![]() Interestingly, it often seems like we hear more of Freedia's contributions on songs by other artists rather than his own solo work, though he doesn’t only partner with others! ![]() Through his own tracks and numerous collaborations, Freedia has played a crucial role in bringing bounce to the mainstream. Going out of his way to cover the song at the tail end of a show inspired by utopia is a powerful and self-aware acknowledgment that even aspirational utopias are unevenly shared, and there is still a long way to go and much difficult work to be done before we come close to achieving one.īig Freedia is one of the leading figures in the energetic and electronically-driven genre of bounce music–not to mention one of the most unique LGBTQ musicians out there. A call-and-response song with a heavy beat, it fits neatly with the aesthetic sensibility of the show, but it is far more striking for what its inclusion implies about the project’s worldview. Towards the end, Byrne includes a rendition of “Hell You Talmbout,” covered with Janelle Monáe’s blessing, as he makes a point of noting. The easy coexistence of newer and older material sets the album up as more of a culmination of a career spent observing the world around him than a simple retrospective. Vincent, is another highlight that easily fits into the catalogue with its wry, cheerfully dystopian mood. “I Should Watch TV,” from Byrne’s 2012 collaboration with St. The inclusion of several Talking Heads recuts in the live show might have something to do with their crowd-pleasing qualities, but more obscure material like the 2008 deep cut “Toe Jam” would seem to indicate that Byrne wants us to be interested in what he is interested in, popular or not. David Byrne: American Utopia - Photo: Matthew Murphy Among the tracks given a recut is “Road to Nowhere,” the Talking Heads’ upbeat take on impending doom, already heavily percussive and covered so faithfully that it might as well have been written for the show. The tracks from American Utopia bleed seamlessly together with the non-album songs, likely a reflection of Byrne’s own continued preoccupations over the years. Given its selection of songs from a decades-long span of time, the cast recording is remarkable for its cohesion. Always a fan of percussion, Byrne’s initial idea for the show was to perform with an entire group of drummers, and these percussive elements are at the heart and soul of the show.Ĭlub Q Shooter Sentenced to Life in Prison Even in the form of a cast album, divorced from the visual spectacle and the physical presence of the musicians, the songs demand attention. An ensemble of 11 musicians accompanies Byrne on a mostly bare stage, untethered and unencumbered in theory, but moving according to tight choreography, reflecting his admitted obsession with marching bands and color guards. ![]() Songs from the album are only a small part of the live show’s catalogue, as Byrne mines his career right back to the Talking Heads, including new takes on “Road to Nowhere,” “Blind,” and “Burning Down the House,” along with a scattering of post-Heads, pre- Utopia work for good measure.Īs a live show, American Utopia on Broadway is by all accounts bizarre and stunning. ![]() The live show may share its name with his latest release, but it there is far more to it than that. Byrne has been a thoughtful observer of culture and society for his entire career, but comes together spectacularly on his latest project, American Utopia on Broadway (★★★★☆). Endlessly creative and curious, there is no denying Byrne is an acquired taste, but if a listener is willing to take him on his own terms, they get a glimpse into his hyper-observant mind and probably come away looking at the world differently. David Byrne: American Utopia - Photo: Matthew MurphyĪs contenders for Broadway cast albums go, a David Byrne album is an unlikely one, and the results are about as strange as you might imagine.
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