Bowie graced us with new music literally right until he died with the release of 2018’s Blackstar, which appeared just two days before he succumbed to liver cancer. Perhaps that’s why it’s hard to remember that his touring career ended much earlier in 2004 when Bowie had a heart attack during a show on the A Reality Tour. There were a few sporadic appearances in 2005 and 2006 with Arcade Fire, David Gilmour, and Alicia Keys, but no live performances after that. Thus, Glastonbury 2000 sits within Bowie’s middle period as a recording artist, but in the timeline of his live performances, it’s really his late period.
Based on some of the liner notes taken from Bowie’s personal journal, it’s easy to understand why he backed off of touring as domestic and professional concerns increased. Great performers make live work look like they just get up there and deliver it. Bowie’s journal demonstrates that the days of packing up a suitcase, whizzing around the world, staying up all night sampling life’s pleasures, and then playing live were over for him—if indeed it was ever that easy. The May 15th entry reveals Bowie suffering from a lack of air conditioning in his New York apartment and reluctant to take time away from home as wife Inman is pregnant. May 19th finds him focused on assembling a live band, figuring out the set list, and vowing to remember the lyrics on stage without any aids. He also confesses that he can’t see himself doing “Major Tom” yet, which means no “Space Oddity” (darn!). The May 25th account ends with him reporting an early dinner so that he can get a good night’s rest. By June 1st he is ready for rehearsals, planning three warm-up shows, and figuring out his wardrobe. June 6th brings a wedding anniversary and a review of his Glastonbury contract. June 7th he writes about the various members of his band, and we realize this is a carefully assembled band of seasoned musicians. On June 9th Bowie discovers that he will have to trim off about a dozen songs from what he has been rehearsing as “the promoter will be fined twenty thousand pounds a MINUTE” if Bowie and the band go past curfew. Bowie has all this to contend with before ever sitting foot on the Glastonbury stage.
The June 11th entry documents Bowie’s nostalgia about his first Glastonbury appearance at some ungodly hour of the morning after staying up all night enjoying himself. Caitlin Morgan writes an essay that doesn’t give that much insight into the concert itself, but it continues the tone of Bowie’s last journal entry and mythologizes both the artist and his 2000 concert performance.
With a career spanning decades at the time of the Glastonbury show, Bowie had the fortunate burden of figuring out what to play. He had mostly skipped the hits on the previous Hours Tour. For Glastonbury, he did the reverse and played the hits while completely overlooking Hours, his most recent album. If you like the hits, you’ll love Glastonbury 2000. If you are looking for deeper cuts, this won’t be your thing. The set list seems to be designed mostly as a crowd-pleaser, something for the casual fan wanting, more or less, a live greatest hits (not to worry; I’m sure more live Bowie artifacts will appear and catalog every corner of his career). This release showcases a Bowie for all seasons.
Either fan base will be satisfied, though not perhaps not blown away, with the performances. Over the course of the album, we learn that Bowie had laryngitis. The hot New York air contrasted with the cool British nighttime vapors could not have helped his voice (after the sun sets, you can see the steam coming off of Bowie’s breath). Still, when I listen to and watch his performance, it’s not obvious to me that he has any throat issues. When he takes the stage with his long hair and embroidered gold jacket, Bowie looks like a regal lion with plenty of energy. Nonetheless, Bowie mostly cruises and holds the line. Occasionally he plods and sometimes he soars. This is the lion in the late summer of his life. His performance is always solid and sometimes more than that. It’s not revelatory, it’s not mystical, but it’s strong and certainly something I will watch again. The arrangements on some of the songs are different, so if you’re looking for fresher versions of the old classics, you’ll find some different shades and textures here.
Closing song “I’m Afraid of Americans” and his duet with bassist Gail Ann Dorsey on “Under Pressure” are particularly noteworthy. On “I’m Afraid of Americans,” it’s as if Bowie knew he could pour all of his remaining energy into the song since it was the finale of the set.
At the time, we had no idea that Bowie would perform for only a few more years. Glastonbury 2000 stands as a superb overview of his live hits. Finally, it’s a reminder to see your idols while you can.
TRACKLIST
CD 1
Introduction (Greensleeves)
Wild Is The Wind
China Girl
Changes
Stay
Life On Mars?
Absolute Beginners
Ashes To Ashes
Rebel Rebel
Little Wonder
Golden Years
CD 2
Fame
All The Young Dudes
The Man Who Sold The World
Station To Station
Starman
Hallo Spaceboy
Under Pressure
Ziggy Stardust
Heroes
Let’s Dance
I’m Afraid Of Americans
DVD
Introduction (Greensleeves)
Wild Is The Wind
China Girl
Changes
Stay
Life On Mars?
Absolute Beginners
Ashes To Ashes
Rebel Rebel
Little Wonder
Golden Years
Fame
All The Young Dudes
The Man Who Sold The World
Station To Station
Starman
Hallo Spaceboy
Under Pressure
Ziggy Stardust
Heroes
Let’s Dance
I’m Afraid Of Americans
