David Bowie: 1996 Shoreline Amphitheatre Review

"Ancestor" (1995) Bowie

Finally watched this performance in its entirety yesterday and I. Am. Shook.



Bowie's sheer level of talent and charisma is never NOT displayed, but this particular performance makes sure that you never forget it. (I was actually angry after watching it as I was unironically in awe of his brilliance). His lovely guitar playing and wonderful vocals are accompanied by his veteran collaborators Gail Ann Dorsey and Reeves Gabrels to add a layered, textured performance despite being stripped down to "just the basics" (indeed, the "percussion" for the two day performances was just a bottle cap on the bottom of Bowie's shoe).

I loved that these performances were able to let more of Bowie's under-rated vocal talent shine through, and that it allowed you to understand how brilliant his songs really are. The simple arrangements allowed me to see musical and thematic nuances that I didn't before - especially of "China Girl" and "Let's Dance", since the original versions are buried under 1980s pop and funk that, while fun, fail to convey the sombre undertones that the songs are truly about (a critique on racism and mourning a loss of spirituality in culture). While listening to the new guitar arrangements of "The Man Who Sold the World" and "Aladdin Sane" make you wonder why the originals bothered to include anything else (even if it was a wicked avant garde piano solo by Mike Garson). And of course hearing rock anthems like "'Heroes'" and "The Jean Genie" played only in an accoustic arrangement gave both a fun, "back to basics", almost folk rock, feel.

This set list just goes to show how pervasive Bowie was in popular cultute and music, and how talented he really is. The phrase "fake it til you make it" may be true, but without substance underneath it's all for naught. And here you can clearly see the "chameleon of rock 'n' roll" deliver dividends - a master musician, this performance clearly defends his prowess to those who were his staunch critics in the 1990s (who believed he had nothing left to offer musically).

Not to mention how listening to such a relaxed version of both David and his music made the concert feel less like the glamourized spectacles of today (that Bowie himself contributed to), and more like an intimate concert in a club where local talents take the mic. Especially when he joked with the audience and played around with hits by others - like The Who's " Anyway, Anyhow, Anywhere" (which he actually previously covered in 73 on his 1960s cover album "Pin Ups"). And I really loved seeing how even without a fancy band, make-up, costumes, or arrangements, Bowie's hold on his audience is still absolute. He's a master performer even when he's joking around, and it's absolutely delightful to watch.

So please do yourself a favour and (even if it's in the "background") listen to this concert! He repeats a few songs on the second day of Neil Young's annual benefit, but both days are worth a watch all the way through as every song is, indeed, a "highlight song".

Personal favourites:

"Let's Dance" (this version made me think of the softer version he would later play on the 2002 A&E special, and I love both much more than the original, like Bowie himself)

"China Girl" (ever since I heard an acoustic snippet on the Rosie O'Donnell show I wanted a full version - it's more intimate and seductive rather than catchy, and I think it enhances the layered critique of racism embedded in the lyrics. It's also yet another piece of evidence for my theory that many Bowie hits of the 1980s would've been amazing as acoustic arrangements like "Loving the Alien", which he eventually did on his Reality Tour in 2004)

"'Heroes'" (as evidenced by Lazarus, this song really does better as a stripped down, solo piece rather than a rock anthem, and this guitar and vocals only arrangement really let's it's theme of choosing love shine through)

"The Man Who Sold the World" (not that it's as drastically different from it's original like "Let's Dance", but just like his hits from the 80s, this 1970s psychedelic rock classic also benefits from the powerful vocals and simple guitar - the mournful longing embedded in the song is clearer than ever and it gives more weight to the existential philosophy which influenced it's creation)

"White Light/White Heat" (a classic Bowie cover of the always excellent Velvet Underground, this staple cover song from many of his concerts/live performances makes for an excellent show stopping finale with Bowie belting the lyrics out in a raw, rock 'n' roll fashion)