stage, lighting, dancing and of course David and his wonderful music and voice. It was the most entertaining, action packed concert I have ever seen and I have seen hundreds of concerts. His creativity of the entire show was top notch. The stage was empty except for the 12 musicians in marching band form. Each carried their instruments from the drums, percussion, keyboards etc. The lighting was like no other show. All they needed to do to better the show was to subtract out the annoying warm-up band.David did so many good new songs and many originals. The happy spirit of each band member set the tone.David is truly amazing and progressive.

It was great to hear David Byrne live on stage. I missed him 30 years ago while with the Talking Heads in Miami. The theatrics were fun to watch and the playing of ALL the instruments coming together made for a great show

One thing I must say though was that the political BS at the end makes me not want to give him any more of my hard earned $$ ever again. You want people to say the names of known thugs but I didn’t hear the saying of names for the officers that did not make it back home to their loved ones because they were assasinated sometimes just sitting in their patrol cars. If I would have known about the ending I would have never spent the $$ on the show.

I have been a longtime fan of David Byrne. I did not know what to expect since I did not see the tour he did based on this show. The first 30-40 minutes I had a smile on my face knowing this was going to be great. His voice is amazing. The stage production, though sparse was visually great, sitting in the mezzanine which I usually do was a place to be considering the choreographing of the production. The songs were great, he did several of his older tunes. Within minutes of the shows ending, I decided to come again and this timetake my husband, son and his wife. I am just in awe of David's talent. I enjoyed the show immensely.

One hundred and five minutes of pure quality!

David Byrne is a genius and his Utopia show has to be one of the best concerts of all times.

As soon as David's voice expels out into the auditorium David has his audience in his hands.wether the piece was new or old David brought down the house.

It was a privilege to be part of the audience to watch a performance of excellence from all members on the stage and I truly believe that this is a tour that will go down in the history of music of our time.

The audience was a mix of Byrne veterans to guys of 2018 who, understand that going to a David Byrne concert really does make sense.

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David Byrne | American Utopia Tour

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3Arena, Wednesday 24th October

David Byrne has announced his much anticipated Irish return as part of his American Utopia tour at 3Arena Dublin, with very special guest, Benjamin Clementine .

American Utopia fits hand-in-hand with Byrne's vision for his series Reasons To Be Cheerful , named for the song by the late Ian Dury . Over the last year, Byrne has been collecting stories, news, ideas, and other items that all either embody or identify examples of things that inspire optimism, such as a tech breakthrough, a musical act, a new idea in urban planning or transportation—something seen, heard, or tasted. Just as the album questions the current state of society while offering solace through song, the content of the series recognises the darkness and complexity of today while showcasing alternatives to the despair that threatens us.

While David Byrne has collaborated on joint releases with Eno , Norman Cook ( aka Fatboy Slim) , and most recently St. Vincent over the past decade, American Utopia is Byrne's first solo album since, 2004's Grown Backwards. American Utopia morphed during the writing and recording process, beginning with longtime collaborator Eno , and eventually growing to include collaboration with producer Rodaidh McDonald ( The xx , King Krule , Sampha , Savages ) alongside a diverse cast of creative contributors including Daniel Lopatin ( aka Oneohtrix Point Never) , Jam City , Thomas Bartlett (St. Vincent producer, aka Doveman ), Jack Peñate , and others.

Speaking about the album, Byrne said: “Is this meant ironically? Is it a joke? Do I mean this seriously? In what way? Am I referring to the past or the future? Is it personal or political?

These songs don't describe an imaginary or possibly impossible place but rather attempt to depict the world we live in now. Many of us, I suspect, are not satisfied with that world — the world we have made for ourselves. We look around and we ask ourselves — well, does it have to be like this? Is there another way? These songs are about that looking and that asking.

This album is indirectly about those aspirational impulses. Sometimes to describe is to reveal, to see other possibilities. To ask a question is to begin the process of looking for an answer. To be descriptive is also to be prescriptive, in a way. The act of asking is a big step. The songs are sincere — the title is not ironic. The title refers not to a specific utopia, but rather to our longing, frustration, aspirations, fears, and hopes regarding what could be possible, what else is possible. The description, the discontent and the desire — I have a feeling that is what these songs touch on.

I have no prescriptions or surefire answers, but I sense that I am not the only one looking and asking, wondering and still holding onto some tiny bit of hope, unwilling to succumb entirely to despair or cynicism.

It's not easy, but music helps. Music is a kind of model—it often tells us or points us toward how we can be.”

A co-founder of the group Talking Heads (1976–88), he has released nine studio albums and worked on multiple other projects, including collaborations with Brian Eno , Twyla Tharp , Robert Wilson , and Jonathan Demme , among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne's various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love , an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci ’s The Last Emperor , and induction into the Rock and Roll Hall of Fame with Talking Heads . Byrne has published and exhibited visual art since his college days, including photography, filmmaking and writing. He lives in New York City.

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David Byrne

David is well known for his ground breaking and adventurous solo albums, for the genre smashing music of Talking Heads and for his eclectic and more...

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David Byrne & St. Vincent Confirm Announce European Tour

David Byrne & St. Vincent have announced details of a long-awaited European tour, their first since releasing their collaborative album, Love This Giant last year. The duo’s seventeen-date tour include a headline appearance at End Of The Road Festival and three UK shows in London, Birmingham and Glasgow.

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David Byrne is always on to the next adventure

For nearly 50 years, from talking heads to ‘american utopia,’ he’s charted his own path.

DENVER — They have gathered for David Byrne’s funeral, sitting in a bright room facing a coffin that’s been customized to also serve as a piano. A childhood photo of the deceased rests on a stand nearby. A guest book, too. But before anyone can tear up, the coffin lid opens and up pops David Byrne. Except it’s not the wiry singer of “Psycho Killer” but a 6-foot-2 Black actor named donnie l. betts who peppers the assembled with questions: “Am I still dead? Am I still me? Am I alive again? Am I still David?”

A few rows back the real David Byrne, the white-haired singer who did indeed once front a rock band called Talking Heads, rolls into a chortle. He has seen this coffin thing many times. It still gets him.

“It’s just funny to have the actor come out of a coffin that looks like a piano,” he says. “I don’t think of it as being myself.”

Byrne is here in Denver putting the finishing touches on “Theater of the Mind,” a sprawling project that’s part installation, part performance piece. It arrives only months after he wrapped “American Utopia,” the Broadway smash that featured him, bare footed and gray-suited, singing, dancing and delivering bite-size commentaries. The production won a Tony and set a house record for weekly ticket gross at the Hudson Theatre. As is typical for Byrne, the two pieces share almost nothing stylistically.

At 70, Byrne remains an original, a recognized rock star who is just as likely to publish a book of black-and-white sketches as make a new album. In a culture driven by nostalgia, he seems allergic to the easy repeat. Over the last decade, Byrne has created a musical about Imelda Marcos set in a disco, filmed a documentary on marching band color guards, collaborated on a record with St. Vincent, launched an online news issues magazine and appeared in “John Mulaney & the Sack Lunch Bunch,” a tipsy children’s special for which he wore a blue “Frozen” dress and confessed his fear of volcanoes. What he has not done is perform with his onetime band, Talking Heads. They last played together at their Rock and Roll Hall of Fame induction in 2002. Jerry Harrison, the group’s multi-instrumentalist, says that he’s given up nudging Byrne to reunite.

“There’s a lot of fans who would like to see us reform, so I’m disappointed we don’t do it,” he says. “But David has always said he never wants to do something just for the money.”

“Theater of the Mind” predates “American Utopia.” Byrne and Mala Gaonkar, an investment fund manager who is also a creative writer, have been working on some version of the show since at least 2015. The production costs $4 million with Byrne’s nonprofit, the Arbutus Foundation, supplying 15 percent of the budget. It is being presented with the Denver Center for the Performing Arts in 15,000 square feet of an industrial building. Byrne will not be part of the performances but several guides — some women, some men, but all going by the name David Byrne — will usher in groups of 16 people through seven rooms that represent a different stage of life. And even if the guide character shares some personal details with the actual Byrne, “Theater of the Mind” is not overtly autobiographical. The production, he hopes, will make you contemplate not his life but the ideas that drive it.

One of “Theater of the Mind’s” main themes is how people change. The idea is peppered throughout the script and it’s a subject Byrne and Gaonkar often discuss.

“What it feels like to us is that there's a continuity and we're the same,” Byrne says. “Oh yeah, I have maybe some different opinions now or I wouldn't do that anymore, but I used to do that. And then the more you think about it, the more you think, I may have the same physical body in some sense, but I'm a completely different person than I was however many years ago. There’s a real possibility that you really are a completely different person. That's profound.”

That’s about as close as Byrne will ever get to linking his personal life to his work. He has always resisted the idea of a straight memoir (“it would be too boring”) but is conscious of what it means to be a public person with brand recognition. It’s why he hesitated, at first, to use his name for the main character of “Theater of the Mind.” That currency can be useful, he concedes, but “I want to make sure that I’m not promoting me. I’m promoting the show.”

Fittingly, “Theater of the Mind” throws curveballs at those looking for breadcrumbs of Byrne’s real history. The script finds the guide talking about being 19 and taking a brainless job as a security scanner in Glasgow, Scotland, to support his art. But the real Byrne’s family moved out of Glasgow when he was 2. The guide’s mother, we learn, dabbles in painting and the prop department has provided a few of her wildly sexualized canvases. But it is actually Tom Byrne, the real Byrne’s late father, who painted as a hobby. The electrical engineer favored works done in the style of Henri Matisse.

“To me, it makes it more exciting thinking that it’s from David’s life because I respect David and I’m interested in sort of digging into that, whether or not it’s true or not,” says LeeAnn Rossi, who has worked with Byrne as a producer for a decade. “That’s kind of what the show is about anyway. What is real? And he’s been pretty clear and honest about sort of how he’s felt like he’s changed over time as a human.”

Byrne is polite and warm enough in conversation. If he doesn’t buy into a question, he doesn’t fake it and play along. He gives a quick response and waits for a subject that engages him more. He doesn’t invite probing into his personal life and tends to keep the chat going through data he’s gathered — about a place’s history, a study he read about in a magazine, or an innocuous question about your own habits. (“Did you do any cooking during the pandemic?”)

His manner, his clear lack of interest in confessionals can make it feel almost wrong to cheapen the conversation by going off the professional grid. (For the record, he divorced artist Adelle Lutz in 2004. They share one daughter and a grandson.) It also seems fruitless to push too hard to see where life merges with art. It somehow feels cleaner to leave that art open to interpretation.

It’s that type of abstract dislocation that made Talking Heads so effective. He created it with his avoidant eyes, that anxious voice, which sometimes seemed to be shouting that morning’s front page, and the jagged rhythms delivered through his Gibson 12-string. The songs were short stories, where characters discovered the holes in the American Dream (“Once in a Lifetime”) or merely tried to survive (“Life During Wartime”). And somehow Byrne managed to write one of the sweetest love songs of the 1980s (“This Must Be the Place (Naïve Melody)”).

A few years ago, comedian John Mulaney, a longtime fan, sent Byrne an email to tell him how much “Glass, Concrete and Stone” meant to him. The song, the opener on Byrne’s 2004 album, “Grown Backwards,” resonated when Mulaney began to take note of how early his father had to get up for work. He thought of it again when he started traveling intensely for gigs, waking before dawn for his next flight.

“And he wrote back,” Mulaney laughs, “and said, ‘It’s amazing how many songs I have about you.’ ”

This air of mystery also lets Byrne explore his own growth in a way that’s both public and private. Years ago, Byrne self-diagnosed himself as being on the autism spectrum. The suggestion came first from his friend, Darcy Lee , who ran a gift shop. She had watched the behavior others labeled odd or quirky. Huddling in the corner at parties. Disappearing from social events without a warning. One day, Lee was reading an article about Asperger’s syndrome.

“I’d never heard of it and she was just kind of like, ‘David, this is you,’ ” Byrne says. “She goes on to read about people who are fairly mildly on the spectrum. And I thought, I’m not totally that way now but a lot of those kinds of behaviors and feelings were things I totally got.”

When he was a boy, Byrne remembers a birthday party in which he simply hid in another room until it was over. And as Talking Heads found a first taste of stardom in 1977, his unapproachability came off as almost high theater — except that it was no performance. The stage, Byrne says, was the only place he could escape and feel free to express himself.

That feeling of being different began early. In Baltimore, where his family settled after emigrating — Tom Byrne, an electrical engineer, had been hired at Westinghouse — they lived in a relatively working-class neighborhood. But they got Scientific American magazine and went to political protests and art museums.

“The other kids in elementary school, they went to Ohio and thought that was really far,” says younger sister Celia Byrne, now an epidemiologist in Maryland. “We camped across the country and my parents felt like exploring America was important. We’d also go and visit relatives in Scotland.”

Music became an outlet. He played guitar. He experimented with loops and overdubs on a reel-to-reel tape machine his father set up. He kept playing when he got to the Rhode Island School of Design in 1971, eventually forming a band with classmates Tina Weymouth and Chris Frantz and former Modern Lovers keyboardist Harrison. For just over a decade, from roughly 1977 to 1988, they proved capable of playing anything: funk, electronics, world beat, or four-chord rock as they went from darlings of New York’s CBGB’s scene to one of the biggest rock bands in the world.

In “Theater of the Mind,” the guide Byrne talks to an earlier version of himself.

“Maybe we just see things differently,” he says. “Differently enough that maybe you and I aren’t the same person anymore.”

It’s easy to see how this line in particular might relate to Byrne. In Denver, he politely makes suggestions to his collaborators. In Frantz’s 2020 memoir, “ Remain in Love ,” he is a microphone-hurling hothead who rarely, if ever, gives anyone else credit. Byrne, who has not read the book, did not dispute the portrayal.

He talks of making 1984’s “Stop Making Sense,” the Jonathan Demme concert film of the band’s carefully choreographed road show. The Byrne who oversaw the production, with its detailed lighting cues and the appearance of his iconic, oversize suit, was not the soft-spoken “DB” found in the “Theater of the Mind” rehearsals. He says he changed, in part, after working on 1986’s “True Stories” film. That production taught him to learn to trust others and delegate authority. That could also help relieve the intense pressure he felt to make everything perfect.

“Before that I thought, ‘Nobody understands what I want to do,’ ” he says today. “I have to be the boss guy. ‘No, don’t do it that way. You’ve got to do it this way. No, you f---ing idiot.’ And I might have been right but you don’t have to deal with people that way. You can sort of include people and make them part of your vision or idea.”

Does he long to make peace with Frantz and Weymouth and try one final farewell tour? No. Byrne talks of feeling physically ill from the tension while the band was recording their final album, 1988’s “Naked.” He’s pleased to hear that Harrison, who he gets along with and has seen “American Utopia” on Broadway, has been exploring the 1980 Talking Heads record, “Remain in Light,” with a band that includes guitarist Adrian Belew. Of the anger directed at him by Frantz, he remains perplexed.

“Like I said, I know that I wasn’t the easiest person to work with,” he says. “But I guess a part of me just says, that was a long time ago. Can you just move on? Surely you’ve got better things to do.”

That Byrne has shied away from the expected has cost him fans in the past. Just after Talking Heads ended, he recorded “Rei Momo,” a masterful and danceable, Latin-inspired album that included Celia Cruz and Johnny Pacheco. On the ensuing tour, he played just two Talking Heads songs. Neither was “Psycho Killer” or the band’s lone, top-10 hit, “Burning Down the House.” A Latin-inspired album may not have appealed to the Patrick Batemans of the world, but at least it was music. Soon Byrne moved on to lectures centered on PowerPoint presentations. He published a book of photos. He began to show his art in galleries and museums.

The awkward, withdrawn art school kid somehow also became the grand collaborator who Pitchfork once described as someone who would partner with another artist if you promised him “a half-empty bag of Doritos.” “That wasn’t a compliment,” Byrne wrote in “ How Music Works ,” his 2012 book, “though, to be honest, it’s not that far from the truth.”

He made music with Fatboy Slim and Selena. He launched projects that allowed him to indulge his own curiosities. In 2016’s “Contemporary Color” film, Byrne wanted to create a new appreciation for color guards, the sabre-tossing crews that usually accompany marching bands. He recruited Nelly Furtado, Nico Muhly and public radio host Ira Glass for the project to collaborate with different color guards for a filmed performance. There is also Reasons to Be Cheerful , an online magazine that features stories written by Byrne and others about how problems, from disease spread to food shortages, were solved through new ideas.

The thread that runs through all of these projects is his desire to make art that people don’t immediately think of as art. Or to bring elements from one discipline or arena into another. In “American Utopia,” a production packed with familiar staples of his catalogue, Byrne took particular pride in collaborating again with choreographer Annie-B Parson.

“I’d worked with her for a while and really like her work and I thought, ‘These audiences would never go to one of her shows,’ ” he says. “You just move it into a different context and it takes on a whole different meaning. People can go, ‘Oh I get it now.’ ”

And something inside Byrne changed. He became more comfortable with himself, and in turn, his rock star past. He had the Asperger’s epiphany and learned to adapt, no longer needed to flee social settings. There would still be things he resisted — politely dismissing Mulaney’s suggestion he wear a “Stop Making Sense”-esque oversize suit jacket in the Netflix special, for example — but he also learned the joy he can bring by embracing some of his past. In “American Utopia,” the crowd would rise, dancing as soon as he began plucking the D string that marks the opening of “Burning Down the House.”

“Uplifting, exhilarating, thought provoking, poetic,” said actor Jude Law after seeing the show one night. “It’s very hard to capture that kind of joyfulness.”

In Denver, Byrne arrives for a recent rehearsal just before noon, wheeling through the back door of the factory space. There are no green M&M demands on his rider, but for this production he did require that his black Tern folding bike be shipped. (The last car Byrne owned was a Citroën that he drove in the late 1980s when he lived in Los Angeles.) The crew is already assembled, working out the kinks in the elaborate computer program meant to trigger effects in each room, talking through budget and audience projections, making updates to the script. When Byrne arrives, he first huddles with Charlie Miller, the executive director of the DCPA’s Off-Center program, and then with Gaonkar, who rolls in on a bicycle he rented her.

“Theater of the Mind,” which runs through Dec. 18, mashes the theatrical, audience participatory experience of a “Sleep No More” with a narrative of a life in reverse. There are perception-bending brain games, serious moments of contemplation and bits also meant to entertain. In one room, at an AstroTurfed staging of the David Byrne character’s 10-year-old birthday party, Lynyrd Skynyrd plays on a small radio as audience members don goggles and try to toss metal washers into an oddly elusive bucket. The activity says something about perception — the goggles were developed by a scientist at M.I.T. — but is also just simple fun. Byrne breaks into laughter as he watches the newcomers in the group discover how hard it is to throw a washer into the bucket. And then, after they’ve adjusted, how difficult it is to adjust back to “normal.”

“If you are worried that this change is permanent, that we have completely messed up your eyesight, I know I was, well don’t worry, just keep tossing the washers,” the guide tells the group.

Byrne is detail-oriented, keeping a pencil in his left hand to scribble notes on paper. He does not oversee as much as participate in the walk through, wanting to understand what it will feel like for an audience member. Over two days of observation, he never raises his voice, never snaps.

The weeks in Denver will end when “Theater of the Mind” gets running. Then Byrne will be onto his next project. His home remains Manhattan, where he works out of an office space that’s packed with old tapes, books and even an Oscar. (Best original score, “The Last Emperor,” 1987.)

In that space on a Tuesday in July, Byrne’s Ramis, a full-size bike he’s modified, is across from the door. Even on winter nights after “American Utopia,” he would emerge from the stage door, helmet strapped on, to head home on his two-wheeler. In Denver, I had asked to ride with him one morning to rehearsal but he had a problem with a wheel and ended up renting an electric scooter for the 3½-mile commute from his temporary apartment. He makes good on the rain check back in New York and we start out down Grand Street in the heat of the late afternoon rush hour.

Keeping up with him can be deceivingly daunting. On this day, he wore no helmet, only a Panama hat, and a pair of Mary Janes without socks. We scooted past convenience stores and a fish market, turned onto FDR Drive and the Con Edison power plant.

“I love the feeling of floating with the bike,” he says during the ride. “Not that I’m doing anything fancy. I love that I kind of have agency.”

I fumble with my phone at red lights, trying to record what he’s saying.

At one stop, he tells me how he had struggled to write music during the pandemic but now had a stack of lyrics on his desk, waiting for him to pick up his Quinto guitar and compose. I asked if he could ever leave New York. I imagined all of the activity, the noise, the action sparked his creativity. “I always tell myself, wouldn’t it be nice to live someplace a little less fast, a little less aggressive,” he says. “But I haven’t done it.”

Along the East River, we ride down the path next to the water. There are no more cars, but the pavement is congested with pedestrians and other bikers. Byrne doesn’t seem to notice. He flicks his bell occasionally, but most of the time he just weaves in and out like a slalom skier. I’ve put my phone in my pocket by this point, too focused on steering to ask more questions. He is up ahead, floating across concrete. I just want to make sure I can keep up with the man in the Panama hat.

An earlier version of this article misspelled Chris Frantz's name as Franz. This article has been corrected.

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• All setlist songs  ( 1348 )

Years on tour

• 2024  ( 2 )
• 2023  ( 7 )
• 2022  ( 84 )
• 2021  ( 85 )
• 2020  ( 45 )
• 2019  ( 97 )
• 2018  ( 144 )
• 2017  ( 2 )
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• 2015  ( 4 )
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• 2013  ( 2 )
• 2011  ( 1 )
• 2010  ( 2 )
• 2009  ( 102 )
• 2008  ( 55 )
• 2007  ( 3 )
• 2006  ( 6 )
• 2005  ( 17 )
• 2004  ( 129 )
• 2003  ( 1 )
• 2002  ( 33 )
• 2001  ( 97 )
• 2000  ( 1 )
• 1999  ( 2 )
• 1998  ( 42 )
• 1997  ( 65 )
• 1996  ( 1 )
• 1995  ( 3 )
• 1994  ( 118 )
• 1993  ( 11 )
• 1992  ( 99 )
• 1991  ( 5 )
• 1990  ( 25 )
• 1989  ( 49 )
• 1988  ( 1 )
• 1987  ( 1 )
• 1981  ( 1 )

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• "Uh-Oh"-Tour '92  ( 99 )
• American Utopia  ( 144 )
• David Byrne's American Utopia On Broadway 2019-20  ( 120 )
• David Byrne's American Utopia Pre-Broadway Engagement 2019  ( 18 )
• David Byrne's American Utopia on Broadway 2021-22  ( 157 )
• David Byrne's American Utopia: Unchained  ( 6 )
• Feelings  ( 104 )
• Grown Backwards U.S. Tour  ( 7 )
• Here Lies Love - Benefit for the Philippines  ( 1 )
• I RESPECT MUSIC Benefit Concert  ( 1 )
• Lazy Eyeball  ( 33 )
• Look Into The Eyeball  ( 71 )
• My Backwards Life  ( 1 )
• REI MOMO  ( 72 )
• Songs of David Byrne and Brian Eno  ( 151 )
• WFNX Block Party  ( 1 )
• Avg Setlist
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Average setlist for year: 2022

Note: only considered 22 of 84 setlists (ignored empty and strikingly short setlists)

• Here Play Video
• I Know Sometimes a Man Is Wrong Play Video
• Don't Worry About the Government ( Talking Heads  song) Play Video
• Lazy ( X‐Press 2  cover) Play Video
• This Must Be the Place (Naive Melody) ( Talking Heads  song) Play Video
• I Zimbra ( Talking Heads  song) Play Video
• Slippery People ( Talking Heads  song) Play Video
• I Should Watch TV ( David Byrne & St. Vincent  cover) Play Video
• Everybody's Coming to My House Play Video
• Once in a Lifetime ( Talking Heads  song) Play Video
• Glass, Concrete & Stone Play Video
• Toe Jam ( Brighton Port Authority  cover) Play Video
• Born Under Punches (The Heat Goes On) ( Talking Heads  song) Play Video
• Bullet Play Video
• Every Day Is a Miracle Play Video
• Blind ( Talking Heads  song) Play Video
• Burning Down the House ( Talking Heads  song) Play Video
• Hell You Talmbout ( Janelle Monáe  cover) Play Video
• One Fine Day ( Brian Eno & David Byrne  cover) Play Video
• Road to Nowhere ( Talking Heads  song) Play Video

Show Openers

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David Byrne on leaving Spotify and turning 70: ‘I think I am more optimistic now’

Talking Heads frontman speaks about his new song with Australian musician Montaigne, the bravery of Taylor Swift and why he feels hopeful for the future

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D avid Byrne has a night off. A tireless collaborator, the 69-year-old Talking Heads frontman has been especially busy recently, serving as the guest music editor of Harper’s Bazaar’s March issue, releasing a duet with Mitski and a new book titled A History of the World (in Dingbats), an illustrated meditation on life’s oddities. He is also performing his Broadway show American Utopia – adapted from the 2018 album and into the 2020 Spike Lee film – until early April.

Even a “night off” is a misnomer – he’s speaking to Guardian Australia from his home in New York, following an interview and performance on The Tonight Show. “It’s my night off, now that we’ve done a TV show,” he clarifies, checking his wristwatch. “It’s 8:30 in the evening here, so I’m probably going to go to a restaurant across the street, get myself some dinner and take a little tablet and read a book.”

Last week, Australian musician Montaigne announced Byrne as a guest on her new single, Always Be You . She was 19 when she first encountered his book How Music Works and his concert film Stop Making Sense, and was immediately drawn to his outlook. “I found those two texts so inspiring and they really transformed the way I approached live performance, at least as a body on stage,” she says.

“If I get it wrong, will I be left alone?” Byrne sings on the track, which draws inspiration from a routine by English comedian Daniel Kitson, in his show It’s Always Right Now, Until It’s Later. “ I really resonated with the part where he talks about how intimate/romantic relationships are really miraculous unions that have absolutely no right to work out,” Montaigne explains over email. “[Byrne and I spoke] about how you have to be willing to face that vulnerability when it confronts you.”

Byrne shared his perspective on the track – along with his thoughts on streaming platforms, wrapping up American Utopia’s landmark run, and his impending 70th birthday.

The lyrics to your verse in Always Be You touch on the bravery required to fall in love, and whether you’re content enough with yourself to do that. Do you feel like you’re still asking those questions, or have you found the answers?

David Byrne: I certainly don’t think I’ve found the answers. [Montaigne and I] did another song together called Gravity, and in both songs she seemed to be talking to her partner in a very blunt and honest way about their relationship – and then putting it out to the world. And I thought, wow, this is pretty brave. I don’t know if I could do that. But I know that feeling, when you’re not sure if everything’s working. It was very easy to put myself in that head and identify with that. I think it was very personal [for her] but for me it seemed very universal.

You wrote in 2013 that you’d pulled as much of your catalogue from Spotify as you could . I’m curious to know how your views on the platform have changed since then – if they have – especially in light of artists recently removing their work as a form of protest or bargaining.

A handful of mega, mega artists are doing really well, and many of the others – especially emerging artists – are having a tough time with it. There was definitely a period where I thought, “Oh, this is going to be tough for a lot of artists”, especially with Spotify’s “freemium” layer.

I watched as Taylor Swift went to Apple and said, “You can’t do this; you can’t have a freemium layer that will last forever.” And she – I mean, bless her heart – she managed to get them to [change their policy] . Which I think was brave for her and good for a lot of the rest of us.

It’s a very powerful bargaining chip an artist like her holds.

Yes, she does. We don’t all have that!

And now there’s been all these things about platforms having … let’s say questionable or controversial content [and] putting out misinformation or outright lies or … not exactly hate speech, but things that are making a lot of artists uncomfortable. And it’s pretty tough to do anything to help ameliorate that unless you’re a Drake or Taylor Swift, or those kinds of artists. It’s pretty hard for the rest of us to have influence.

You’ve been performing American Utopia since 2019, through some major global events . Now that you’re on the home stretch of its Broadway run, has your intention for the show changed?

I don’t know if my intention has changed, but the way an audience reacts changes all the time. When we were doing it in 2019 and early 2020, people were very anxious about the division in the country: “Who are we? Where are we going? What’s happening?” The show gave them some sort of hope, but it was also very emotional.

There’s a couple of lines where I quote a Dada artist who talks about war and nationalism, and immediately I can sense that the audience relates that to Ukraine. There’s this burst of applause. That’s what’s really interesting for me: you can kind of take the audience’s temperature. They react to different things depending on what they’re bringing in, what’s in their minds when they walk into the theatre.

As the world is shifting outside the doors of the theatre …

The world shifts outside! And they bring it in with them, then take what we give them.

When I watched the Netflix version of the show, I was really struck by your idealism, which is a trait I’ve generally associated with young people who haven’t yet experienced hard things. You’re turning 70 soon – are you more idealistic or optimistic than you were when you were very young?

I think maybe I am. It’s kind of an odd thing to say, given all that’s happening in the world. I have a little news web magazine called Reasons To Be Cheerful , and we report on people who are finding solutions to things in the world. That gives me hope that everything’s not going downhill; there are people who are not just shouting about something.

Over the years, I think my temperament has become more optimistic. I can, in some ways, convey that to an audience without telling them, without saying, “Be hopeful”. I can show them. By what we do on stage, who we are and how we work together, they see evidence that things can be different.

Do you have plans for your birthday? Do you enjoy celebrating it?

Oh no. No. I want to avoid it. I may go away. I may travel a little bit to get away from any obligations to have a party with friends or whatever. Just like, let me go away.

“I’m outta town!”

“I’m outta town! I’m sorry, I can’t do anything.”

Always Be You by Montaigne and David Byrne is out now (Sony)

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Tour Prague - Vienna - Budapest - Moscow - St. Petersburg

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Number of days: 16 Country/City: Czech Republic / Prague, Austria / Vienna, Hungary / Budapest, Russia / Moscow, St. Petersburg

During this tour, you will discovery five fascinating, imperial jewels! From the Schoenbrunn Palace in Vienna to the Kremlin and Armory Museum in Moscow, you’ll thrill at the sights and experiences on this sweeping, 16-day adventure!

1st day: Arrival in Prague. Accommodation. Folklore dinner evening. Meeting at the airport with the sign “ITBC“. Accommodation. Folklore dinner. Overnight in Prague.

2nd day: Prague city sightseeing tour.  After breakfast, our bus will pick you up for Prague City Tour. During this excursion you will see : Royal Palace, St. Vitus Cathedral, St. George Monastery and Golden Lane, Nerudova Lane, Lesser Town, Charles Bridge, Old Town Square surrounded by Old Town Hall with famous Astronomical Clock, Tyn and St. Nicholas Churches, Wenceslas Square with St. Wenceslas statue and National museum. Overnight in Prague.

3rd day: Karlovy Vary Tour. After you have breakfast, our bus takes you through the picturesque West Bohemian countryside to the situated in a beautiful wooded valley spa city - Karlovy Vary. Karlovy Vary is a world famous spa, known especially for its 12 thermal springs and both historical and modern colonnades. One of city sights you will visit is the glass exhibition at Moser factory. In addition to the curative waters you can also have delicious local wafers and traditional Becher liqueur produced from herbs. Overnight in Prague.

4th day: Prague - Vienna. Evening Dinner. We takes you to a wonderful voyage from Prague to Vienna. In the evening, we offers you to a welcome Viennese style dinner. Overnight in Vienna.

5th day: Vienna City Tour. After breakfast, we pick you up and drive around Vienna’s Ringstrasse, a leafy boulevard around the heart of the city and the location of many impressive buildings, such as the State Opera House, the Hofburg (Imperial Palace), the Museums of Fine Arts and Natural History, the Parliament, the Burgtheater, the City Hall and the University. The tour then continues to Schonbrunn Palace, the magnificent summer residence of the Hapsburg family lived e.g. Maria Teresia, where the highlight is a guided tour through the imperial apartments. A stop is also made at Belvedere Palace, the former summer residence of Prince Eugen, where the gardens offer a splendid view over the Vienna skyline. Overnight in Vienna.

6th day: Half day Vienna Woods excursion.  This excursion will show you the most beautiful sights of the southern part of the Vienna Woods. Passing the Roman City of Baden which is famous for its thermal springs, we drive through the romantic valley Helenental to the former Mayerling hunting lodge, where Crown Prince Rudolph with Baronesse Vetsera died tragically in 1889. In the Cistercian Abbey of Heiligenkreuz (1133) you visit the medieval cloister which houses the remains of the last Babenberger. Then, we pass the Höldrichsmühle and arrive at the Seegrotte. After a boat ride on the largest subterranean lake in Europe you leave the Vienna Woods and return to Vienna. Overnight in Vienna.

7th day: Vienna - Budapest. Hungarian Folk Evening Dinner. We takes you to a wonderful voyage from Vienna to Budapest. In the evening, we invites you to a welcome Hungarian folklore dinner. Overnight in Budapest.

8th day: Budapest City Tour. This morning we pick you up at the hotel and take you through beautiful Budapest, you will visit the impressive neo-gotic house of Parliament (home of the holy Hungarian crown) with guidance through the Splendid Boardrooms and Impressive Staircases. You cross the Danube on the Margaret-bridge (Margaret island) and drive to the Royal castle on the Buda side, where you visit the Fishermens' bastion and the Matthias church. After the Citadel you cross Elisabet -bridge and drive the City-park towards Heroes' sqare. Passing by the Opera and St Stephen's basilica. Overnight in Budapest.

9th day: Budapest - Moscow. Evening Dinner. After landing in Moscow you will have a meeting with our company representative with the sign „ ITBC “. In the evening, we are welcome you in typical Russian restaurant for the Russian style dinner. Overnight in Moscow.

10th day: Moscow City Tour. During this tour, you will see the main landmarks including Red Square, Alexander Gardens, Lenin’s Tomb, GUM Shopping Mall, the Cathedrals of St. Basil and Our Lady of Kazan, the State History Museum of Russia, New Convent, Poklonnaya Hill and Kutuzosky avenue, “White House”, Arbat area, the Garden Ring and the Boulevard Ring roads, the historical and cultural centre of Moscow, the Bolshoy Theater, the ex-KGB building, etc. Overnight in Moscow.

11th day: Moscow Kremlin tour . Sergiev Posad tour.   After breakfast, you will be taken out to see the main tourist attraction that shouldn’t be missed by any traveller – Kremlin. You will have an excursion at this wonderful architectural ensemble and discover 3 magnificent cathedrals and Armoury Chamber. In the afternoon, you will be driven to Sergiev Posad where the famous Monastery of the Holy Trinity (Troitse Sergieva Lavra) was established. It is a real must-see place because it possesses unique collection of Icons, monuments of Old Russian architecture. There you will have an excursion provided by our skillful guide and then have a coffe/tea break at a local area. Overnight in Moscow.

12th day: Tretykov Picture Gallery. Moscow - St.Petersburg train voyage.  This day of your travel in Russia has in store an exciting journey to the State Tretyakov Picture Gallery, the national treasury of Russian fine arts and one of the most interesting museums in the world. Later evening you will be transferred to the station and depart to St. Petersburg by overnight train.

13th day: St. Petersburg city tour. Evening Dinner. After accommodation in hotel, we welcome you for a city tour to enjoy of magical splendour of the architecture of the former capital of Imperial Russia, listening the history of the Romanov's dynasty and present day life of people. You will see overwhelming Palace Square with the Winter Palace, Russian museum, the famous Nevsky Avenue, the classical ensemble of Senate Square with its famous "Bronze Horseman", the powerful St. Isaac's Cathedral, the tip of the Basil's island, the first structure of Petersburg - Peter and Paul's Fortress, beautiful Nikolsky Navy Cathedral, the spire of the Admiralty, and many other architectural monuments, bridges and embarkments. Welcome dinner in traditional restaurant. Overnight in St.Petersburg.

14th day: Petergof and Hermitage. This morning, we will visit Peterhof, the former residence of Russian tsars. Your guide will show you beautiful palaces and museums, masterpieces of landscape design and gorgeous fountains. We will leave the city of Petergof to continue our tour in Hermitage to explore a rich collection of western European painting including the works of Leonardo da Vinci, Raphael, Titian, Rembrandt, Rubens, Matisse, Picasso and other outstanding painters. Overnight in St.Petersburg.

15th day: Tsarskoe Selo tour. This day, you will visit Tsarskoe Selo, the official summer Residence of the Russian imperial Court. Overnight in St.Petersburg.

16th day: Departure day.

Price includes:

• 15 nights accommodation
• 15 breakfasts, 5 dinners
• all transfers upon itinerary
• all excursions upon itinerary
• English speaking guide ( any other language is possible)
• train ticket Moscow - St. Petersburg
• fly ticket Budapest- Moscow

Price excludes:

• fly tickets to Prague and from St.Petersburg
• any additional service

Price: per person / in room / for package

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