Andrew Bird

Appropriately enough, Noble Beast, the latest recording by Chicago’s Andrew Bird (on tour with Loney, Dear), boasts some notably avian moments: “Fitz and the Dizzyspells” is among the tracks that feature whistling, and “Masterswarm” includes simulated birdsong that may or may not have been created by a theremin. But Bird...

By Michael Roberts

February 26, 2009

Audio By Carbonatix

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Appropriately enough, Noble Beast, the latest recording by Chicago’s Andrew Bird (on tour with Loney, Dear), boasts some notably avian moments: “Fitz and the Dizzyspells” is among the tracks that feature whistling, and “Masterswarm” includes simulated birdsong that may or may not have been created by a theremin. But Bird doesn’t treat these elements as aural novelties. Rather, they’re incorporated in a sound design that’s often busy but never feels overcrowded. The melodies lope along breezily, requesting attention instead of demanding it, and Bird seldom raises his voice. He warbles far more often than he belts, rightfully confident in the allure of subtlety, and his lyrics display a verbosity and intellectual curiosity befitting song titles such as “Tenuousness” and “Nomenclature.” Not that his material is entirely benign. Although he declares in “Oh, No” that “we are harmless sociopaths,” his tunes are more than capable of leaving a mark — and of taking flight.
Thu., Feb. 26, 8 p.m., 2009

Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

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