David Bowie 2004-01-19 Denver Fillmore Auditorium (Taper Travelin’ Man Records) SQ 8,5
101. Rebel Rebel.flac
102. New Killer Star.flac
104. She’ll Drive the Big Car.flac
105. Hang Onto Yourself.flac
107. All The Young Dudes.flac
108. China Girl.flac
109. Fantastic Voyage.flac
110. Loneliest Guy.flac
112. Man Who Sold the World.flac
113. Hallo Spaceboy.flac
115. Band introduction.flac
116. Under Pressure.flac
201. Life on Mars?.flac
202. Changes.flac (last minute addition-musicians had to switch instruments quicklime)
204. Never Get Old.flac
205. Panic in Detroit.flac
206. Ashes to Ashes.flac
207. White Light/ White Heat.flac
208. I’m Afraid of Americans.flac
210. Bring Me the Disco King.flac
211. Blue Jean.flac
212. Five Years.flac
213. Suffragette City.flac
214. Ziggy Stardust.flac
Taper: Travelin’ Man Records
Location: ~ 20′ DFC
Config: hat mount
Source: AT853 > battery box > D8
Conversion: D8 > 7-pin Oade optical > PC
David Bowie played within the intimate confines of the Fillmore Auditorium in Denver on Monday, January 19, 2004. And judging by the online reviews, it was another special night for the people of Denver and the Bowie fans that made the effort to travel to the 3,600 capacity venue
FAME:“which do you want…fashion? [cheers] fame? [more cheers]”).
Changes: (last minute addition-musicians had to switch instruments quicklime)
Blue Jean: (the 2nd time played on tour…he read some lyrics off the floor!)
Immortal Bowie still fresh, fantastic
By Ricardo Baca; Denver Post Popular Music Writer
Rocker David Bowie performs at the Fillmore Auditorium on Monday night. He charmed the audience with old favorites, and wowed them with his new repertoire, too.
Lasting 30-plus years in the music industry is nearly impossible. Most who have endured the decades did so by relying on nostalgia and not pushing what got them there in the first place, and the resulting situation is sticky, especially when seeing these acts “Live in Concert.”
The musicians play what made them famous in the ’70s while occasionally, almost shamed, sneaking in a new track every now and then. Try watching Peter Frampton live. It’s saddening. It makes you question his relevance and your taste.
But this is what makes David Bowie so extraordinary.
He owned your world with the art rock of “Space Oddity” in 1969, and 35 years later he’s standing on the stage playing brand-new material that is as exciting, if not more, than the music that served as your Bowie 101. It’s exhilarating and frightening – yet not all that surprising, given that Bowie has spent his career jacking trends and bucking popular thought.
Bowie was an unparalleled rock star Monday night at the Fillmore Auditorium. From the glitter in his tousled dirty-blonde to the Converse All-Stars hugging his feet; from the ultra-low-rise jeans to the man-scarf that embraced his neck, he was on-point and confident. He was sexy and sassy of course, but even more, he was emotive and empathetic. And part of that poise likely comes from the fact that Bowie knows that his new album is the best he’s produced in 10 years.
This review was filed before the concert’s end for deadline reasons, but the best moments from the first hour and a half came from Bowie’s 4-month-old “Reality.”
The title track came early and was an explosion of vibrant rock ‘n’ roll. “New Killer Star” was subtler but potent. Bowie’s street- cred is never a matter of question, and after Monday, his relevance is air-tight as well.
Of course, Bowie’s older material hit a note, and it dug deeper than superficial nostalgia. He jump-started the evening with a righteous “Rebel Rebel,” which strayed from his post-Ziggy “Diamond Dogs” with a ferocity that couldn’t be ignored. After the brand-new 1-2-3 combo of “New Killer Star,” “Reality” and “She’ll Drive the Big Car” came his haunting take on The Pixies’ “Cactus,” which he covered on 2002’s “Heathen.”
Bowie front-loaded the set with new material, and it worked.
After assuring the audience there would be more old-school material to come, he unleashed the new moody, melancholic “The Loneliest Guy.” The fans were just getting warmed up, having just sung along to “All the Young Dudes” (which Bowie wrote for Mott the Hoople), jammed out to “China Girl,” and indulged in the rarity of “Fantastic Voyage.” But they adjusted, and quickly became enraptured by the new “Reality” track.
Bowie’s reality doesn’t bite. It rocks. And it’s not showing any signs of fading away, either.
Bowie unleashes energy, creativity
By Mark Brown, Rocky Mountain News
David Bowie belts it out Monday night at the Fillmore Auditorium in Denver. The sold-out show was a rare small-venue appearance by the music legend during his Reality Tour, which is being billed as a world tour of stadiums and arenas.
Sometimes fans just have to stare at a musician and wonder to themselves “How do they do it?”
It’s hard even for musicians to explain where their inspiration comes from. At times it seems as much a mystery to them as it is to the rest of us.
After a bit of a lull that still produced some notable work, David Bowie has found himself at another creative peak. He’s 57, he’s more than three decades into his career, yet he’s able to leave fans ecstatic and nearly speechless.
Bowie’s explanation is that his touring band is simply playing very well at the moment.
That’s undeniably true, as Monday night’s blasting show at the Fillmore Auditorium showed. But it hardly explains how his latest work has flourished. New songs such as New Killer Star and the gorgeous Days stand out as highlights in a concert that featured the best of his 35 years of hits.
The best part about having strong new material is that Bowie’s enthusiasm is infectious; even the songs he has played a million times are infused with new energy. Bowie is exploring not only his hits, but the more obscure corners of his catalog.
No one seemed to object. The concert here is one of the few small venues Bowie is doing on his Reality tour, so the 3,600 who packed in had to work hard to get tickets, which sold out in minutes weeks ago.
Bowie made it worth the effort. Two years ago he gave a stunning performance in Denver as part of Moby’s Area 2 tour. This performance was just as stunning – and it was two or three times as long.
Opening with his newly revamped version of Rebel Rebel, Bowie displayed boundless energy and the crowd gave it back in waves of wild applause and stretches of rapt silence.
Some of that was simply spent taking in new material that many may not have heard. The Loneliest Guy and Days are two of Bowie’s quieter yet most powerful pieces from Reality.
After the crowd received both with full attention and thunderous applause, he broke into a big grin. “This could be a very long show,” he promised.
And like most on this tour, it was. Bowie’s band at times played with brutal intensity on classic songs such as The Man Who Sold the World, Hallo Spaceboy, Panic in Detroit and Hang On To Yourself. The hardcores were thrilled to have these songs get a good public airing again, as well as the timeless and timely Life on Mars.
The best part, though, might have been seeing Bowie wring joy – and striking performances – out of his biggest hits, the songs he vowed he was retiring on 1990s Sound + Vision tour.
After the elegant, soaring Life on Mars, he was so tickled that he changed the set list, ordering the band to play back-to-back hits Changes and Fame.
Not that he hadn’t already pulled out plenty of hits; early in the show, China Girl and All The Young Dudes had the crowd singing with abandon.
At press time, Bowie and band were still on stage, blasting through Suffragette City in a long encore of hits. If Denver is like other cities, he’ll wrap up with Ziggy Stardust and the fans will head off dazed into the night.
Macy Gray opened the show with her funk-and-soul revue, mixing her original work with mini-covers of everything from I Want You Back to Come Together. Bowie didn’t need an opening act, but Gray and her incredibly tight band won a lot of fans who likely had never heard her before.