As a rule, an album performed in its entirety without the artist who released it shouldn’t really work. While members of The Who and Pink Floyd have taken LPs on the road individually, there was already a sense of a “show” about the concept collections and rock operas.
The Man Who Sold The World was originally neither of these things, and although having two of its original recording artists hosting this tour (long-time producer/bassist Visconti and drummer Woodmansey) gives it a sense of authenticity, there’s an underlying feeling of a show – almost Rocky Horror’s Rock ’N’ Roll Suicide.
It’s not to say it’s all bad; Visconti and Woodmansey sound as tight as on the recording, surrounded by supporting musicians who could drop enough names to make a small man mountain (Bob Geldof, Brian Eno, Scott Walker, Ian Dury) and backed by a family affair of backing singers, comprising Mick Ronson’s daughter and niece and Visconti’s daughter.
Taking over Bowie, Heaven 17 frontman Glenn Gregory (he doesn’t do ‘Temptation’, despite requests) holds an impressive note, sometimes impersonating the thin white one and other times giving songs his own spin. Years of “Greatest ‘80s” tours have given his performance an over-rehearsed feel, but when these musicians come together, despite looking like dads who formed a garage band, The Man Who Sold The World sounds good – it’s loud, it’s glam-tinged rock ’n’ roll, it’s regarded as the album that began Bowie’s journey to icon status.
But it’s the guest stars that makes the night feel like An Audience Without David Bowie. Marc Almond – for whom Visconti has also produced – joins in for a couple of tracks, condensing the energy of an entire show into a handful of songs, but removing the focus from the music, seemingly reenacting the Bowie videos he saw growing up but creating something that looks more like a drunk Liza Minelli stumbling around the stage, attempting routines with a reluctant Gregory – all leaning on shoulders, nods and glances, and failed attempts to share the lines equally, like an over-enthusiastic duel on The Voice.
“This has become a bit of a pantomime thing, hasn’t it?” Gregory realises, in-between welcoming Lisa Ronson to take the lead for an unneeded version of ‘Lady Stardust’ and Spandau-sax player Steve Norman to sing ‘Changes’. Both come as part of a greatest hits section described as their “14 encores” by Visconti. While his stage presence isn’t huge (he moves less than anyone else standing) when he does talk the audience listen, after all, this is a man who is arguably as important to the back catalogue of Bowie as Bowie himself.
The Man Who Sold The World might not be one of Bowie’s best known works, but without all the “He’s (tripped over the mic wire) behind you!”, it sounds authentic and timeless, performed live and complete. There’s no reason why Visconti couldn’t do the same with other albums, bringing in other vocalists, musicians and family members to create his own All Star Bowie Band, and it’s the closest we’ll get to hearing them live until David comes out of live retirement. It just needs to be more about the album and less about the antics on stage… Oh! – You Pretty Things – Yes it does!
Words:
Dan Bull
@danbull7609
Images:
Robert Gersinson
@robbyphotovideo
www.robertgershinson.com
Dan Bull
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