David Byrne & St Vincent, Royal Concert Hall, Glasgow

Photo: Michael Gallacher
David Byrne was never going to turn into a ‘Legacy Act’, peddling the hits to an audience of ageing fans and retreating into old glories. On the contrary he continues to be one of the most accomplished, exciting, entertaining and engaging musicians in the world. Like his contemporary, that other serial collaborator Elvis Costello, he plays by his own rules and continues to produce intriguing music and fresh performances.

To begin, brass instruments litter the stage, glinting in the spotlights. A voice comes over the PA – it is David Byrne himself letting us know that while we’re welcome to photograph and record the show, he’d like to discourage those who might block the view of others by spending the show with a gadget in front of their faces. Then Byrne, with his distinctive shock of white hair appears on stage accompanied by Annie Clark, whose peroxide bob makes her stand out among the band, a ten piece playing horns, keyboards and drums.

The brass ensemble lay a loose funk for ‘Who’, the first of many tracks from last year’s acclaimed album ‘Love This Giant’. Clark, slight behind her electric guitar, channels her distortion to match the blare of horns. Byrne characteristically jerks in time with the flawless arrangements, while Clark skitters in high heels like a broken clockwork ballerina and the band are as tight in their playing as in their choreography.

As St Vincent’s ‘Save Me From What I Want’ is followed by Byrne’s Brian Eno collaboration, ‘Strange Overtones,’ it’s clear this is an expertly honed show, the band as precise as the vocal harmonies of the two singers. ‘I Am An Ape’ even gives Byrne room to try out some tap dancing moves.

Talking Heads’ ‘This Must Be The Place’ pleases a crowd familiar with Byrne’s long career. ‘Ice Age’ sees him pick up a cornet of his own to join the band - all the songs seem born to be performed by a brass band, not just the shining tunes of ‘Love This Giant’.

Introducing all the players takes a while; Clark dubs the white-clad Byrne “the arch-angel of absurdity” and he carefully name-checks each band member’s other projects – best band name of the evening is a close-run thing between the French Horn’s post-feminist Genghis Barbie and the trombonist and his Intergalactic Hipster Orchestra. Sax, Trumpet, Flugelhorn and Sousaphone complete the line up. The near perfect sound balance, vocals audible over the forceful brass, is a credit to both their crew and the symphonic acoustics of the hall.

‘Wild Wild Life’ becomes a cavalcade of karaoke with each musician taking a line as they pass the mic. ‘Cheerleader’ ends with everyone lying down, providing a segue into ‘Lazy’ - Byrne’s 2002 dance hit, translated here into a joyous disco march. It really shouldn’t work but becomes tremendously effective and entertaining, likewise ‘I Should Watch TV’ and St Vincent’s ‘Champagne Year’ have typical poise.

The delicate ‘Space & Time’ is dedicated to the Higgs Boson Particle, and makes a touching finale to the main set. After a full five minute ovation, the band return for St Vincent’s ‘Cruel’, the brass riff giving new dimension and weight without losing the song’s pop sensibility. The invincible ‘Burning Down The House’ has the whole crowd on its feet and finally another encore of ‘Road To Nowhere’ turns the band into a secular Salvation Army, a stomping hymn to end a stunning show.