David Bowie

Konzert im Stadtpark Hamburg im Juli 1987

Setlist

Up the Hill Backwards
Glass Spider
Up the Hill Backwards (Reprise)
Day-In Day-Out
Bang Bang
(Iggy Pop cover)
Absolute Beginners
Loving the Alien
China Girl
(Iggy Pop cover)
Fashion
Scary Monsters (And Super Creeps)
All the Madmen
Never Let Me Down
Big Brother
'87 and Cry
"Heroes"
Time Will Crawl
Beat of Your Drum
Sons of the Silent Age
Dancing With the Big Boys
Zeroes
Let's Dance
Fame
Encore:
Time
Blue Jean
Modern Love

The Glass Spider Tour was an 1987 worldwide concert tour by David Bowie, launched in support of his album Never Let Me Down. It began in May 1987 and was preceded by a 2-week press tour that saw Bowie visit 9 countries throughout Europe and North America to drum up public interest in the tour. The Glass Spider Tour was the first Bowie tour to visit Austria, Italy, Spain, Ireland and Wales. Through a sponsorship from Pepsi, the tour was intended to visit Russia and South America as well, but these plans were later cancelled. The tour was, at that point, the longest and most expensive tour Bowie had embarked upon in his career. At the time, the tour's elaborate set was called "the largest touring set ever".

The Glass Spider Tour was an 1987 worldwide concert tour by David Bowie, launched in support of his album Never Let Me Down. It began in May 1987 and was preceded by a 2-week press tour that saw Bowie visit 9 countries throughout Europe and North America to drum up public interest in the tour. The Glass Spider Tour was the first Bowie tour to visit Austria, Italy, Spain, Ireland and Wales. Through a sponsorship from Pepsi, the tour was intended to visit Russia and South America as well, but these plans were later cancelled. The tour was, at that point, the longest and most expensive tour Bowie had embarked upon in his career. At the time, the tour's elaborate set was called "the largest touring set ever".

The tour was generally poorly received at the time for being overblown and pretentious. Despite the criticism, Bowie in 1991 remarked that this tour laid the groundwork for later successful theatrical tours by other artists, and the set's design and the show's integration of music and theatrics has inspired later acts by a variety of artists. Starting in the late 2000s, the tour began to collect accolades for its successes, and in 2010 the tour was named one of the top concert tour designs of all time.

The tour was generally poorly received at the time for being overblown and pretentious. Despite the criticism, Bowie in 1991 remarked that this tour laid the groundwork for later successful theatrical tours by other artists, and the set's design and the show's integration of music and theatrics has inspired later acts by a variety of artists. Starting in the late 2000s, the tour began to collect accolades for its successes, and in 2010 the tour was named one of the top concert tour designs of all time.

Ein wunderbarer Abend, fast wie in den seligen 70ern. Ein lauer Wind streicht durchs Haar, buntgeschminkt Latzhosenträger führen Koboldtänze auf — und als David Bowie unter lautem Jubel mit dem Hubschrauber eingeflogen wird, stürmen Hunderte von nichtzahlenden Fans das Gelände.

Nur wenige Stilbrüche stören das Bild: Die rebellischen Festplatz-Stürmer tragen Kaschmirpullis, die Hippies nebenan köpfen vor dem Joint eine Flasche edelsten Champagner — und statt eines Livekonzerts gibt es einen überdimensionalen Videoclip.

Zwei riesige Monitore übertragen, was da auf der Bühne vor sich geht. Ein hervorragendes Kamerateam und rasante Schnitte lassen die Wirklichkeit zum Abklatsch verblassen. Kaum einer schaut auf die Bühne.

Dabei gäbe es viel zu sehen. Mit unglaublichem Aufwand hat Bowie den Rückschritt in das letzte Jahrzehnt inszeniert. Hübseh aufgeputzte Statisten springen herum, wirbeln durch Westside-Story-Choreographien oder brillieren mit Fußgängerzonen-Kunststückchen. Über der Bühne thront die riesige Spinne aus Licht und Neon.

Auch musikalisch beschwört Bowie seine Vergangenheit, als er noch nicht Mister Mainstream, sondern buntschillernder Exot war. Die satte Rhythmusgruppe hämmert ein solides Groove-Fundament, die Keyboards legen einen weichen Teppich darüber. Musikalischer Mittelpunkt sind Carlos Alomar und Peter Frampton, die harsche Rockriffs aus ihren Gitarren reißen. Unüberhörbar werden die 70er, wenn der Mann an den Tasten herrlich altmodische Minimoog-Sounds zaubert. Peter Frampton schier endlose Soli spielt und der Schlagzeuger zum sportlichen Solokraftakt ausholt.

Die 25000 jubeln dankbar. Der alte Bowie war eben doch besser. Jetzt haben wir ihn wieder. Fragt sich nur wie lange. 15001 Gäste zuwenig haben irgendjemand ein saftiges Finanzdebakel beschert.

 

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