Review of David Byrne: Live At The Union Chapel

Introduction

Recorded live at London`s Union Chapel in December 2003, this intimate set finds the ex-Talking Heads front man in remarkably relaxed form.

I remember being completely captivated by the Talking Heads when hearing their debut in 1977, entitled, curiously, `Talking Heads `77`. It was difficult then to categorise the sound and it fell by default into New Wave, though there were few similarities with their punky peers at the time. In truth, Talking Heads had more in common with other New York based `art` bands like the Velvet Underground or Television, though their music had a uniquely jagged rhythmic quality which became a defining hallmark of their sound.

Of course, David Byrne`s vocal style and his naïvely intense lyrics (hear Psycho-killer for example) were what made them truly interesting and may be the secret to their enduring popularity.

And they always cut the mustard live too. `The name of this band is the Talking Heads` is, in my opinion, one of the greatest live albums of all time, with its paired down, effects-free sound that still sounds as fresh today as it did on its release in the very early eighties.

And then they really hit gold with the release of `Stop Making Sense` in 1983 which was not only a great live album but which was filmed on 35mm and enjoyed a successful theatre run too. It remains a top-selling DVD to this day.

So here he is again. A little older, but looking in fine shape, and clearly enjoying trawling through both the Heads and solo archives for a wide-range of material for this particular outing.

It`s all here. From paired down, simplistic versions of classic songs, to ambitious pseudo-classical re-workings using just orchestral strings as a backdrop for his unique vocal delivery, to the classic pop-funk sound that typified the Talking Heads. And of course there are wildly percussive Cuban-influenced pieces too, played superbly and delivered with an energetic gusto at odds with the austere surroundings of the Chapel.

Here`s a man so confident with his oeuvre that he`s even prepared to cover Whitney Houston`s `I want to dance with somebody` - and make it sound fun, in a post-modern, ironic kind of a way.

Strangely, the audience seem very much like a congregation, worshipping at the Church of Byrne, and the whole gig is almost devoid of any rock `n roll style lighting. You can clearly see daylight through the windows at the sides of the stage area so this was no midnight mass.

Despite all this, it works brilliantly. The musicianship is superb and the performances spirited. And whilst Byrne may not have (technically) the finest voice in the world, he sounds just great here.

The gig is broken up on occasion with interview segments that continue the relaxed and intimate feel of the performance. It`s also nice to hear that he seemed as bemused as anyone that `Lazy` (a very recent dance hit for him) was so successful. But he`s not complaining either!

Below is a track-list, though be warned - many of the numbers have had a radical re-working, though all still great!

(Nothing But) Flowers
And She Was
Once In A Lifetime
God`s Child
The Great Intoxication
Un Di Felice
The Revolution
Sax and Violins
This must Be the Place
What A Day That Was
Like Humans Do
U.B. Jesus
Life During Wartime
Lazy
I Wanna Dance With Somebody
Ausencia
The Accident
Road To Nowhere

Video

Very nicely recorded Digital Video. The picture quality is superb (though clearly video) and the direction of the multi-camera crew just perfect. There are no sweeping `over the audiences heads` techno-crane shots but then this just isn`t that kind of a gig.

Audio

Live recording has really come a long way. Either that or there`s been some major post-production on this. It`s absolutely stunning. The 5.1 surround is used tastefully to recreate a sense of separation between instruments and it`s really very impressive.

Features

None. Other than a few interview segments though these are cut into the main feature. But this is a good long performance and anything more would be superfluous.

Conclusion

For both long-time fans as well as those who know Byrne principally on the back of his most recent hit (`Lazy`) this intimate performance is bound to delight. Byrne covers much history here, and is impressively adventurous in his approach - veering from solid pop-funk to cuban rhythmic meltdowns, to pseudo-opera and ballads set against a sea of strings. But it all sounds like parts of the same set and provides one of the most entertaining musical outings I`ve seen in a long-time. Even in the distinctly non-rock `n roll setting of the Union Chapel, devoid of much of a light show or lasers, with a very small `congregation` as witnesses to the event, Byrne is able to completely captivate from start to finish. Thoroughly recommended!