How Music Works

Byrne begins by presenting an introspective perspective on the artistic process, emphasizing the significant influence of external context on creative output. Byrne challenges the conventional romantic notion of art emerging solely from an artist’s internal emotions, proposing instead that creation is often shaped and molded by the environment and format in which it is made.

Byrne begins by exploring how the physical characteristics of performance spaces impact the music played within them. He reflects on his experiences at CBGB, a club in New York, to illustrate how the venue’s acoustics and ambiance influenced the intimate and chaotic style and sound of the punk music that developed there. This idea is further illustrated by comparing CBGB to Tootsie’s Orchid Lounge in Nashville, a small country venue, showing how similar spaces led to different but structurally comparable (and equally loud) music styles despite the contrasting audiences of punk rock and country music. Byrne states, “I believe that we unconsciously and instinctively make work to fit preexisting formats” (13), highlighting his belief that artists subconsciously tailor their work to suit existing environments and expectations.

The chapter also discusses how different musical styles have evolved in response to their performance contexts. Byrne discusses the suitability of African percussion music to outdoor settings and contrasts it with the evolution of Western music in medieval times, which was heavily influenced by the reverberant spaces of cathedrals. He emphasizes the role of physical spaces in shaping art, asserting, “In a sense, the space, the platform, and the software ‘makes’ the art, the music, or whatever” (14). This perspective underscores the active role of the environment in the creative process, suggesting that spaces and platforms are more than just passive backdrops for artistic expression.

Byrne also examines technology’s impact on music, noting how the advent of recording technology and devices like phonographs and radios created new contexts for music consumption. This technological shift demanded that artists adapt their music to suit both live performance environments and recorded formats. He observes, “The performing musician was now expected to write and create for two very different spaces: the live venue, and the device that could play a recording or receive a transmission” (23). This insight reflects the complexities and challenges faced by musicians in an era when their art needed to traverse the realms of live and recorded spaces, each with its distinct acoustic and social characteristics.

Further, Byrne explores how the evolution of music is linked to changes in social behavior and audience expectations. He discusses the transition of jazz from its origins in lively social settings to its later presentation in concert halls, where it took on a more classical form. This shift captures the broader evolution of musical styles in response to their changing environments.

Music’s adaptability is not limited to human creations. Byrne draws parallels with the natural world, citing how birdcalls evolve to suit their environments. This comparison underscores the universal nature of adaptation in the creative process, extending beyond human artistic endeavors to the broader biological world. Byrne concludes that creativity in music is a responsive and adaptive process, a dynamic interplay between the artist’s internal world and the external environment.

Byrne offers a reflective journey through the evolution of his performances, weaving in personal growth, artistic influences, and the dynamic interplay between music and context. Byrne’s narrative begins in junior high school, where his participation in bands marked the early stages of his musical exploration. He juxtaposes his innate shyness with the exuberant persona he adopted on stage, a contrast that echoes throughout his career. This dichotomy became a pivotal point when he is later self-diagnosed with a “very mild” form of Asperger’s syndrome, as he finds paradoxical comfort in the spotlight: “Leaping up in public to do something wildly expressive and then quickly retreating back into my shell seemed, well, sort of normal to me” (32).

In art school, Byrne forayed into different musical and visual expressions that laid the groundwork for the eclectic and innovative nature of Talking Heads. The band’s evolution from a four-piece outfit to a larger ensemble is portrayed as a journey influenced by venues, audience expectations, and cultural explorations. Byrne reflects on how his exposure to African, Brazilian, and Japanese music and performance styles influenced his approach to live shows, challenging the Western norms of naturalism and spontaneity in performances.

A significant section of the chapter is devoted to the transformative “Remain in Light” Talking Heads tour in 1980. Byrne describes the process of expanding the band with additional musicians and incorporating African-influenced sounds, leading to performances that were both ecstatic and transcendent. This period marked a significant shift in Byrne’s performance philosophy, emphasizing the communal and spiritual dimensions of music. He reflects on the complexities and exhilarations of performing with a larger group—the band expanded from four to nine members on this album—highlighting how the live shows created an ephemeral utopia: “It was a living, breathing model of a more ideal society, an ephemeral utopia that everyone, even the audience, felt was being manifested in front of them, if only for a brief period” (49).

This chapter touches on ideas of authenticity and the performative nature of everyday life. Byrne discusses the inherent challenges of balancing artistic integrity with commercial realities and audience expectations. This is encapsulated in his rumination, “It was mathematics; when you subtract all that unwanted stuff from something, art or music, what do you have left? Who knows? With the objectionable bits removed, does it then become more ‘real’? More honest? I don’t think so anymore” (40). His reflections on the performative aspects of daily life, such as in political speeches or “security theater,” further expand the chapter’s scope. Byrne highlights how performance is woven into various facets of society, and he suggests that recognizing these elements can lead to a deeper understanding of how one interacts with and perceives the world around them.

In chronicling his performance history, Byrne touches on different performance styles and setups he has used in his career. In his explorations of new artistic territories, he has shifted from solo performances to leading a band and, eventually, orchestrating large ensemble performances. His experiences in Japan and Brazil expanded his musical palette and deeply influenced his understanding of performance as an art form that transcends cultural boundaries. This is also evident in his discussions about the integration of dance into his shows; he notes how contemporary dance, often perceived as inaccessible, can become widely appreciated when presented within the framework of a pop concert.