DAVID BOWIE with Macy Gray

TUESDAY, JANUARY 13, 2004

Rosemont Theatre • Rosemont, Illinois

review by Tom Lounges • photos by Niva Bringas

On the first night of his three show run at this 4,000-seat venue in this North Chicago Suburb, David Bowie was large and fully in charge.

Following a very strong performance by funky diva Macy Gray and a short intermission, Bowie’s two-hour show began as a giant wall of light panels portrayed him and his band as day-glo animated characters. Those suddenly morphed into “video life” just before their flesh and blood counterparts took to the stage.

Spirited and energetic, Bowie laughed and chatted often with the capacity audience. He came off not as a “rock god,” but rather someone well aware of his “legendary status” who deals with it rather tongue-in-cheek.

Of the four times that this writer has had the enjoyment of catching Bowie in concert over the years, this was easily the most casual and kicked back performance witnessed yet.

Comfortable with his classic hits again (Bowie had refused to perform them for several years), he strode on stage majestically wearing blue jeans, a scarf and a tattered black tails jacket. Looking a bit like a rock ‘n’ roll pirate in that garb, he grabbed the center stage mic and kicked into “Rebel Rebel.”

Strapping on a white electric guitar, Bowie proceeded to treat his fervent fans to a truly mixed bag of material, ultimately playing a total of 24 songs from start to finish.

His well known classic hits like “Fame,” “Ashes To Ashes,” “Heroes,” “China Girl” and “Changes” went over well as would be expected. But the show’s true highlights and those which garnered the best response from a sea of fans who responded to Bowie’s every gesture and word, were the deep cuts from his glorious past. Among these numbers that few expected to hear were –– “Five Years,” “White Light/White Heat,” “Hello Spaceboy,” “All The Young Dudes” and the ever dramatic “Life On Mars.”

A pin could have been heard dropping as Bowie performed the latter and his voice soared beautifully to capture every note. Though not the age 57, Bowie has not lost a thing to the passing of time. He is still very much akin to Dorian Gray in his physical appearance, his spiritedness, his vocal range and his energized execution of the songs.

Bowie’s delivery of “Life On Mars” was skin-tingling and soul deep. As his last note soared and the song concluded, the entire room erupted in deafening appreciation. It was the best response Bowie would get that night and he seemed truly grateful for it, humbly bowing his head and smiling warmly as he soaked up the applause.

Even the tremendous response given to his four song encore set, which concluded with his raucous radio ball-busters –– “Suffergette City” and “Ziggy Stardust” –– paled in comparison to that given to the mid-show delivery of “Life On Mars.”

Surely pleasing to the always forward-looking Bowie, was the enthusiastic welcome given to the wealth of newer material included in that opening night’s set. Songs ranging from “I’m Afraid Of Americans” from his Earthling album, to cuts like “Fall Dog Bombs The Moon,” “Reality” and “New Killer Star,” from his brand new release, Reality .

For his first world tour in nearly a decade, Bowie has stayed true to form and has surrounded himself with an entourage of six remarkable backing musicians. His road band is, in a word –– Magnificent!

Though less flashy and prominate this time out, compared to his past tours with Bowie, it was grand to see guitarist Earl Slick rocking once again with the Thin White Duke.

Just as every fan has personal faves, this writer’s included a surprising inclusion of his first U.S. radio hit, “The Man Who Sold The World,” along with hearing him perform “All The Young Dudes,” which he wrote and produced for the sadly underrated Mott The Hoople back in the 1970s.

The only disappointment for me was not hearing Bowie kick out the haunting new version of “Bring Me The Head Of The Disco King,” which he creatively revamped for his new Reality album. I could have lived without his cover of Jonathon Richmond’s “Pablo Picasso,” in favor of hearing “…Disco King.”

Though many such songs could have been wished for, Bowie managed to deliver unto his loyal legions (comprised of young and old / gay and straight) a truly wonderful presentation of his life’s work to date. A revamped songlist was promised for the remaining two nights for those returning for more.

I can only regret not having been there for those remaining shows if Bowie’s opening night performance was any indication of what was still in store for his Chicagoland fans.

Not chock full of the theatrical pomp of tours past, but still the best live show these eyes and ears have drunk up in years.

Long live Bowie and long may he rock! Come back to Chicagoland soon … PLEASE!

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