By the end of the first night at the Universal Ampitheater, Bowie's voice was beginning to sound tired. Even during the opener Quicksand the following night, I was afraid the show be something less. HA!
After Quicksand, Bowie declared that he would be playing extra songs that night. Of course my fingers were crossed. Then he introduced the next song as being from 1976, so I figured it was going to be a track from Station to Station. He claimed it was something they had never performed live, but I assumed he was just sick in the head or something. Even during the opening bars, I thought it was possibly TVC 15. But when we heard those opening words, "Every step..." Ramona and I screamed out in unison. Of course, the audience didn't have a clue, as most of them seemed to be industry poozers with comp tickets. The audience applause afterwards was practically non-existant, and Bowie said, "well, we got that one out of the way" in an almost apologetic fashion. Hearing that song alone was one of the greatest moments of my Bowie fandom, and I still can't believe the response! I hope he realizes that such a large crowd just didn't know, but that the gesture alone meant so much to those of us who knew. Plus, let's face it, thematically, Quicksand followed by Always Crashing is one of the most fucking brilliant things Bowie has ever come up with.
The crowd however went ballistic upon hearing the opening chords of Queen Bitch, so there was a tiny amount of hope. And did I mention the band was more in synch at this point than ever? Even a song that I think is slightly overrated, Jean Genie, was positively wonderful. Reeves was just a madman throughout the night, showing lots of interaction with the folks in the pit. Even though I was a billion miles away up in the seats, I have never been more of a dancing fool at a concert. I know the audience in front and behind of us thought we were insane.
That's another issue, the audience. It was the lamest I've ever seen at Bowie show, and it was only maginified by what the band on stage was doing that night. As they poured their hearts into each and every song, unless it didn't come from Earthling or Outside, the audience response was feeble. But anyway, back to what's most important (and NO, not Reeves' kilt. Beside, he didn't wear it the second night at UA).
They are now doing what sounds like one of the Reznor remixes of IAOA. Especially at the end, in the background, a piano rings out that is very similar to the ending of NIN's Closer. As blasphemous as it is, I really enjoy it. It lacks the funky rhthym of the original, but is still very effective for its quiet spots. And Gail Ann does some very adventerous bass work towards the end of the song.
TMWSTW...for once, I appreciated its return to the set list. Reeves' solo that night was outstanding, a precursor to the even more amazing guitar work he'd do later that evening.
When I heard the thumping bass drum that opens Voyuer, once again I lept into the air only to be greeted by the blank stares of unknowing audience members in front and behind of me. From the King Crimson-esque riffs to Reeves' spirited solo, the audience had indeed "call(ed) it a day" (shit, could I sound more like a reviewer from Rolling Stone?).
The audience was a bit more responsive to Looking for Sattlelites, but we all went insane during what had to be the greatest version of Stay I have ever heard, even this side of Stacey Heydon. It's such a cliche, but Reeves was spitting fire from that Parker of his. And actually, I found myself watching Zachary Alford more than anyone during the latter part of this song.
I was pretty much forced to take a break during Under Pressure, I had jumped up and down so much during Stay.
The audience around us sat down (!!!) during Hallo Spaceboy. I have never wanted to bitch slap so many people at once. Luckily they shot to their feet during Scary Monsters.
The encore started with the drum and bass version of DMW, which was met with near silence from the audience. I was almost in agreement with them, for while I was stoked that we were getting a small d'n'b set, this version has very little going on. The band on stage was doing very little during the song, standing still at times. It was almost like watching a DJ, and Bowie sang next to nothing.
However I freaked when I heard the opening of The Last Thing You Should Do, which was met by the same degree of lack of enthusiasm.
Same goes for V-2 Schneider. Don't you just want to hurt these people?! During the entire song, I just kept saying to myself "oh shit!" while I danced as well as a Robot Monster could.
I guess the strong response O Superman got from the audience is a testimony to just how powerful it is, as it is not only not a Bowie original, but also features Gail Ann on lead. BTW, she was wearing the most outrageous outfit I have ever seen...her horns, the Lust For Life Iggy Era tail and HOOFS for shoes.
She rules.
At the end of All The Young Dudes, Bowie didn't say his obligatory "thank you and goodnight" so I was literally crossing my fingers. Plutarch looked down upon it and called it good, for I finally got to hear a kick ass version of Moonage Daydream live, which got EVERYONE on their feet screaming.
I'm glad the show ended on a good note, but I really hated that the show was wasted on such a lame crowd. Here's to hoping that he realizes that this stuff is better left to more appreciative smaller audiences.
I'm still pinching myself.
El Muchacha Robot Monsta