Why The Gillette Advert Has Men Outraged!

It’s been 72 hours now since Gillette launched a new advertising campaign directed at the toxic masculinity in our society. Upon first viewing, I said to myself, “This is brilliant! But there’s gonna be one hell of a backlash!”

And I was spot on from the get go.

Through life, I’ve always been one to push the boundaries and explore my sexuality. As a teenager, I got into wearing make-up, dressing in odd clothing and listening to what was then considered, alternative music. I had found my niche. Unfortunately, my niche was quite small and my friends and I more often than not, found ourselves subjected to vile abuse and the occasional beating. On no less than eight occasions, I found myself waking up in hospital beds after being severely battered. Often, I was too scared to tell my family what happened because they didn’t approve of my lifestyle. Like a majority of Australian’s at the time.

When I stepped out for a night out, the abuse and threats were constant. They would call us queers, faggots, bum fuckers, pillow biters, cock benders, poofters and even a lot worse. We’d have objects thrown at us, refused service at bars, denied entry to venues, have security follow us in shopping centres, end up being harassed by Police officers and refused entry into buses and trains. It was a shit time but still, it was character building.

More than a few times we would find ourselves chased by Neo Nazi skin heads brandishing knives or simply just a group of drunk yobs who wanted to “bash some faggots”. Small things amuse small minds ey? Over time, I’d learnt to live my life in fear. The abuse and threats were so regular that you would spend a lot of your time looking over your shoulder. Quite often, people would tell us to get over it and harden up.

“If you want to dress like queers and faggots”, a nurse in A&E once told me after a beating, “You deserve every bashing you get!”

That was all predominantly in the 1990’s and early 2000’s now. I’ve managed to move comfortably into my 40’s and still be in one piece. For many woman today, that simply isn’t the case.

In 2019, woman are still being objectified, belittled, ridiculed, assaulted, raped, bashed and, as this week proved in Melbourne, murdered for simply being woman. The woman in our society are being told that there is no problem with toxic masculinity. It’s just “boys being boys” and all that. Rubbish!

As I grew older, more of my life began to include a lot of time spent in sporting and gym change rooms. This is where you see and hear it all. Photos being passed around, videos being shared, comments about which girl “needs a gang bang” and then some. I could spend an entire month writing about what I have seen and heard in these environments. It’s disgusting. It’s degrading. It’s vile and it simply has to stop!

Quite often, I wonder how the men and boys would feel if it was their own daughters photos being passed around that change room? Or what if it was their own wife or mother being subjected to gang rape “chat”? I used to keep quite during these conversations for fear of being hassled myself. I guess I was too scared to call out people who I considered my peers. When I began, some years later, to call men out on this, I’d be frowned upon and excluded from groups and clicks. One fellow referee who now officiates in the NRL and has touch judged at State of Origin level told me, “You must be a faggot if you have a problem with the way we talk about girls?”.

Toxic masculinity in full flight right there ladies and gents!

So, what’s changed to allow Gillette the window of opportunity to make the most compelling commercial in living memory?

The #metoo campaign has been a breath of fresh air in our world. Too many creeps have been getting away with too much for too long. It’s time more men were called out for their poor behaviour made an example of. The Gillette campaign itself has copped a lot of flack for pointing out exactly what is wrong with our society. Men are running scared and reacting poorly to the commercial because they know the game is up. You only have to look at the vile backlash Gillette are getting on social media to see the commercial is having a huge impact in our world. They know it’s time to start being better men, as the Gillette slogan says. Above all else, It’s time men stopped playing the victim and started taking responsibility for their actions. Inappropriate behaviour towards woman needs to stop and if you don’t understand this, you are going to be left behind.

Nobody should live their life in fear of anyone. Remember men, the next time you want to objectify a lady, remember this one important detail. That lady you are about to wolf whistle, grope and throw a lewd comment at is someone’s wife, someone’s daughter, someone’s mother. Would you accept that kind of behaviour if it was your loved one? I thought not…..

The Bowie Concert Tape Files: Feyenord Stadium, Rotterdam – 25 June 1983

This concert from Rotterdam is relatively early in the throws of “The Serious Moonlight Tour”. It’s a big contrast from the rowdy American shows on tour with a more subdued and in sync fan base taking in the shows. It was the first of two consecutive nights in the city and marked the 26th show of the tour to date. Essentially, just past the quarter way mark of a tour that took in some 96 concerts.

Through the early part of the show, you can hear a man talking to a friend and passing on sing titles and other bits of information about Bowie. My imagination by now is considering if this guy has brought along his girlfriend to introduce her to Bowie is perhaps he’s there with another male friend who also isn’t too aware of Bowie’s work? There is also a lovely energy concealed with lots of clapping along by the masses giving the tape a bit of a party feel. To be fair, it’s a nice way to spend your summer in Europe. The tour had recently swung its way through parts of France, Sweden and West Germany leading up to this Rotterdam double header. Despite starting out in Arena venues, bookings by now were being upgraded into stadiums as demand for tickets increased by the day ensuring extra shows would also need to be added.

David Bowie performs on stage on the Serious Moonlight Tour at Feijenoord Stadion, de Kuip, Rotterdam, Netherlands, 25th June 1983. (Photo by Rob Verhorst/Redferns)

As an example of the scale that the shows would take on, Bowie initially played Wembley Arena on the 2nd, 3rd and 4th of June to a decent yet rather small crowd of sorts. By the 1st of July, he would be playing three consecutive nights at the Milton Keynes Bowl to massive crowds totaling 174,984 concert goers over the three night residency that was tacked onto the tour before the shows moved over to America. All in all, Bowie sold some 2.6 MILLION concert tickets as the year rolled on. Chances are, he could have sold three times that amount had there been enough dates and venues to add into the mix.

During “Let’s Dance”, there is still plenty of clapping but also a great deal of sing along happening with the crowd. This was Bowie’s latest hit from an album that had reached number 1 on both sides of the pond and in many other countries around the world. Anything with Bowie’s name on it in 1983 was doing great business and it would turn out to be the first time in his life that he would make some serious coin to back up his reputation. The album and tour would go on to out-sell Michael Jackson’s “Thriller” album and subsequent tour that carried out a few months after Bowie’s had finished up in Hong Kong.

Two thirds of the way through this concert and the en mass clapping and signing is still going on. This would have been a brilliant concert to have attended. In fact, i’d love to hear from anyone who might have been in attendance at the time? “Station To Station” carries a lot of power during this show. Easily the highlight of the entire recording if I am being honest.

One small gripe I have held against this tour over the years is the lack of variation to the set lists in each territory. One or two songs change here and there yet, for the best part, the whole tour revolved around a very similar list of songs each night. From memory, these two Rotterdam shows differed only by the inclusion of “I Can’t Explain” on the second night. As I am sure many concert goers at the time went to both concerts, it would have been rather nice to have a few songs changed up. Particularly for the 50,000 plus fans at these shows who seemed to be right into the music. Still, it’s not the worst thing that could happen to a tour of this magnitude. I own almost 70 concerts recordings from this tour alone now and am always amazed at how professional and tight the band is all the way through from Europe in May to Asia in December. Truly spectacular.

The taper of this show needs to be commended too due to his almost perfect capture of the show. There are a few shady dip as can be heard in the suddenly muffled recording of “Fame” which I would put down to either a change in tape and positioning of the recorder or security potentially spotting the taper. The rest of the concert appears to suffer a little from this however, it isn’t too bad as far as recordings from this tour go.

It might be time to dip back into the 1976 tour next time. There are some truly splendid concerts I have recordings of from this tour that require some further examination so for now, it’s goodbye to the 80’s and hello 1976.

Setlist:

1 Intro Music
2 Jean Genie Intro
3 Star
4 Heroes
5 What In The World
6 Golden Years
7 Fashion
8 Let’s Dance
9 Breaking Glass
10 Life On Mars
11 Sorrow
12 Cat People
13 China Girl
14 Scary Monsters
15 Rebel Rebel
16 White Light White Heat
17 Station To Station
18 Cracked Actor
19 Ashes To Ashes
20 Space Oddity
21 Band Intro
22 Young Americans
23 TVC 15
24 Fame
25 Encore break
26 Stay
27 Jean Genie
28 2nd Encore Break
29 Modern Love

The Bowie Concert Tape Files: Richfield Coliseum, Richfield, Ohio – 29 July 1983

Right from the start, I knew I was onto something good with this tape. It’s a curious one to say the least. The concert is spliced together from two different sources with the first four songs and “White Light, White Heat” (which sadly has the intro cut) in the middle of the show coming from source 1 which helps piece together the rest of the previously incomplete show. The concert was recorded on a Teac recorder with TDK tapes and, whilst picking up a good deal of crowd noise, it doesn’t spoil the show at all. Actually, the crowd in some ways, add a bit of charm because they are all a bit “wild west” if you know what I mean yeah? I’d suggest even that this is one of the better concert tapes from the entire Serious Moonlight Tour of 1983.

As was the norm with a lot of shows from this tour, Bowie didn’t say a great deal between songs. He simply moves from one classic to another in his typical effortless way. Letting the songs do the talking you might suggest? Either way, I was caught up in the concert from start to end unlike some shows where you kind of lose a bit of interest during sections, in part because Bowie obviously wasn’t on song during the particular night and you can certainly pick up that vibe. Not with this show thankfully. He delivers everything you could want and more. The very first time I came along a cassette of this show was back in 2000 on a visit to Camden Market. I didn’t buy it because the seller wanted £20 which I felt was a bit of a rip off and, back in those days, a lot of tape sellers at markets recorded tapes at high speed which took a lot of the gloss away. And, there was also the chance that is wasn’t even the correct show as was another common problem back then. Very few market sellers I came along in the 90’s and early 2000’s were genuinely interested in the bootleg tapes they were selling. More often than not, they were just keen to rip off fans with impulsive purchases. Grubs!

A sure fire highlight is “Station To Station”. Earl Slick had a habit of getting a little experimental during this song on tour and I absolutely love how he plays around with the feedback intro on this occasion. It’s hard to imagine that Slick was brought into this tour at the last minute with very little time to prepare. He delivers some of the best guitar work of his career and it’s in full evidence on this night in Richfield. Back in 2003, I met Earl Slick in Dublin and he was a very quiet soul. Didn’t say much and when he did talk, he was very softly spoken. I wanted to ask him about his time working with John Lennon but got a little tongue tired and waffled on about Australia. Daft, I know.

After “Young Americans”, there is a decidable increase in sound and quality of the recording as if the taper of the show has re-adjusted his recorder. You hear a girl inquire, “Is that it?” to which a man comes back to say, “I got another tape in” suggesting he has just switched to a new tape to capture the remainder of the concert starting with a blistering version of “Fame”. I wonder where this taper is now? He sounds pretty young on the recording so I would hazard a guess that he would in his late 50’s today. Does he still have his tape collection? Is he a member of the regular concert trading sites? Is he still a fan? So many unanswered questions. Sorry, for going off track a little here. My mind is always drifting into other trains of thought.

The energy by the time the show roles into “TVC 15” is brilliant. It’s been building and building all the way through. Simmering like a good broth. There is a slight break before the encore kicks in and you can hear a lot of crowd conversation. Some very happy people and, as is the case with concert going, people tend to jostle their way down towards the front when the encore rolls around. By the time the encore comes along, nobody wants the show to finish as Bowie belts into raucous renditions of “Stay”, “The Jean Genie” & “Modern Love”. Bowie had just come off three consecutive nights at Madison Square Garden in New York and the energy from those shows has definitely transcended into this concert.

And with that, comes the end of yet another great concert tape from “The Serious Moonlight Tour” of 1983. The tour would travel onward some 175 miles the next day for two consecutive shows in Detroit, Michigan. No rest for the wicked.

SET LIST
1 Jean Genie Intro*
2 Star*
3 Heroes*
4 What In The World [incomplete starts late]*
5 Golden Years
6 Fashion
7 Let’s Dance
8 Breaking Glass
9 Life On Mars
10 Sorrow
11 Cat People
12 China Girl
13 Scary Monsters
14 Rebel Rebel
15 White Light White Heat [Slight cut on intro tape flip]*
16 Station To Station
17 Cracked Actor
18 Ashes To Ashes
19 Space Oddity
21 Band
22 Young Americans
23 Fame
24 TVC 15
25 Encore Break
26 Stay
27 Jean Genie
28 Modern Love

Low: Iconic Images

One of my most memorable images from my time in high school was reading through and article on Suede where Brett talked at length about the influence Bowie had on his life growing up. One of the photos used with the article was that of Brett lazing about with a large sized poster replicating the cover art of Low adorning the wall of his room.

It’s a beautiful image. Stunning even.

I loved the image so much that I rushed out to buy a second copy of the magazine with the soul purpose of tearing that magnificent glossy photo out and plastering it on the wall just above my bed. I kept all my music papers and magazines at the time so would always buy a second copy if any images needed to become fixtures upon my walls. As you do.

Sometimes, I would sit and listen to Suede’s self titled debut LP and Low itself back to back whilst gazing into the image and thinking about how Brett managed to look so splendid with minimal fuss. Years later, I learned that flat where the photo was taken was, in fact, littered with fleas from Brett’s cat! That kind of took the romantic edge of the image away somewhat however, I have become a bit of a hygiene freak as I comfortably move into a world of middle aged bliss. Well, if you can call a man boring on 42 middle aged?

The image connects me with a time of discovery and innocence. It helped me conjure dreams of England and seeing Suede and Bowie live which I would go on to manage many times over. 1993 seems an age away. Thanks to this iconic photo of an iconic rock star and album cover, I’ll always look back on this period of my life with great fondness.

Low: An Album That Shaped Our Times

Yesterday marked the 42nd anniversary since “Low” was unleashed on an unsuspecting public.  The album was originally planned for release in late 1976 but RCA Records (Bowie’s then label) kicked off big time and demanded Bowie head back to Philadelphia to record another LP similar to “Young Americans” which, itself had sparked plenty of positive interest, reviews and sold well enough in the USA.  The album had also given Bowie his first number 1 single across the pond in “Fame”.  Now, it seems, Bowie had served up an experimental album that was nothing like “Young Americans”, or “Station To Station” for that matter and was definitely not going to sell many albums at all.  With this advice on board, Bowie firmly placed his foot to the ground and refused to go back to America and, after wrangling, held RCA account and the album hit the shelves of record stores on January 14 1977.

Bowie would later frame RCA’s initial rejection letter and frame it on his wall as motivation for future recording projects.

If you have been to a rave or dance party in the past 30 years, chances are some of the artists you have listened to on your night out were heavily influenced by “Low”.  If you are a fan of Radiohead, Nine Inch Nails, The Cure, Blur or New Order, upon closer inspection, you will find they are also under the spell of “Low” in some way, shape or form.  Despite falling foul at the time of release, “Low” has gone onto become one of the most important albums of our time.  Pitchfork magazine listed it at number 1 in the most influential albums of the 1970’s.  In 2013, the NME labeled the record as the 14th greatest British album ever made.  That’s some impact.  Bowie would go on to play the album in full during some of the shows of his 2002 “Heathen Tour” and then include a good number of songs on the following “A Reality Tour ” of 2003/04.

Something that has struck a chord with many critics over recent years is that the album feels as though it has taken on a timeless edge. You could surely release the LP on an unsuspecting public in 2019 and it would still have a good deal of relevance about it. Upon release, “Low” reached number 2 on the UK charts and peaked at number 11 on the charts in America. It made small dents in the Australian, New Zealand, Dutch, Japanese and Swedish charts but went relatively unnoticed in most other territories. The year of 1977 was a peak period for both punk and disco which left “Low” floating somewhere in-between and somewhat homeless. Both Brian Eno and Tony Visconti have talked at length over the decades of how everyone involved wanted to push boundaries and break the mold of what had come before.

Sales quickly fell away after the initial rush and the album fell out of sight not long after release. It seemed as though the new found fans in recent times were left somewhat alienated and quickly drifted away. Six months later, “Heroes” would be released and some critical reassessments began in earnest as writers began to back flip on their early reservations of the record. This ever increasing back flipping would gather momentum for years to come and, by 1992, Philip Glass would construct a symphony of “Low”. This was also around the time that many up and coming British bands took Bowie under their wings and name dropped him during interviews.

I first heard “Low” in early 1993. I’d been a Bowie fan for a while and was unable to buy my own copy due to it being well beyond my teenage pocket money keepings so I rented a CD copy of the album and made a cassette tape copy for my Walkman. I remember how much the album threw me upon the first listen. It was like something else all together. From here, I began to find my way through the back catalogues of Brian Eno, Kraftwerk and the like. Essentially, “Low” grew into a stepping stone to the discovery of any number of artists and bands. Over the next year or two, I remember it also being a doorway to Japan, Ultravox Depeche Mode and a world of 80’s synth pop bands.

I listened to “Low” around several times in recent days to celebrate its birthday and remind myself of just how good an album it truly is. May I suggest you do the same if you haven’t already done so?

Long live “Low”! It’s an album that is still transfixing music fans young and old even in 2019. And it’s still shaping our lives too….

The Bowie Concert Tape Files: Friars Club, Aylesbury – July 15 1972

As far as listen-ability is concerned, this is one of the more difficult recordings in my collection.  For historic reasons, it’s an absolute treasure to have due to it being one of the few early Ziggy concert recordings in the collectors market and also for the it being the only known recording of Bowie covering The Beatles “This Boy”.  Almost a year prior, Bowie had played a more conventional set in late 1971 however, Ziggy was still lurking around the corner.  In late January of 1972, Ziggy had been revealed in all his glory at the same venue.  By now, Ziggy Stardust was ready to be unleashed but not quite there yet.  This was a raw and edgy Ziggy.  A nervous Bowie on stage as it was not long after his performance of “Starman” on Top Of The Pops just ten days prior.  His previously half and three quarter empty shows were rapidly beginning to fill up and Ziggy was finally breaking into stride and on the verge of his first American tour which was just over two months away.

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It takes a few songs to really get into this show.  With a very poor sound that is quite muffled, the ears require a bit of time to adjust.  By the time the band launch into “The Supermen”, it’s all starting to take shape as the muffled noise become less of a hindrance of the experience.  You can’t help but close your eyes, lay back and imagine the energy shows from this period must have had.  By now, the tour had been on the road for some 6 months and entailed a tick over 50 shows.  The concert itself was sandwiched between no less than four London shows.  They included, The Royal Festival Hall and The Kings Cross Cinema on the 8th and 14th of July then this one on the 15th before breaking for a few weeks and returning on August 19th and 20th as part of the legendary Rainbow Theater concerts choreographed by the late Lindsay Kemp.

Tony Defries, Bowie’s then manager was looking to make every post a winner.  The hype and momentum behind Bowie was beginning to gather steam which led to a small run of Christmas and New Year shows in the UK added before a second US tour for the early part of 1973 and then a massive stretch back in the UK which would eventually see the death of Ziggy on July 3rd at The Hammersmith Odean.  Just looking at the tour dates is exhausting enough so one can only imagine how drained Bowie would have been at the time of the final shows in June and July 1973.  For now though, you can tell he was enjoying the ride and relishing his newly acquired fans.

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“This Boy” is, as far as covers go, quite interesting.  It sticks well to the original roots yet Bowie’s vocal deliver here is quite stunning.  One could only imagine how good it must have sounded at the time for those who were in attendance?  Following this, Bowie, somewhat proudly introduces “The Width Of A Circle”, a song which hadn’t been performed a great deal leading up to this show.  Despite being absent for a large chunk of the recording sessions for the album it came from, Bowie seem like he has embraced the album at long last and, along with the band, they all enjoy the songs played live from “The Man Who Sold The World”.  It’s a shame that he allowed these songs to gather so much dust in the years ahead.  Can you just imagine how well Stacey Hayden in 1976 or Earl Slick in 1983 would have delivered the guitar solos? It would have been magic!

I digress.

The concert is over before you know it.  Being a short set list at the time, you kind of wish a few more numbers were thrown in and by the time Bowie returned for more UK shows the following month, more songs had indeed been added to each concert.  A true highlight to end the show was the encore performance of “Round And Round”.  Almost the perfect finally to a Bowie concert at the time.

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It wouldn’t have been easy in 1972 to smuggle in recording equipment to concerts and with Bowie’s incredibly tight security beginning to enforce themselves on concert tapers and photographers across the land, you cannot help but be eternally grateful to the humble man who went to great lengths to record this show.  And of course, all the other concert tapers in the 1970’s who had the vision and gumption to capture live concerts.  Just imagine if these shows had never been recorded?  Of course, by 1974 and on wards, Bowie had become massive but so to the recording equipment hence the heavy volume of much better sounding recording shows that would become available.  mind, I have a copy of the Leeds show from June 1973 that is even ropier than this one.  And that’s saying something!

When I began collecting live Bowie shows in 1993, there were not a great deal of tapes available to trade with the people I knew at the time.  Around 1996, I picked up a copy of Pimm’s sublime concert tape book and was opened and privy to a whole world of shows I had no idea existed.  As the years rolled on and we moved into the home computer age, many more concerts began to see the light of day, some thought lost until being found in disused cardboard boxes under beds and in attics.  The Bowie concert taping community is a marvelous one that grows larger with every passing year.   I wonder if the concert tapers in the 1970’s had any clue that almost 50 years on, people would be writing about not just the shows but the legacy they left behind?  I do wonder…..

SET LIST:

Hang Onto Yourself/Queen Bitch /John I’m Only Dancing /The Supermen /Ziggy Stardust/Moonage Daydream /Starman/This Boy /The Width Of A Circle/Waiting For The Man/White Light White Heat/Suffragette City/Audience Crowd/Round And Round

The Bowie Concert Tape Files: Le Zenith, Paris, France – 25 September 2002

“Nothing has changed, everything has changed” Bowie sings during “Sunday”.  It’s the opening song to the often overlooked album, “Heathen” and also, the opening number to Bowie’s concert in Paris on September 25th 2002.   What a tour this was.  And some truly astounding soundboard recordings have appeared over the years to appease the appetite of bootleg collectors from all corners.  This one is no exception as far as those soundboard recordings go.  The concert is a well changed up set list which was the norm for 2002 and includes a large portion of the “Heathen” album as well.  In fact, 12 of the 28 songs played on the night are from 1995 and beyond.

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There is a much warmer sound on the “Heathen Tour” than the tours that fell either side.  The song selection was also quite spectacular with inclusions like “The Bewlay Brothers” and “Alabama Song”, the latter included for this show. In some shows, “Low” was also played either in its entirety or, a massive chunk of the album was included and spread throughout the concerts.  The same can be said for “Heathen”.  Personally, I found this a fantastic way to approach a tour and it was one of Bowie’s great charms as he moved further away for the 80’s.

It’s hard to break down soundboard shows because they ultimately and almost always have very few floors.  You do loose a considerable amount of the audience contribution yet, what you get in return is always a clear, crisp and open sound that includes an even balance of all the musicians involved.  It’s more than evident during some of the  numbers in this show like “Ashes To Ashes”, “Changes”, “5:15, The Angels Have Gone” and “Sound And Vision”.  You can pick up so much from all involved.  It’s beautiful to listen to and makes the experience just that much better.  My previously owned audience recording of this concert had a rather tasty crowd energy however, there was lots missing from the individual band members which can be picked up through this soundboard recording.  A massive bonus.

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 Upon listening to this concert, one can really get a feel for the love Bowie has for the new material and the songs performed from “Low”.  In relation to the latter, it’s almost as if Bowie had finally come to realization that the rest of the world had finally caught up with “Low” 25 years after its release.  You can feel the love he has for the album hanging off every single vocal delivery during the songs.  Almost a decade earlier, Trent Reznor had spoken about “Low” with incredible affection when doing interviews for “The Downward Spiral”.  At one point, Reznor was listening to “Low” multiple times every day for inspiration.  You can hear a lot of “Low” in the album itself which put NIN firmly on the map.  Blur and Radiohead has also been taking inspiration from “Low” during the same period as NIN with a number of songs from both bands around the time dipping their hats to the album.

I do regret not being able to get to some of the show in Europe on this tour.  I had seen two of the Area 2 festival shows but they were slightly shorter and well, in front of American audiences which isn’t always the best way to see a show.

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This Paris show is now the 9th soundboard recording I have from the “Heathen Tour” and I hope it isn’t the last.  It’s a concert tour I could happily return to many times over and never tire of.  A bit like the 1976 and 1978 tours from a personal perspective.  I’d even go as far as placing the “Heathen Tour” as a companion to the “Stage” tour in 1978.  Ohh, I should also mention this as well.  Following “Slip Away”, Bowie plays a snippet of “Space Oddity” before tailing off with a laugh.  It’s a shame he didn’t include the full song on a few shows at the very least.

Little anecdotes like this make listening to bootlegs so very enjoyable.  It’s the reason why I own hundreds of shows from multiple singers and bands.  There were a few song changes from the concert that was performed the night before at the same venue with “Survive”, “Stay” and “The Speed Of Life” all being dropped for the this performance.  Should a soundboard recording of the show from the previous night turn up among collectors, it would make for a nice bootleg box set or vinyl package.  One day even, I would love to see a Bowie related streaming app that included many of these unheard soundboard shows.  It’s once thing to circulate them among collectors but another all together to share them the wider music community which would be a beautiful gesture from the Bowie estate.  I mean, why hide them away for decades when they could so easily be spread with love among the millions of Bowie fans around the world?

There are not many better ways to spend a Sunday afternoon in the depths of an Australian summer than listening to a Bowie soundboard show from Paris in 2002.  It’s a performance I can’t recommend to you enough.

SET LIST:

Sunday/Absolute Beginners/Alabama Song/Ashes To Ashes/Changes/Breaking Glass/Cactus/I Would Be Your Slave/China Girl/Starman/Slip Away/I’m Afraid Of Americans/5:15 The Angels Have Gone/I’ve Been Waiting For You/Afraid/Let’s Dance/Rebel Rebel/Heroes/Heathen (The Rays)/Speed Of Life/Sound And Vision/Survive/Stay/Look Back In Anger/Everyone Says Hi/Hallo Spaceboy/Moonage Daydream/Ziggy Stardust