Amidst intense screams (my own included, I confess), the lights dimmed and adrenaline shot through the crowd. The band members walked across a catwalk-like platform to their spots, and the new single, "New Killer Star," opened the set. A full 26 songs and two and a half hours later, it was over. Meanwhile, the ecstatic crowd (a pleasant mix of calm forty-somethings and young, devoted fans) was treated to everything you could want and more. Not only did the second song, "The Jean Genie," immediately hit the mark, but it continued. Between smash hits like "Fame," a superb version of "China Girl," and "Ashes to Ashes," there was room for the newer songs ("Cactus," "Fall Dog Bombs the Moon") and the goosebump-inducing moment par excellence: "Under Pressure."
We're not even halfway through when the realization hits us that this is another legendary concert, with an equally excellent setlist. And strangely enough, it's only around the fifth song that it finally dawns on me that He's truly here. It all seems too good to be true; the whole thing is rock solid, the band plays fabulously, and the atmosphere is sublime. That magic, again. Flabbergasted.
After a brief tease of Blur's "Song 2," the journey through Bowie's back catalog continues. From "Fashion," "Heroes," a fantastic rendition of "Try Some, Buy Some," to the real surprises of the evening: the cryptic "The Motel" and the delightfully new arrangement of "Loving the Alien." Among the melodic pieces are the 1. Outside tracks; in the first part, "Hello Spaceboy" and later "I'm Afraid of Americans." Hard-hitting industrial rock that was wonderful to let loose. The entire set only had one minor drawback: the mediocre, rippling "5:15 The Angels Have Gone," but after "The Motel," you forgive Bowie everything!
At the end of "Heathen (The Rays)," Bowie is led offstage by bassist Gail Ann Dorsey, after which the band jams on for a while and gradually calls it a day. The message must have been a bit overwhelming, because after a quick bathroom break, master keyboardist Mike Garson appeared at his keyboards and launched into the intense "Bring Me The Disco King." This proved to be the starting signal for a real "we're-not-going-home-yet" vibe in the Bowie band. A throbbing "Pablo Picasso" was followed by "Changes." A brilliant end to the concert, you might have thought. But… the party wasn't over, and "Let's Dance" wasn't going home either. So, we were treated to a whopping seven songs as an encore, with the unexpected "Suffragette City" and the pounding classic-of-classics "Ziggy Stardust" as the closing prize.
In short: a dreamy setlist, musically perfect down to the last detail; that's what a David Bowie concert is all about. His band is made up of top-notch performers, each one truly adding something to the songs. Without wanting to discredit the others, noteworthy artists include Mike Garson, who creates depth and texture with jazzy improvisations and fast-paced riffs, and the ferocious drummer Sterling Campbell, whose "powerhouse drumming" made the gut tremble more than once.
But beyond the music, beyond the songs, beyond the musicians, this concert was also remarkable for another reason. The sound, lighting, and stage design teams play a crucial role with a mega-act like Bowie. The armada of trucks outside the venue turned out to create a stage inside with a massive LCD screen, three screens suspended in the hall, a mouthwatering light show, and a U-shaped catwalk that stretched from the back of the stage to the sides. The use of the spotlights, for a change, to illuminate the venue from the lights, worked wonders. David Bowie himself visibly enjoyed the fans' reactions, walking the catwalk to the sides, singing directly to the stands, addressing the crowd directly, and touching many a chord. That enjoyment of the master himself, combined with the images on the screen and the music, was a sight you won't soon forget.
Submitted by Maria Bloem