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As exceptional as "Psycho Killer" is, and as awesome as the the funky, calmer rhythm heard here than the version on Talking Heads: 77, it may be controversial to point out that Byrne's voice is weak is certain moments of this opening. (He did, at one point, claim that he didn't feel he had a great singing voice, and his school choir teacher rejected him for the choir for being off key.) Regardless, it's an unbeatable start, and you would be challenged to avoid bobbing your head along with him. Fortunately, there is not a bad song included for the remaining part of the show. The big ones are there, too—"Burning Down the House" and "Once in a Lifetime" being obvious examples—and whatever issues there are with Byrnes' singing voice, his writing skills more than make up for them, as he is the writer or co-writer of almost all of the songs featured in the concert.
One by one, Byrne is joined by other musicians. First, bassist Tina Weymouth joins him to sing "Heaven" in perfect harmony. Then, Chris Frantz and his energetic drumming show up for "Thank You For Sending Me an Angel." Next, Jerry Harrison comes out for "Found a Job." Once the four members are finally assembled, they are eventually joined by backing singers Lynn Mabry and Edna Holt, guitarist Alex Weir, keyboardist Bernie Worrell, and percussionist Steve Scales. The viewers, whether in the actual concerts or viewing at home or in the cinema, will all witness the large amount of fun everyone is having on stage; it is evident that all the performers are having a blast. Indeed, it seems like it was all a great cardio workout, as they're moving about and running in place so much that they're drenched in sweat by the end. It's a miracle none of them (particularly Byrne) collapsed halfway through the show.
There are other highlights worth praising, as well, chief among them Byrne's eccentricities, which are hard not to pleasantly smirk at. Another high point is when he takes a break, allowing Weymouth and Frantz to take the stage as their side project, Tom Tom Club, and their hit 1981 song "Genius of Love." This show is dripping with euphoria, despite what came after for the group. Talking Heads split up in 1991, about eight years after these filmed concerts. Weymouth recently discussed the pain of some of the band members' fights, saying, "Families do that. They don't just bite each other. They take chunks out. The beauty of it is, well maybe you don't forget, but you forgive." If there were tensions or fighting behind the scenes at the time of this tour, though, there is no evidence of it on stage.
One cannot discuss Stop Making Sense without mentioning one of the most joyous moments of the documentary: the big suit. This is the image of the film, the Kabuki-inspired suit that swings about as Byrne prances around the stage in an absurdist style to "Girlfriend Is Better" (which is where the lyrics "stop making sense" come from) that has likely lasted the longest and, one could argue, helped make it such a cultural success. Stop Making Sense was a undoubtable hit upon its release, with critics like Pauline Kael calling it "close to perfection." Future Oscar-winner Demme would go on to do two more concert films, with the other two featuring Neil Young and Justin Timberlake. The film was recently restored, remastered, and re-released by A24 this past September. This re-release marked the band's first reunion since they were inducted into the Rock and Roll Hall of Fame in 2002.
There are individual moments that I quite liked, which I've already mentioned. Holistically, it stayed with me less than I had hoped it would have. Concert films are among the kinds of films that provoke the least amount of interest in me, as I always prefer to simply listen to the music of the performers than watch a recording of their concert, and I've never been a concert-goer. (As a matter of fact, I think only the second concert film I ever saw was the 2020 Spike Lee-directed American Utopia of Byrne's Broadway concert.) Therefore, I can only say that I wasn't in love with Stop Making Sense as a film experience, just as I wasn't in love with American Utopia or Beyoncé's Homecoming or probably any other future concert film I will see. One complaint I have is that Demme didn't seem to add much or a personal voice to the project as Lee had with American Utopia.
I don't mean to criticize this approach too much. Demme never had a specific consistent voice like Lee has had, and his camera helped capture so many different emotions and elements to the successful show. But the film is credited as a film by Jonathan Demme and Talking Heads, and yet the latter comes across as more of the auteurs in command. (Byrne even designed the stage lighting himself.) These complaints are a bit of nitpicking. Those who do adore concert films will likely love this one, as it is commonly regarded as one of the best, and it goes without saying that it is required viewing for fans of Talking Heads. It is also that good of a show that those who are unfamiliar with their music will likely enjoy the ride.
Note: I made this list in 2020. Some of the numbering would likely be different if I were to do it again today.
49. Totally Nude
48. People Like Us
47. Dream Operator
46. No Compassion
45. Papa Legba
44. Moon Rocks
43. Paper
42. Mr. Jones
41. Girlfriend Is Better
40. Puzzlin' Evidence
39. Swamp
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