By Benjamin Leatherman
By Glenn BurnSilver
By Glenn BurnSilver
By Troy Farah
By Roger Calamaio
By Mark Deming
By Glenn BurnSilver
By Brian Palmer
Most U.S. fans first encountered the D-man when he strutted about saying he was Ziggy Stardust, rock 'n' roll messiah from Mars. Adopting that persona was hardly a boost to Bowie's credibility, considering that he'd already done time as David Jones, British Invasion rocker (1965); an Anthony Newley clone (1967); a mime (1968); an apocalyptic Dylan-come-lately (1969); and a guy in a dress (1971).
Because Bowie's schizophrenia was always so entertaining, his audience let the guises go unchallenged. Then, around the time of his "Young Americans" Philly soul phase, the artist formerly known as Ziggy made intimations that we were seeing the real Bowie at last. Of course, we weren't.
It was after 1983's Let's Dance and the concurrent Serious Moonlight tour that the doppelgnger finally shadowboxed himself into a corner. Bowie reaped a giant cash bonanza that year--a result of finally dismissing his alleged bisexuality and smoothing out the eccentricities of his music. But after 1985's boring Tonight and his worst-ever long player, Never Let Me Down (1987), Bowie seemed more interested in acting--playing an evil overlord in Labyrinth, a fine follow-up to his really bitchin' vampire in The Hunger--than in making credible records.
The intelligence level of Bowie's material reached an all-time low with the ensuing Glass Spider tour, a Velveeta spectacle so boneheaded it made Spinal Tap's "Stonehenge" seem the product of genius. After that debacle, Bowie began his latest hobby of bankrupting record labels with Tin Machine.
Now he's back to trend-hopping--or Trent hopping, as it were. His new album, Outside, reunites him with producer Brian Eno and his notorious studio strategy cards, and the accompanying tour has Bowie teamed with Nine Inch Nails.
The inference (actually, it's being rubbed in our face like soap) is that the Thin White Kook had an immeasurable impact on industrial music by influencing Trent Reznor, one of its greatest proponents.
Reznor may be a fan, but watching Nine Inch Nails' seismic live show at Desert Sky Pavilion on October 18, we got the feeling that NIN's front man was more heavily influenced by Iggy Pop's live shenanigans than Ziggy Stardust's icy detachment.
Throughout the evening, Reznor sang with his leather-swathed butt thrust into our faces--just like Mr. Pop used to--and peppered each song with Iggyesque "I wanna fuck you like an animal" sentiments that seemed far removed from Bowie's literary cutup technique.
Also, to keep up his "I hate everybody, especially myself" veneer, Reznor engaged in fisticuffs with almost every member of his band (he spared the drummer--seemingly content to just flip him the bird on occasion). Aside from those tantrums, the Rez also doused his guitarist in ice water (somebody show this guy a safety filmstrip on electrocution) and casually lobbed a microphone into the crowd.
It was shrewd planning to have Bowie and his band infiltrate NIN's juggernaut of a set rather than attempt to follow it. Melding the two sets without a break ensured there'd be no mass exodus of Lestat-look-alike NIN fans before Bowie had a chance to win them over. He was ushered in with a fabulous version of "Subterraneans" from Low, complete with Trent demonstrating his Maggie Simpson prowess on the tenor sax.
The crowd went wild at the first glimpse of Bowie--testament to his lasting star power--and for the next 20 minutes, the two front men shared leads on each other's songs like a sticky, wet, mutual admiration society.
It was an exciting study in contrasts. Reznor threw a guitar about twice every song, and kicked, punched or head-butted his mike stand with even greater frequency. We lost count of how many times roadies ran onstage to clean up his mess somewhere around 52 (seriously). All Bowie did was stand there and "vogue."
Bowie's strongest point remains his mesmerizing stage presence--the gaunt face and sinewy torso of a junkie with a Soloflex; the impeccable dress; the composed mannerisms; and unsmiling, dry-ice cool. Bowie was 007 suave. While Reznor hurled himself into the mosh pit, Bowie merely dangled himself over the lip of the stage: Venture into the throng and take the crease out of my slacks? You must be joking.
About 45 minutes into Bowie's set, someone in the pit began hurling fistfuls of ice at him. Instead of backing off, the singer stalked to the very front of the platform and leaned forward, taunting the heckler to try again. He did, and did, and did. Remarkably, some superstar aura warded off the projectiles, and, despite the close range and shotgun pattern, Bowie never took a direct hit. "Hey, punk," he seemed to be saying, "you can't touch this."
Eventually, though, Bowie decided enough was enough and stopped the show a few bars into "I've Never Been to Oxford Town." After a pause, he addressed the audience. "Would anyone like me to continue with my songs?" Nodding through the predictable roar of approval, he stared in the direction of the iceman with poison in his eyes. "Well, then, I guess the asshole up front with the ice is in the minority, aren't you, nose wipe?"