Why David Byrne’s Dazzling ‘Who Is the Sky?’ Tour Is Essential: Concert Review

David Byrne, a quietly revolutionary force in music for five decades, continues to redefine the live experience with his "Who Is the Sky?" tour. The tour, supporting his eleventh studio album, launched with a four-night engagement at New York's iconic Radio City Music Hall. While his celebrated "American Utopia" show was a notoriously tough act to follow, the 73-year-old artist has conceived yet another visually and sonically inventive production. This new show generously blends classic hits with fresh material and deep cuts, all delivered with a completely new stage concept that proves his creative well is far from dry.

The core mobility of the "American Utopia" show remains, with the entire band and five new dancer-singers in constant, intricately choreographed motion, all dressed in light blue. However, the presentation is wholly fresh, dominated by a massive, curved video screen that transforms the atmosphere for each song. For "Naïve Melody (This Must Be the Place)," the stage becomes a serene forest; "Houses in Motion" immerses the audience in a blur of nighttime city traffic; and "My Apartment Is My Friend" offers a literal tour of Byrne's own stylish New York apartment. Byrne, a founding member of the seminal band Talking Heads—whose groundbreaking 1984 concert film "Stop Making Sense" is considered one of the greatest of all time—deliberately fades into the ensemble to highlight his fellow performers, a democratic approach he has championed.

The setlist is a masterclass in balancing audience expectations with artistic progression. Byrne avoids a simple nostalgia trip, instead weaving a tapestry of his vast catalog. The concert opens with a stunning, stripped-back acoustic version of 1979's "Heaven" before alternating between Talking Heads favorites, reimagined or familiar, and newer works like "Everybody Laughs." The show builds through a mid-set focus on the new album, punctuated by surprises like a cover of Paramore's "Hard Times," before culminating in a rousing finale. This includes a blistering "Psycho Killer," absent from the "Utopia" show, and a driving "Life During Wartime" that concludes with provocative projections from recent anti-ICE demonstrations.

Throughout the performance, Byrne makes subtle yet potent political commentary. The most direct statement is a giant "MAKE AMERICA GAY AGAIN" banner paired with a modified "No Kings" logo. The main set closes with an explosive rendition of "Once in a Lifetime," which begins with an unfamiliar, celestial arrangement before erupting into its recognizable groove amidst a sensory overload of orange light and frenetic, Nine Inch Nails-inspired visuals. The two-hour-plus performance is a testament to Byrne's enduring stamina, as he sings, plays, and moves with an energy that would challenge artists half his age.

The tour continues across North America for the next two months before heading to Australia, New Zealand, and Europe in the new year. The encore fittingly features two house-themed tracks: the new "Everybody's Coming to My House" as a brief respite, followed by the timeless "Burning Down the House" to send the audience off on a high note. For both dedicated fans and casual observers, this is a live event not to be missed.