As my wife Brenda and I joined the queue outside the beautiful old theatre, I wasn’t quite sure what to expect. Being a massive Bowie fan, my hopes were understandably high, and judging by the number of people gathering outside, I certainly wasn’t alone.
It was lovely to see so many people of a similar age coming together to step back in time and celebrate one of music’s greatest icons, a man who sadly left us far too early.
Inside, the atmosphere was fantastic. The Town Hall Theatre is a wonderful venue for this type of performance, offering an intimate setting where the audience can really feel part of the show.
The show was divided into two sets, taking us on a musical journey through the many faces and sounds of David Bowie.
The opening set kicked off with Hang On to Yourself, followed by Ziggy Stardust, Suffragette City and the magnificent Moonage Daydream.
For me, one of the highlights of the evening was the incredible guitar work on Moonage Daydream, with Mick Ronson lookalike Andy Marr delivering a cracking solo that really captured the spirit of Bowie’s legendary guitarist.
Other favourites included Changes, The Jean Genie, All the Young Dudes, Life on Mars and Starman. Being a lifelong Bowie fan, I knew every word, and looking around the theatre, it seemed most of the audience did too.
Frontman John O’Neill, taking on the enormous challenge of portraying Bowie himself, certainly looked the part. His costume changes took us through the various stages of Bowie’s remarkable career, from the flamboyant theatrical outfits of the early years and Ziggy Stardust to the sophisticated Thin White Duke and his later personas.
The costumes were colourful, stylish and wonderfully theatrical, adding an extra dimension to the performance. O’Neill largely remained in character throughout, bringing a little of Bowie’s unique stage presence back to life.
The second set moved into Bowie’s later years, with songs including Fashion, Young Americans, Ashes to Ashes, China Girl and Let’s Dance.
It was during these more danceable numbers that the audience really began to loosen up, with several people leaving their seats to enjoy a bit of a boogie. After all, who can resist getting up when Let’s Dance starts playing?
Now, as much as I enjoyed the evening, I have to say that the performance wasn’t quite perfect.
There were some rather long silences between songs, which occasionally interrupted the flow of the show. A little more interaction with the audience, or perhaps a few stories about Bowie and his music, would have helped keep the atmosphere bubbling along.
Vocally, O’Neill had his moments, but I did notice him struggling with a few of the higher notes. Whether he was suffering from a touch of laryngitis or simply having an off night (it happens), I couldn’t say. On a couple of occasions, he appeared to leave the more demanding notes to the audience, who were only too happy to help him out.
There was also some use of backing tracks, although the musicians themselves played and sang magnificently live. The band were undoubtedly one of the strongest elements of the show, delivering Bowie’s much-loved music with real enthusiasm and skill.
The ending was another slightly awkward moment.
Following the closing numbers, China Girl and Let’s Dance, the band left the stage, but there was a little confusion among the audience. Was that the end, or were they simply disappearing for another costume change?
A slightly more polished finale would certainly have made for a better ending.
Absolute Bowie delivered an entertaining evening packed with nostalgia, excellent musicianship, flamboyant costumes and some of the greatest songs ever written.
For those of us who grew up listening to Bowie, it was a lovely opportunity to revisit the music that provided the soundtrack to so many of our younger years.
And while nobody can ever truly replace the Thin White Duke, Absolute Bowie certainly gave it a good go.
Would I go again? Yes, I probably would.
MICHAEL GANT
