#these lines are decontextualized but. they hit regardless

[coastal-mangos-one]

babe r u ok you're rewatching the final sequence of Beginner's Guide again

[firefield]

David Bowie - Glastonbury 2000

Focusing very specifically on the positive, opens oneself up to accusations of sycophancy, certainly on dedicated Bowie forums where deeply held opinions from an individual’s discerning ear are woven inextricably into any given personality. It’s something that feels unique to the art of music and sound; moreso than say painting or photography, and I think it speaks to the power of music’s ability to shape the very memories of our own lives and how we chose to live them.

This criticism of this particular show is fueled by DB’s insistence that it be truncated, the reason being a dissatisfaction with the vocal performance due to the singer recovering from an earlier laryngitis diagnosis. Other suggestions from people involved with that decision claim otherwise - that the quality of DB’s performance was never in doubt, and that it was a purely fiscal argument with the BBC having plans that differed significantly from the Bowie camp’s expectations.

Regardless, where others seem to hear a disaffectation from the material, or a boredom even, I hear humility. No doubt, DB’s connection to that place, and to the man he was in 1971 when he first took that stage, must be profound. I think that humility is immediately evident with not only the choice of opening such a huge show with Wild Is The Wind, but in the performance itself. It feels to me like he chose a song he himself did not write, a song that is the very castle-on-the-hill of the artistic expression of intimacy, and he makes an extremely public and passionate attempt to scale up that mountain, accepting the bumps and bruises and scrapes right there in the open. The heat of the spotlights juxtaposed with the visible exhalation of breath into the cold. One man, one huge crowd of fans and non-fans alike. A word on a wing.

Another criticism is the “let’s play the hits!” aspect which is obviously valid, and something DB himself wasn’t thrilled about, described by his writings in the 2020 Glastonbury CD/DVD/LP set liner notes. He recognized that many that purchase tickets for a festival like that, do so with no knowledge of who all the acts are and all their material, and he felt an obligation to do his best to try to be inclusive of all. So with a few exceptions (like the wonderful arrangement of Let’s Dance) these arrangements are what you’d expect from this particular band at this time, and the songs are recognizable and certainly sing-along-with-able.

I’m not going to track-by-track this 2 hour show extensively. I’m nauseatingly long-winded as it is, so I’ll just point out a few things that struck me about the show and the recording. Earl Slick and Mark Plati really sound great together. For as short a time as they had to put this together, it’s impressive how complimentary their dueling guitars are - especially when you consider that the lines between who plays rhythm and who plays lead are not clearly defined. They both handle those roles at different times and they sound great together.

Changes was a given here with its inclusion in the ‘71 set. Great guitar stuff happening here.

THAT rendition of Life On Mars after a laryngitis diagnosis? Come on now. Extraordinary.

Did you catch how DB casually mentions Absolute Beginners is his “favorite song of the 80’s?” and that he hopes some of them know it? Very cool inclusion. Some of the Kate Bushian background vocals are a bit weird here. They work technically, but I could do without them in the verses.

You can feel the band really settling in here on Ashes To Ashes. Gail’s bass arrangement is fantastic, and Sterling’s drumming is killer. I’ve always been perplexed as to what the steam-hissing sound is during the chorus. Still don’t know the what or why of that. Is Garson triggering a sample? It plays through the coda too.

I like this version of Rebel Rebel, and you can see DB totally feel the crowds reaction to it. Everybody is rocking out, Sterling is pounding the snare like a time-stretched jackhammer on resilient concrete, the backing vox are solid and Earl plays that riff like he’s landing his Cessna on an airstrip on his personal island villa.

Bowie breathless on Little Wonder after slaying Rebel Rebel. Hang in there Dave!

So yeah, I get the criticism of Golden Years. If you take DB at his word, that they hadn’t played it in forever and only worked a week - it shows. Firstly without very specific notes to the live sound guy about how to treat all these vocal trade-offs in the arrangements, it’s gonna be that dudes nightmare. Clearly some parts aren’t totally thought out… the harmonica sound is “there” but just…. there. Gail’s parts are poorly mixed. The sound guy is playing constant catch up. The guitars aren’t as complimentary as you’d want for a song whose groove is paramount.

And Fame wipes that all away in an instant. When I first saw Gail switch to a 5-string bass and drop into that groove… hot damn. DB sounds fantastic here. And Sterling’s stutter-step drumming is just badass. Solid as a rock. The band is having so much fun and you feel it from literally everyone on stage.

All The Young Dudes cranks up the ROCK feel of the show significantly at this point; a trajectory that apexes with a totally slamming version of Ziggy Stardust that I’ll get to later. Holly and Em’s backing vox here are great.

Slightly shaky start to TMWSTW but they pull it together fast. Plati’s acoustic is a nice addition to the shows timbre. Some nice interplay between Earl and Mike. Sterling Campbell again with some stellar drumming. I love that snare sound.

Mike Garson is strangely absent on Station To Station and there are balance problems with parts of the vocals, but overall serviceable. I tend to focus on Earl Slick’s growling guitar leaning into the left channel. He has such a snake-like delivery when he’s playing under the vocals. As I’ve mentioned, I love Sterling’s drumming, but I miss Dennis Davis on tracks like this. Cold grooves like this was in his blood.

“I feel love in this room. I do!”

Ahhh. I hear a lot of joy in this version of Starman. Mike’s rolling piano is beautiful. What a great song choice for this venue, and the crowd loved it.

“I’m hot and sweaty, I wore a stupid jacket, and I’m too vain to take it off.”

Wow. You can immediately tell that this band is more familiar with and has toured Hallo Spaceboy. Nice to see this toss to fans of his newer stuff. A potent slice of menace to balance out the childlike charm of Starman. DB’s voice showing some fatigue.

Under Pressure was a certainty for this show of course and Gail nails her difficult synchronous parts with grace as always. I think DB is aware his voice could go, and is making melodic, timbre and amplitude choices carefully to pace himself.

“…and goodnight…”

Well, I love this encore opener of Ziggy Stardust. Sterling sets the tempo smacking his sticks together and it’s a dirty, sloggy, whore in the alley tempo and Earl just feels it right up. Again, Sterling’s snare sound is a shotgun slug. Earl and Mark fully unified, and DB pushing his voice and laying it all out there. So great. For those of you that avoid this show as lackluster, decontextualize this track from the show itself and crank it up. It slams.

WhooBoy, yeah. DB is tired here. Heroes probably would have worked better as a show centerpiece, and with a fresher vocal, but I’m not in love with this pedestrian guitar arrangement. This song needs abandon. It needs desperation. This arrangement sounds a bit like they just want to get through it. Maybe that’s too harsh, but it’s easy to find better live versions. Like straight from 1977, Bowie lets his vocal fatigue/strain work in the songs favor.

So the first time I ever heard this show was on a cassette a friend made for me, a boot of the whole show, and I just assumed as I was listening that Heroes would close the show. And then… uhhh… Spanish guitar from Earl? eBow-like guitar swells from Mark? What am I hearing here? Ahh. Let’s Dance. Sweet! Love this arrangement. They’d done it this way before, but back then, I think it was the first time I’d heard it. Man. DB’s voice is hanging on for dear life.

Again, assuming LD would close the show. And…. I’m Afraid Of Americans! Great rendition. Excellent keyboard touches all through this thing and gives DB a chance to growl through it without any intense melodic acrobatics.

Well, there you have it. Your mileage may vary as they say. Unavailable in its complete form officially until only recently, it’s a fun huge-festival type listen. Are there “better” shows? Certainly. But I enjoyed the hell out of this DVD/CD edition as well as the Bureau Supply edition on vinyl. Next up: Heathen.

EDIT: That slaphappy bass part on Ashes To Ashes is played by Mark Plati - Gail switches to rhythm guitar. That’s what I get for writing instead of WATCHING.