David Byrne's American Utopia

It was quite some time ago that I attended a preview screening of "David Byrne's American Utopia." Since its release is approaching, here are my thoughts.

I first heard about Byrne's musical "American Utopia" in 2019, when the news broke about its Broadway debut. Given Byrne's talent, the idea seemed both inevitable and intriguing, and I hoped to see it if it ever came to Japan. However, the pandemic made me forget about it for a while, until I received an invitation to a preview screening of the film adaptation directed by Spike Lee. The screening was not in a preview room but at Cine Quinto in Shibuya, so I eagerly attended, which I believe was around the end of March.

Regarding Talking Heads, I missed their first visit to Japan, but I saw their concert in 1981. Remarkably, that was 40 years ago. This concert was part of the "Remain in Light" tour, featuring Adrian Belew and Bernie Worrell, which, in hindsight, was the best time to see them. Additionally, it was around the time Byrne's dance performance style was beginning to take shape.

After watching the film, I felt compelled to write about it and searched for similar live performances from that period. Unfortunately, there was no video from 1981 on YouTube, but I found and watched a live performance from Dortmund in December 1980 (https://www.youtube.com/watch?v=GQo1YK3I0BY). However, Byrne's signature dance moves were not fully developed yet. The concert I attended in February 1981 was part of the same tour, and in my memory, Byrne's performance was already quite prominent, etched in my mind alongside Adrian Belew's guitar. I distinctly remember mimicking Byrne's performance with friends, laughing at our attempts. It seems the timing I witnessed was the first full-fledged display of his live performance.

Reflecting on this, Adrian Belew did not appear in "Stop Making Sense" after the "Remain in Light" tour, making the second Japan tour the pinnacle in terms of both members and performance.

Going through my record collection, I found four albums from "More Songs" to "Speaking in Tongues," with the latter being a package by Rauschenberg that I bought later. I only bought records up to "Remain in Light" in real-time and listened avidly up to that point. Nevertheless, I also have the "Stop Making Sense" LD and the "Ilé Aiyé" LD box set (which is rare), indicating I followed them up until 1989. Unfortunately, I haven't kept up with Byrne's later Latin music projects under "Luaka Bop."

Thus, encountering Byrne's new work after 30 years was a significant experience for me. During this time, my tastes have wandered, but Byrne's music has remained within a certain range. His venture into Latin music shows his broad listening range, reflected in his detailed expression. However, Byrne's performance in this film did not make me feel the gap of 30 years. It was not an incomprehensible transformation but retained a certain consistency. That doesn't mean it was monotonous or dull. On the contrary, it showcased how much can be expressed within a limited range of styles.

Initially, I imagined something like Philip Glass's "Einstein on the Beach," expecting a completely new work. I held this belief until I watched the movie. The film began on this trajectory, but I noticed an audience's presence and Byrne's longer MC segments, which I didn't recall from past live shows. Realizing it was a live performance for an audience took me about 20 minutes.

From there, I enjoyed it as a live performance that included old songs, rearranged to fit the "American Utopia" concept. Byrne's extended MCs also contributed to the theme. Though this sounds cool and detached, the passion I felt was intense. It wasn't just nostalgic but felt relevant, affirming Byrne as a great artist representing his generation.

I don't know how much Byrne and Spike Lee collaborated on the structure and MC content, but Lee's direction was evident. Byrne's reference to James Baldwin was particularly notable, presenting a clear issue. Opinions might differ on whether the post-concert footage was necessary, but personally, it introduced me to Byrne's interest in cycling, prompting me to read his book on the subject.

In conclusion, "American Utopia" is an excellent music film. I'm curious about the reactions of Japanese music fans in their teens and twenties if they watch it.