David Byrne Who Is the Sky?

Critic's Take

David Byrne keeps his peculiar charm intact on Who Is the Sky?, and the best songs - notably “When We Are Singing” and “A Door Called No” - reveal a renewed popcraft and warmth. The reviewer's voice praises the album's buoyant, commercial sensibilities while noting occasional missteps, yet continually returns to moments of genuine feeling. Byrne's ability to blend genres and inject humor and pathos, from the Mariachi-touched “What Is The Reason For It?” to the wistful “I’m an Outsider”, makes these the tracks fans will call the best songs on Who Is the Sky?.

Key Points

• The best song is “When We Are Singing” because it efficiently fuses ideas, tempos, and genres into a succinct, successful hybrid.
• The album's core strengths are Byrne's genre-blending popcraft, buoyant arrangements, and moments of genuine pathos and humor.

Themes

Critic's Take

David Byrne leans into sunny routines on Who Is the Sky?, and the best songs - “Everybody Laughs” and “She Explains Things to Me” - show why. The opener “Everybody Laughs” is a sugarbomb keynote, aggressive in its happiness and impossible to ignore. At its gentlest, as on “She Explains Things to Me”, Byrne finds transcendence in small domestic pleasures. Yet the album’s relentless gaiety too often reads as platitude, so the best tracks are the ones that retain a sliver of tenderness amid the cheer.

Key Points

• The best song, “She Explains Things to Me,” captures Byrne’s tender celebration of mundane pleasures with genuine warmth.
• The album’s core strength is its vivid, colorful pop that spotlights human interaction, though relentless cheer can feel platitudinous.

Themes

Critic's Take

David Byrne sounds like the same inquisitive outsider here, and on Who Is the Sky? the best songs - notably “Everybody Laughs” and “When We Are Singing” - stitch world-music color with an affecting humanism. The opener “Everybody Laughs” is praised as the best offering, its off-kilter horns and popping percussion making it joyous. “When We Are Singing” and the headbopping “Don’t Be Like That” continue the communal motif, while quirky cuts like “Moisturizing Thing” and “The Avant Garde” show Byrne’s playful weirdness. The record’s polish and grooves keep most complaints at the fringes, letting these top tracks shine.

Key Points

• “Everybody Laughs” is best for its joyous, humanistic spirit and vibrant, off-kilter instrumentation.
• The album’s core strengths are Byrne’s consistent vocal delivery, polished art-pop production, and playful, worldly weirdness.

Themes

Critic's Take

David Byrne’s Who Is the Sky? often delights in its sunny, mock-calypso arrangements yet feels curiously at one remove, as if his sly observations are being broadcast through gauze. The review keeps returning to the buoyant highlights - “Everybody Laughs” with its mortality-aware cheer and “My Apartment Is My Friend” where he serenades his abode - which best show how Byrne’s deadpan persona can carry both wit and warmth. At times, though, tracks like “When We Are Singing” reveal his vocals skidding wilfully flat, making the irony land unevenly rather than land hard. Ultimately the best tracks on Who Is the Sky? are those where the jaunty instrumentation and Byrne’s observational voice converge into small, sharp pleasures rather than grand statements.

Key Points

• Everybody Laughs is best because its buoyant music still acknowledges mortality, giving the song unexpected emotional weight.
• The album’s core strengths are inventive, jaunty arrangements and Byrne’s sly observational lyricism, though a gauzy distance limits emotional impact.

Themes

Critic's Take

David Byrne sounds at his most amiably eccentric on Who Is the Sky?, which is at its best when he is simply being himself and reveling in oddball narratives. The opening pair “Everybody Laughs” and “When We Are Singing” land as rich, joyous highlights that show how the Ghost Train Orchestra helps turn demos into a patchwork of infectious pop. Hayley Williams's duet on “What Is the Reason for It?” is a sultry diversion, albeit one that leans into Dean Martin's world more than Byrne's. Read as a whole, the album's collaborative textures often pay off, making these among the best tracks on Who Is the Sky?.

Key Points

• The best song(s) are the opening one-two - “Everybody Laughs” and “When We Are Singing” - for their rich, infectious arrangements.
• The album's core strengths are its collaborative, playful arrangements and Byrne's eccentric lyrical character.

Themes

Critic's Take

David Byrne sounds like an amused, plainspoken public intellectual on Who Is the Sky?, and the best songs - notably “I Met The Buddha at a Downtown Party”, “The Avant Garde” and “She Explains Things To Me” - show him mining memoir, wit and tenderness with giddy craft. Hermes’s ear for character-driven, role-play songwriting makes “I Met The Buddha at a Downtown Party” a bouncy comic highlight, while “The Avant Garde” is deliciously bitchy and theatrically pointed. The album’s love songs, especially “She Explains Things To Me”, reveal Byrne’s vulnerability beneath the persona, and together these tracks make the record feel like an invitation to sing and laugh along.

Key Points

• The best song is lively role-play like “I Met The Buddha at a Downtown Party”, where Byrne’s storytelling and comic timing land strongest.
• The album’s core strengths are memoir-driven lyrics, theatrical role-playing, and a blend of humor with tender love songs.

Themes

Critic's Take

David Byrne returns with Who Is the Sky? and the best songs - particularly “Everybody Laughs” and “The Truth” - trumpet the album's joyous, melodic highs, with St Vincent's and Byrne's voices soaring over marimba and deft arrangements. The record often sounds fantastic: Mariachi brass, 40s-Hollywood strings and Cuban-clave rhythms enrich tracks such as “What Is The Reason for It?” and “Don't Be Like That”, yet the jokey lyrical tone sometimes undercuts the ambition. Still, songs like “When We Are Singing” and “I'm an Outsider” show Byrne's gift for marrying playful textures to strong melodies, leaving the listener hopeful that live performance could elevate these tracks further.

Key Points

• The best song, "Everybody Laughs", is best for its climactic duet, melodic strength and joyous arrangement.
• The album's core strengths are inventive arrangements, melodic clarity and successful genre-mixing that often sound fantastic despite occasionally jokey lyrics.

Themes

Critic's Take

The best songs on Who Is the Sky? are the ones that let Byrne revel in communal joy and oddball storytelling, especially “Everybody Laughs” and “Don’t Be Like That”. Eric R. Danton’s review emphasizes how opening salvo “Everybody Laughs” explodes with strings, brass and marimba, making it an immediate standout. He also praises Byrne’s vocal abandon on “Don’t Be Like That”, where a polyrhythmic Bo Diddley pulse and scat vocals practically dare you not to sing along. The collaboration-driven arrangements and recurring love themes make these tracks the clearest answers to queries about the best tracks on Who Is the Sky?.

Key Points

• “Everybody Laughs” is best because its exuberant arrangements and guest vocals crystallize the album’s communal joy.
• The album’s core strengths are Byrne’s expressive vocals, playful storytelling, and buoyant, danceable arrangements.

Themes

Critic's Take

David Byrne returns with Who Is the Sky?, a whimsical, story-driven record where the best songs - notably “Everybody Laughs” and “What Is The Reason For It?” - distill his curious, celebratory voice. The opener “Everybody Laughs” feels like Byrne at his most joyous, a triumphant marching-band groove that underlines why it stands out. “What Is The Reason For It?” benefits from Hayley Williams's distorted croons and a thumpy, mariachi-leaning pulse, making it one of the album's most arresting tracks. Scattered vignettes like “I Met The Buddha at a Downtown Party” and “Moisturizing Thing” reinforce Byrne's knack for charmingly odd storytelling, keeping the album lively and consistently engaging.

Key Points

• The best song is “Everybody Laughs” for its joyous, triumphant marching-band groove and curious lyricism.
• The album's core strength is Byrne's whimsical, story-driven songwriting and playful collaborations that keep the record engaging.

Themes

Critic's Take

David Byrne continues to revel in theatrical songcraft on Who Is the Sky?, and the best tracks - “Everybody Laughs” and “When We Are Singing” - capture that buoyant, sing-along joy with Ghost Train Orchestra’s full arrangements. He also finds tender invention in “She Explains Things To Me”, a McCartney-worthy melody that underlines Byrne’s surprise capacity for warmth. Even when a conceit falters, as on “I Met The Buddha At A Downtown Party”, the record’s effervescence and rhythmic verve keep it engaging. This is an album intent on making people feel good, and on those terms it largely succeeds.

Key Points

• The best song(s) combine theatrical arrangements and sing-along simplicity, making “Everybody Laughs” the album’s most immediate triumph.
• The album’s core strengths are Byrne’s playful theatricality, strong arrangements by Ghost Train Orchestra, and concise, joyous pop songwriting.

Themes

Critic's Take

David Byrne arrives on Who Is the Sky? still delightfully nerdy and awkward, indulging curiosities that yield clear best tracks like “The Avant Garde” and “A Door Called No”. Joshua Mills writes with fondness for Byrne's oversized presence, praising the lurching, spacious mission-statement chorus of “The Avant Garde” and the rootsy, triumphant build of “A Door Called No”. The record's highs - jaunty opener “Everybody Laughs” and the marimba-led “My Apartment Is My Friend” - justify Byrne's freewheelery even when lesser, twee moments sag. Ultimately Mills frames the album as a joyous, veteran artist reckoning with pop and eccentricity, making these songs the best evidence of that turn.

Key Points

• “The Avant Garde” is the best song because it crystallizes Byrne’s mission-statement chorus and trademark yelp into a spacious, standout track.
• The album’s core strengths are its playful art-pop experimentation, strong collaborations, and joyous, veteran eccentricity despite occasional indulgences.

Themes