David Byrne spent the better part of 50 years building his own wild and beautiful world of observational art pop. From his groundbreaking work with the
Talking Heads into a decades-spanning solo discography,
Byrne's songs have set intricate scenes from strange angles and used small, almost mundane starting points to explore larger feelings.
Who Is the Sky? is another collection of
Byrne's bright, narrative songwriting, elevated to new heights with smart orchestral arrangements from
Ghost Train Orchestra. The album follows
Byrne's 2018 LP
American Utopia, which was expanded into a Broadway show, and much like
American Utopia, the scenarios and characters laid out throughout
Who Is the Sky? are inspections of the fears, frustrations, hopes, and expectations of American society circa the 2020s. In typical
Byrne fashion, however, potentially heavy subjects are filtered through upbeat melodies and joyous instrumentation. The album kicks off with "Everybody Laughs," an anthem of universal commonalities driven by major-key acoustic guitar chords, hearty vocal harmonies, and eventually, a rich backing of strings, electro-acoustic percussion, and marching band instrumentation. It's a miniature carnival overflowing with life and positivity in the same way as some of
Byrne's most memorable tunes from over the years. "My Apartment Is My Friend" is a lighthearted tribute to
Byrne's home environment, with devotional lyrics humanizing the apartment supported by a stacked instrumental that moves through chamber pop,
Morricone-esque soundtrack styles, and abstract electronic experimentation.
Paramore's
Hayley Williams adds some guest vocals to the fever-pitched, ballroom-ready "What Is the Reason for It?," and
Tom Skinner, drummer of
the Smile, and
Byrne's longtime collaborator
St. Vincent also make contributions to the album. The character of
Who Is the Sky? is largely celebratory and playful.
Byrne taps into his penchant for the absurd on the silly storytelling song "I Met the Buddha at a Downtown Party," questions the present state of a weird art scene he himself helped create on "The Avant Garde," and marvels at the wonders of skin care with the somewhat ridiculous "Moisturizing Thing." It's an album of high-spirited grooves and vibrant arrangements, even when
Byrne is mulling over the perils of a modern age blighted by political division and technology that can be threatening as often as it is helpful. Much like the vast majority of his work, however, these songs are so fun, so triumphant, so full of life that it's easy to feel reassured by them, even when they investigate difficult realities. ~ Fred Thomas
