Celebrating David Bowie - Copernicus Theater, Chicago, 14/10/2022

  by Lisa Torem

published: 20 / 2 / 2023

The subtitle of this grand tour could have been: ‘Go big or go home,’ as it was a carnival of virtuosic sonics and consummate entertainment at every turn. The backing band included top notch musicians: bassist Angeline Saris, drummer Michael Urbano and saxophonist Ron Dziubla. Guitarist Scrote (Angelo Bundini), the brainchild of the premier tour back in 2017, served as co-producer with Miles Copeland. Scrote, who consistently crafted blazing guitar licks, was in excellent company. The double sets featured producer/guitarist Todd Rundgren and former King Crimson maverick Adrian Belew, whose mind-blowing pedal effects took Bowie songs into an alternative hemisphere. Because Bowie’s arrangements were historically enhanced by A-listers: Earl Slick, Mick Ronson, Carlos Alomar and Gerry Leonard, among others, it was only fitting that the concert would feature multiple world-class contemporary guitarists. As a producer, performer and electronic groundbreaker, alone, Rundgren has a CV miles long. This event also centered around non-guitarists. Angelo Moore, of Fishbone fame, is a three-ring circus of the highest proportion. His ingenious dance moves, which included the occasional cartwheel, colorful costume changes (patchwork quilt and loud vintage jackets, etc.) and impressive vocal range brought hoots from all corners of the classically-constructed theater. British artist, Spacehog’s Royston Langdon doubled on keyboards but mostly performed on jangly, acoustic guitar. With his Stetson hat and clear, country voice, he offset the space-aged sonics that mirrored Bowie staples. ‘The Thin White Duke’s’ catalogue was unquestionably massive, but the finalized set list was carefully curated and included heartfelt odes to the Ziggy Stardust era and countless epics thereafter. Opening with ‘Sound and Vision,’ Urbano fired away on all pistons and maintained that level of energy throughout the two lengthy sets, with lightning fast drum rolls. Belew launched into a preview of his dynamic playing abilities; there would be much more to come. Rundgren lit up the stage with his bright yellow suit and demonstrative vocals on ‘Young Americans’ and sax man Dziubla added fuel to the fire. ‘Moonage Daydream’ was a perfect follow-up, with another tasty sax solo. Moore graced the stage with a black suit, painted face and bowler hat and let loose that stadium-tested voice. Langdon’s own earthy vocals brought ‘Rock ‘n’ Roll Suicide’ to new heights, with lots of rhythmic guitar to bank on and the beginnings of a revolving light show. Rundgren in a sparkling body suit—he would also go through many costume ‘changes’--roamed both sides of the stage in the song of the same name. Dziubla’s dreamy sax solo brought him out. The room reverberated with a 12-string acoustic rendition of ‘Starman.’ Rundgren then strapped on his own instrument, with Scrote adding sharp melodic touches. As the rest of the band broadcast ‘The Man Who Sold The World’ with its unique dance rhythms, Saris carried out the addictive bass line, creating a brilliant contrast, with Langdon at the helm. Animated Angelo Moore was introduced as ‘one of the biggest Bowie fans on the planet.’ He turned early Bowie song, ‘John I’m Only Dancing’ into a major showpiece with creative vocal gyrations. Langdon dusted off the vaults with an exceptional ode to ‘Ziggy Stardust.’ ‘Life On Mars’ featured Rundgren and Belew in an emotional huddle. ‘Ashes to Ashes’ from ‘Scary Monsters and Super Creeps’ found fans singing along with Moore. ‘Fame’ with its iconic Carlos Alomar-created riff got an enviable audience reaction, with Belew’s attention to detail. It quickly resolved into a full-blown jam. Scrote stamped his ingenuity on ‘Fashion’ with Belew as effects-organizing compadre and Langdon on keys. Belew’s riffery was astounding on the swoony ‘Golden Years’ which ended the first complete set followed by a short intermission. ‘Stay’ brought fans back, with the exciting pairing of Scrote and Belew. Moore and Rundgren began ‘Station to Station’ with unyielding zeal and placed the fans in the palm of their hands. Although humbly dressed casually in white T-shirt and slacks, Belew’s glittery red shoes screamed rock star when plunging down on the pedals. Moore revved up the crowd and teamed up with Langdon for ‘Breaking Glass.’ It was back to Belew for ‘I’m a D.J./Boys Keep Swinging.’ He deftly balanced the dizzying tempo and harmonic changes and emulated Bowie’s robotic new wave style with a spot-on falsetto. ‘Win’ brought Chicago-area entertainer Ava Cherry (former Bowie backup singer) to the stage where she and Moore performed a soulful recast. Dziubla’s sax drifted in and out like a wistful autumn breeze. Rundgren and Belew traded vocals on ‘Space Oddity’ with Belew supplying intense atmosphere. Another high on the instrumental front occurred when Scrote reimagined ‘The Stars (Are Out Tonight’). ‘Hallo Spaceboy’ reclaimed its quizzical thematic roots when Moore turned it inside-out. On ‘I’m Afraid of Americans,’ the fans were privy to an incredulous inter-planetary ride. Next was ‘David Bowie’s gift to guitarist Adrien Belew’,’ ‘Pretty Pink Rose,’ which appears on Belew’s fifth studio album ‘Young Lions’ released back in 1990. ‘Blue Jean,’ another Ziggy Stardust rocker, warmed the audience up for ‘Let’s Dance’ which got a predictably wild response after a couple of easily recognized chords resonated. Understandably, this moment--in-time prompted dancers to erupt from their front row seating. ‘Rebel Rebel’ was another high-decibel contender. Rundgren, in a long, black raincoat, led ‘All The Young Dudes’ like a maestro. Cherry and Moore employed a vivacious round of dance moves and choruses, with Belew teasing up a trail of high-pitched tonalities on the fretboard. The first encore, ‘Suffragette City’ brought Moore downstage, grabbing hands of excited fans, as he coaxed even the shyest dancers onstage. The grand finale ‘Heroes’ grew into an exciting piece showcasing the entire ensemble. It brought the house down. This vibrant celebration captured the highlights of David Bowie’s prolific career. His ability to switch gears from album to album was honored by an all-star lineup. The tour, which began on 6 October in San Diego and ends on 13 November, Phoenix, promised to celebrate Bowie, but in fact, also celebrates the many musicians who carry his dream forward to this day. Photos by Rob Grabowski www.grabowskiphoto.com

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