Wham Bam, Thank You, Ma’am! is more like it. David Messier neé Starbuckle is one whirlwind of a performer who cannot be cornered by genre, style, or visual sensibility. He’s a songwriter, multi-instrumentalist, artist, and record producer. I am afraid to say before the screening of this debut film, I had not heard of the artist. What was I missing?
I’ll tell you what I was missing. A guy who hailed from Boston with a sly sense of impunity towards modern culture, particularly 20th-century pop cultural icons. The clever release of his latest LP was thoughtfully created as modular video clips, each with its own mini-story and wild electric 1960s Yellow Submarine type of visuals, all strung together into this film Bang! It’s David Starbuckle: The Movie. Like Pop-Eye done in a 1920s vaudevillian style, or when homage is paid to Austin’s slacker lifestyle (think David Linklater) as depicted by two women and a guy drinking Tequila poolside in daylight), the mimicry orange Muppet in a dazed scenario, and the phrases, such as “Heavens to Betsy!” – an old-fashioned expression indicating surprise or astonishment popular from the 1870s to the 1950s. You’d get it if your parents or grandparents were born in the Silent Generation.
In between each number, Starbuckle silently introduces the next song by raising its hands to indicate which number is coming. For me, #7 “No One Can Stop Me” had a penetrating, hypnotic effect visually and musically. A goldish curtain with a line of static frequency down the center that moves to the sound almost put me in a trance, but just before I nearly went somewhere else, my pizza fell on my lap, jolting me back to the screen. Yet my vote for the best song goes to the last one, #10, “O Superman.”
I think it is anathema to an artist’s development to pigeonhole them by musical style, and these days, there are hundreds of niches, so why bother at all? But suppose you’ve never heard an artist before and are curious about what general category their music falls into. In that case, I’d prefer to describe David’s style as somewhat akin to these artists: Tom Petty, Dire Straits, a hint of rebelliousness a la Ramones, a little ELO, some female backing vocal wails similar to those in Pink Floyd’s “Dark Side of the Moon” and you might say “and where does that leave us, the listener? “
And I say in a place without space or time.
Starbuckle’s musical style is, in his words, “fun.” Here’s a sample https://open.spotify.com/track/5FpBkwQjKelA4lpE1nVC48
Behind the Scenes
In bringing the film to life, filmmakers Curtis Pollock, Kent Shinnick, Alejandro Hendricks, Alexandra Bugg, Stella Yrigoyen, and Starbuckle have crafted unique narratives for every song, weaving together a rich, thematic tapestry. The cast and crew also highlight the vibrant Austin arts scene, featuring local talents like actor Brian Villalobos, dancer Felicia McBride, and a host of emerging creatives.
The album’s dynamic soundscape is shaped by the musical direction and string arrangements of Dave Madden, who also contributes keys, background vocals, and bass. Guitar work and background vocals come from Scott Clark and Matt Giles, while Chris “Spanky” Alexander lends his talents on bass. The rhythm is held by Eldridge Goins on drums and background vocals, with additional layers from Warren Hood’s fiddle, John Mills on saxophone, Kevin Flatt on trumpet and flugelhorn, and Mike Mordecai on trombone. Background vocals are enriched by Noelle Hampton, BettySoo, and Ange Kogutz, with strings provided by Leigh Wallenhaupt and Abi Shiman on violin, Luis Bellorin on viola, and Rylie Harrod on cello.
Further Contact: Follow Starbuckle on Instagram, Facebook, and visit the artist’s website here. For more information on David Starbuckle and his debut album, https://davidmessier.com/