BYRNE GOES HIS OWN WAY, DISPLAYS HIS ECLECTIC TALENTS.

Byline: Rob Lowman Entertainment Editor

Early on in his set at the El Rey Theatre on Friday, opening act Joe Henry joked that the crowd should stick around and see David Byrne because ``he's really talented in his own right.'' Sure, the sold-out crowd knew that, but by the time the former Talking Heads headman finished his second encore, the audience had been given an ample display of Byrne's prodigious, eclectic talents.

Eclectic is always the operative word with Byrne. Even the choice of his final song - ``The Accident,'' from his new CD, ``Look Into the Eyeball,'' - showed how Byrne ultimately - for good or bad - goes his own way. While the crowd probably would have preferred some sizzling rocking oldie like ``Burning Down the House'' from the Heads days to end the concert and send them home bopping their heads, ``The Accident'' - with its downbeat dramatic tone - could fit into a Stephen Sondheim musical (that's a compliment).

Theatricality has always been an essential part of Byrne's music, no matter how many layers of polyrhythms he adds to his songs, which is why he has remained such an interesting and viable artist. Byrne's enthusiasm for world music often comes out in his own with the use of all kinds of drums and percussion - he's even written an entire song in Spanish, the bouncy ``Desconocido Soy'' (``Unknown, I Am''), for his new album, which he performed Friday. While sometimes he's been off the mark during his 10-year solo career with too much emphasis on the exotic, when he has balanced his own wry sensibilities with experimentation, as he has on ``Eyeball,'' his music can be exquisite.

Taking the stage wearing a navy blue gas station attendant uniform with the name ``Dave'' emblazoned on the front, Byrne looked like he was ready for just another workmanlike performance. Although he recently turned 49 and may have gray hair now, there is nothing old about him. He still has a wild, mischievous look in his eyes. With only bassist Paul Frazier backing him, Byrne began with the quirky ballad ``The Revolution'' from ``Eyeball.'' He then quickly added drummer David Hillard and percussionist Mauro Refosco, and throughout the evening gave the audience a taste of almost every facet of his career, including some classic Heads' songs like ``Once in a Lifetime'' and ``And She Was.''

He also dug into less well-known numbers like ``God Child'' from the film ``Blue in the Face,'' ``Sax and Violins,'' which he wrote for ``Until the End of the World'' and a tune from the music he composed for Twyla Tharp's dance piece ``The Catherine Wheel.'' About midway through the evening he added a six-piece string section. But rather than make the concert more formal, it only made it funkier as they added syncopated lines, especially on rhythmic new numbers like ``U.B. Jesus'' and ``Like Humans Do.''

Onstage Byrne was the whimsical, playful performer he always has been, occasionally stepping back to dance like he was on the end of a conga line. So in that respect - as the line from ``Once in a Lifetime'' goes - Byrne's show was the ``same as it ever was,'' which isn't bad. But to take a line from one of his new songs, ``The Great Intoxication,'' which asks ``Who's been working on his masterpiece?'' Clearly, Byrne has - it's a continuing process - and as long as he doesn't stop, we're in for good times.

Less than great acoustics at the El Rey marred Byrne's set a bit as it did for his opening act, Joe Henry, who has recently released a seductive new album, ``Scar.'' Henry's music may take a while to grow on you. While Friday's set had its moments (particularly the opening number ``Stop,'' which his sister-in-law Madonna had a hit with), it had too much of a sameness to it, which worked better on the CD. Hopefully, the audience will check out the album.

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Photo:

Midway through the El Rey appearance, a six-piece string section joined David Byrne.

David Sprague/Staff Photographer