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Earthling Tour
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Earthling Tour
Tour by David Bowie
Poster to the concert in Malmö, Sweden. A similar layout was used for other concert posters.
Location
  • Europe
  • North America
  • South America
Associated albumEarthling
Start date7 June 1997
End date7 November 1997
Legs3
No. of shows83
David Bowie concert chronology

The Earthling Tour was a 1997 concert tour by English musician David Bowie, in promotion of his album Earthling. The tour started on 7 June 1997 at Flughafen Blankensee in Lübeck, Germany, continuing through Europe and the Americas before concluding in Buenos Aires, Argentina on 7 November 1997.

Background and history

[edit]
Bowie performing at the Ruisrock festival in Finland

Immediately following his 1995-96 Outside Tour, Bowie went into the studio with his live band to record Earthling (1997) in mid-1996.[1] Bowie first publicly performed new material from these sessions in late 1996, playing "Telling Lies" and sometimes "Little Wonder" at shows on the US East Coast in September and October. On 9 January 1997, the day after he turned 50, Bowie held a 50th birthday concert for himself, performing tracks off the album, as well as a selection of songs from his back catalogue, playing to nearly 15,000 fans at New York's Madison Square Garden.[2] Bowie was joined onstage by artists including Billy Corgan, Foo Fighters, Sonic Youth, Black Francis, Robert Smith and Lou Reed, to perform many of his songs.[2][3] Other non-performing guests included Beck, Moby, Julian Schnabel, Prince, Charlie Sexton, Fred Schneider, Christopher Walken, Matt Dillon and Bowie's wife Iman. Artist Tony Oursler designed some of the artwork for the video backdrop that played behind the band onstage. The event was recorded for a pay-per-view special commemorating the event,[4][5] and a portion of the proceeds from the event were donated to the charity Save the Children.[2] Tim Pope, who had previously worked with Bowie directing his 1987 video for "Time Will Crawl", directed the 50th Anniversary video,[6] and Duncan Jones, Bowie's son, was one of the camera operators at the event.[7] A month later on 3 February, Earthling was released and Bowie promoted it with appearances on Saturday Night Live (8 February) and The Tonight Show (11 February). The Pay-Per-View broadcast of the birthday concert followed on 8 March.[8]

Bowie and his band began rehearsing for the tour in April 1997, and expected the tour to last through the end of the year, calling it a "really extensive, a long, long tour" in an interview with the press in February that year.[9] During rehearsals for the tour, Bowie re-recorded updated studio versions of some of his older songs, including "The Man Who Sold the World" and "Stay". These updated versions were performed during the tour, though the latter wouldn't be officially released until 2020 as part of the EP Is It Any Wonder?[10]

The original concept was to perform two sets: one regular and one dance-oriented, incorporating drum and bass.[11] This idea was abandoned, owing to the antipathy of critics and audiences.[6] After the performance at the Muziekcentrum Vredenburg in Utrecht, on 11 June 1997, elements of each were incorporated into one set. "He hated playing things just like the record," recalled guitarist Reeves Gabrels. "He wanted me to dress songs up in the clothes we're wearing now."[12]

The 14 October 1997 show at the Capitol Theatre in Port Chester, New York – broadcast on MTV's Live from the 10 Spot – was added at short notice due to cancellation by The Rolling Stones. The following show on 15 October 1997 at the Radio City Music Hall in New York City, New York was part of the GQ Awards. Bowie and the band also performed at KROQ's "Almost Acoustic Christmas" show in December 1997.[13]

A live album from the European leg of the tour made it to the mixing stage- Bowie, Gabrels and Mark Plati were all involved- but Virgin, the band's label, cancelled the release.[6] The release was eventually made available, albeit with a different track listing than originally envisioned, to BowieNet subscribers as the release LiveAndWell.com, which was re-released in 2021.[6]

For some shows on the tour, Bowie wore outfits designed by Donna Karan.[14]

Tao Jones Index

[edit]
A mannequin wearing a Union Jack coat
The Union Jack coat, worn by Bowie on the tour, on display at the David Bowie Is exhibition in 2018.

Bowie and the band performed a small number of "secret" shows under the name "Tao Jones Index", deliberately playing without people knowing who they were.[15] "Tao Jones Index" was a pun based on Bowie's real name, David Jones, and the 1997 Bowie Bond issue (Tao is pronounced "Dow", as in Dow Jones Index from the US stock market).[16] According to Gabrels, drummer Zachary Alford likely came up with the name,[17] and they only played as Tao Jones Index "a half dozen [times] or fewer", eventually wearying of the project as fans began to recognize Bowie and call out for him to play his hits.[18] The sets were, according to Gabrels, less strictly drum and bass so much as "dance remixes": "We were inspired by the various remixes of Earthling songs to reclaim & remake them as a live band."[19] The band played their normal instruments, but without amplifiers, and Alford played electronic drums.[20] There was only one official release from any of the Tao Jones Index's performances: a 12" single of "Pallas Athena" and "V-2 Schneider" (1997).[21]

One live performance was 10 June 1997, from which the live versions of "Pallas Athena" and "V2-Schneider" were recorded; another live performance was on 19 July 1997 Phoenix Festival; their performance in the BBC Radio 1 dance tent preceded the regular performance on the main stage the following day.

Reception

[edit]

The San Francisco Examiner had praise for the tour, saying "The chameleon can rock".[22] The Los Angeles Times complimented his artistic reinvigoration.[23]

Look at the Moon! (Live Phoenix Festival 97)

[edit]
Look at the Moon! (Live Phoenix Festival 97)
Live album by
David Bowie
Released12 February 2021
Recorded20 July 1997
VenueLong Marston, England
LabelParlophone
David Bowie chronology
LiveAndWell.com
(2021) 		Look at the Moon! (Live Phoenix Festival 97)
(2021) 		Something in the Air (Live Paris 99)
(2021)

The band's performance on 20 July 1997, recorded at Long Marston, England during the Phoenix Festival, was released in a live album entitled Look at the Moon! in February 2021.[24] The concert was released in two limited editions: a 2 CD-set or a 3-LP set.[24] This live album was the fourth in the 6-concert series Brilliant Live Adventures.[25] Look at the Moon! reached number 16 on the UK albums chart,[26] and number 92 in Ireland.[27]

Look at the Moon setlist

[edit]
  1. "Quicksand"
  2. "The Man Who Sold the World"
  3. "Driftin' Blues"/"The Jean Genie"
  4. "I'm Afraid of Americans"
  5. "Battle for Britain (The Letter)"
  6. "Fashion"
  7. "Seven Years in Tibet"
  8. "Fame"
  9. "Looking for Satellites"
  10. "Under Pressure"
  11. "The Hearts Filthy Lesson"
  12. "Scary Monsters (And Super Creeps)"
  13. "Hallo Spaceboy"
  14. "Little Wonder"
  15. "Dead Man Walking"
  16. "White Light/White Heat"
  17. "O Superman"
  18. "Stay"

Tour band

[edit]

Tour dates

[edit]
Date City Country Venue
Warm-up shows
17 May 1997 Dublin Ireland The Factory Studios
2 June 1997 London England Hanover Grand[29]
3 June 1997
5 June 1997 Hamburg Germany Große Freiheit
Europe
7 June 1997 Lübeck Germany Flughafen Blankensee
8 June 1997 Offenbach am Main Bieberer Berg Stadion
10 June 1997[a] Amsterdam Netherlands Paradiso
11 June 1997 Utrecht Muziekcentrum Vredenburg
13 June 1997 Essen Germany (Cancelled) Georg-Melches-Stadion
Dortmund Westfalenhalle
14 June 1997 Paris France Parc des Princes
16 June 1997 Rezé La Trocardiére
17 June 1997 Bordeaux La Médoquine
19 June 1997[b] Clermont-Ferrand Maison des Sports
21 June 1997 Leipzig Germany Agra Hall - Go Bang Festival
22 June 1997 Munich Flugplatz Neubiberg - Go Bang Festival
24 June 1997 Vienna Austria Sommer Arena[30]
25 June 1997 Prague Czech Republic Prague Congress Centre
28 June 1997 Oslo Norway Kalvøyafestivalen
29 June 1997 Turku Finland Ruisrock Festival
1 July 1997 Zagreb Croatia Dom Sportova
2 July 1997 Pistoia Italy Piazza del Duomo
4 July 1997 Torhout Belgium Torhout/Werchter Festival
5 July 1997 Werchter Torhout/Werchter Festival
6 July 1997 Ringe Denmark Midtfyns Festival
8 July 1997 Brescia Italy Stadio Mario Rigamonti
10 July 1997 Naples Neapolis Festival
11 July 1997 Arbatax Rocce Rosse Festival
13 July 1997 Frauenfeld Switzerland Out In The Green
15 July 1997 Madrid Spain (Cancelled) Las Ventas
Sala Aqualung
16 July 1997 Zaragoza Pabellón Príncipe Felipe
17 July 1997 San Sebastián Velódromo de Anoeta
19 July 1997[c] Stratford upon Avon England Phoenix Festival
Long Marston Airfield
20 July 1997[d]
22 July 1997 Glasgow Scotland Barrowland Ballroom
23 July 1997 Manchester England Manchester Academy
25 July 1997 Malmö Sweden Mölleplatsen
26 July 1997 Stockholm Lollipop Festival
27 July 1997 Gdańsk Poland (Cancelled) Stadion Lechii
29 July 1997 Lyon France Ancient Theatre of Fourvière
30 July 1997 Juan-les-Pins Pinède Gould
1 August 1997 Birmingham England Que Club
2 August 1997 Liverpool Royal Court
3 August 1997 Newcastle upon Tyne Riverside
5 August 1997 Nottingham Rock City
6 August 1997 Leeds Town & Country Club
8 August 1997 Dublin Ireland Olympia Theatre
9 August 1997
11 August 1997 London England Shepherd's Bush Empire
12 August 1997
14 August 1997 Budapest Hungary Sziget Festival
North America
6 September 1997 Vancouver Canada Plaza of Nations
7 September 1997 Seattle United States Paramount Theater
9 September 1997 San Francisco The Warfield
10 September 1997 Los Angeles Hollywood Athletic Club
12 September 1997 Los Angeles Universal Amphitheatre
13 September 1997
15 September 1997 San Francisco The Warfield
16 September 1997
19 September 1997 Chicago The Vic Theater
21 September 1997 Detroit State Theatre
22 September 1997
24 September 1997 Montreal Canada Metropolis
25 September 1997
27 September 1997 Toronto Warehouse[31][32]
28 September 1997
30 September 1997 Boston United States Orpheum Theatre[33]
1 October 1997
3 October 1997 Philadelphia Electric Factory
4 October 1997
7 October 1997 Fort Lauderdale Chili Pepper
8 October 1997
10 October 1997 Atlanta International Ballroom
12 October 1997 Washington, D.C. The Capitol Ballroom
13 October 1997 New York City The Supper Club
14 October 1997[e] Port Chester Capitol Theatre
15 October 1997[f] New York City Radio City Music Hall
17 October 1997 Chicago Aragon Ballroom
18 October 1997 Saint Paul Roy Wilkins Auditorium
23 October 1997 Mexico City Mexico Foro Sol
South America
31 October 1997 Curitiba Brazil Pedreira Paulo Leminski
1 November 1997 São Paulo Ibirapuera Arena
2 November 1997[g] Rio de Janeiro Citibank Hall
5 November 1997 Santiago Chile Estadio Nacional de Chile
7 November 1997 Buenos Aires Argentina Estadio Arquitecto Ricardo Etcheverri
Notes
  1. ^ Performed as Tao Jones Index and tracks released on LiveAndWell.com
  2. ^ Tracks released on LiveAndWell.com
  3. ^ Performed as Tao Jones Index
  4. ^ Performance recorded and released on Look at the Moon!
  5. ^ Performance on MTV's Live at the 10 Spot
  6. ^ Performance at the GQ Awards; tracks released on LiveAndWell.com
  7. ^ Tracks released on LiveAndWell.com

Songs

[edit]

From Space Oddity

From The Man Who Sold the World

From Hunky Dory

From The Rise and Fall of Ziggy Stardust and the Spiders from Mars

From Aladdin Sane

From Live Santa Monica '72

From Ziggy Stardust: The Motion Picture

From Young Americans

From Station to Station

From Low

From "Heroes"

From Lodger

From Scary Monsters (and Super Creeps)

From Let's Dance

From Tin Machine

From Tin Machine II

From Black Tie White Noise

From Outside

From Earthling

Other songs:

Songs performed in snippet for the intro of "The Jean Genie":

  • "Driftin' Blues"
  • "Baby What You Want to Do"
  • "Good Morning, Little Schoolgirl"

References

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Earthling Tour

View on Grokipedia
from Grokipedia
The Earthling Tour was a concert tour by English musician David Bowie in support of his 1997 studio album Earthling, which blended rock with electronica, drum 'n' bass, and industrial elements. The tour launched on 7 June 1997 at the Flughafen Blankensee festival in Lübeck, Germany, and concluded on 7 November 1997 at Estadio Arquitecto Ricardo Etcheverri in Buenos Aires, Argentina, featuring approximately 73 to 78 performances across Europe, North America, and South America. The touring lineup was a stripped-down emphasizing a muscular, experimental sound: Bowie on vocals, guitar, and baritone saxophone; on ; on , vocals, and keyboards; Zachary Alford on drums and percussion; and on keyboards. Setlists typically opened with acoustic renditions of earlier tracks like "" before delving into over half a dozen songs from , radically rearranged classics from Bowie's catalog, and covers including the Velvet Underground's "" and Laurie Anderson's nine-minute "" (performed by ). Notable highlights included the abandonment of an initial dual-setlist format after early European dates, a special "Tao Jones Index" drum 'n' bass performance by a subset of the band at England's Phoenix Festival on 19 July 1997, and an MTV broadcast from the Capitol Theatre in Port Chester, New York, on 14 October 1997. The tour's energetic, exuberant style—rated highly in retrospective reviews for its blend of synth, techno, and jungle influences—captured Bowie in fine form during a transitional phase of his career, though it was later overshadowed by his subsequent ventures.

Background and development

Album context and recording

The recording of David Bowie's album took place in mid-1996, immediately following the conclusion of his (1995–1996), during which he had explored industrial and experimental sounds that served as a stylistic precursor to the new project. Sessions primarily occurred from August to October at in , utilizing a live band setup to capture an organic energy amid the electronic elements. This approach marked a deliberate pivot from the conceptual sprawl of Outside toward a more concise, rhythm-driven collection completed in under three weeks. The album's sound emphasized drum 'n' bass, , and industrial influences prevalent in club culture, blending rhythms with instrumentation to create a hybrid aesthetic. Bowie collaborated closely with guitarist , whose textural playing integrated seamlessly with the adoption of live electronics, including synthesizers and processed effects that pushed the boundaries of traditional song structures. This fusion not only reflected Bowie's fascination with emerging scenes but also anticipated the tour's emphasis on real-time electronic manipulation. Technical innovations during recording included the extensive use of for looping and sampling, allowing Bowie and producer to manipulate drum patterns and vocal fragments digitally for a layered, improvisational feel. This marked a significant shift toward experimentation in Bowie's post-Outside era, where analog tape gave way to "in-the-box" digital construction, enabling rapid iteration on beats and textures without losing the band's live immediacy. Tracks from began debuting in 1996, bridging the album's February 3, 1997 release to early tour planning, as performances of songs like "Telling Lies" at Germany's Loreley Festival on June 22, 1996, and New York's on September 14, 1996, showcased the material's viability onstage. Similarly, "Little Wonder" received its live premiere in an early form during a Washington, D.C. show in September 1996 and later at the Fashion Awards on October 25, highlighting the album's drum 'n' bass pulse in a concert setting. These outings informed the tour's repertoire, ensuring a seamless transition from studio innovation to live execution.

Announcement, rehearsals, and pre-tour events

The Earthling Tour was announced in early 1997 as an "extensive" promotional effort for David Bowie's album Earthling, with the itinerary set to begin on June 7, 1997, at Flughafen Blankensee in Lübeck, Germany. Bowie described the outing as a "really extensive" endeavor expected to span from May through Christmas, marking a significant live showcase for the album's experimental sound. A key pre-tour event was Bowie's 50th birthday concert on January 9, 1997, at in , which served as an early platform for Earthling material. The sold-out performance featured previews of tracks from the album alongside collaborations with guests including of on "Scary Monsters (and Super Creeps)," Frank Black of the Pixies on "," and the joining Bowie for "." Rehearsals for the tour commenced in April 1997 in New York, where Bowie and the band worked to blend the album's drum 'n' bass and electronic influences with traditional rock elements. This integration shaped the live arrangements, emphasizing layered percussion and atmospheric textures drawn from 's production style. Later sessions extended to locations like , where footage captured the evolving performances. The setlist format underwent refinement during pre-tour preparations, shifting from an initial structure of two distinct sets—a conventional rock segment followed by a dance-oriented portion—to a cohesive single set that better engaged audiences. This change was informed by responses from early trial runs, allowing for a more fluid transition between tracks and Bowie's catalog classics. Warm-up shows tested these adjustments in intimate settings. On May 17, 1997, Bowie performed a three-hour set at Factory Studios in , , for around 300 attendees, experimenting with extended improvisations and covers like Laurie Anderson's "." This was followed by two nights on June 2 and 3, 1997, at London's Hanover Grand, where the unified format began to solidify amid enthusiastic crowds. The final warm-up occurred on June 5, 1997, at Hamburg's Markthalle in , fine-tuning the production ahead of the official launch.

Tour personnel and production

Band lineup

The Earthling Tour featured a core band of five musicians, drawn primarily from the recording sessions for David Bowie's 1997 album Earthling, which emphasized electronic and drum 'n' bass influences. David Bowie served as the frontman, handling lead vocals, guitar, alto and baritone saxophone, and keyboards, while providing the creative direction for the tour's blend of rock and electronica. Reeves Gabrels played lead guitar and contributed backing vocals, bringing his signature experimental effects that helped bridge traditional rock structures with electronic textures central to the Earthling sound. Mike Garson provided keyboards and piano, delivering intricate flourishes that echoed his earlier collaborations with Bowie during the 1970s tours, including the Aladdin Sane era. Zachary Alford handled drums and electronic percussion, incorporating drum loops to maintain the tour's rhythmic drive rooted in the album's production. Gail Ann Dorsey played bass guitar, keyboards, and provided vocals, adding harmonic depth and occasional lead vocal support. This lineup was assembled in April 1997 during rehearsals at The Factory Studios in Dublin, building directly on the Earthling sessions where most members had contributed, allowing for a seamless transition from studio experimentation to live performance. Garson's return marked a notable reunion, as he had not toured extensively with Bowie since the mid-1970s but was brought back specifically for his ability to enhance the album's piano elements in a live context. The group's cohesion enabled the core ensemble to remain consistent throughout the tour's approximately 71 shows across three legs, from June to November 1997. Guest musicians were limited to pre-tour warm-up events and did not alter the core band's structure during the main itinerary, ensuring a unified presentation of the Earthling material.

Staging, outfits, and technical elements

The staging for the Earthling Tour adopted a minimalist aesthetic, resembling an artist's studio with drop cloths and a backdrop, which allowed focus on the band's live performance while incorporating repurposed elements from the prior co-headlining tour design. This setup emphasized simplicity over elaborate props, featuring a large rear projection screen for abstract visuals, including psychedelic images and live video elements such as dummy heads, mannequins, flying orbs, and surreal figures created by artist Tony Oursler to evoke a futuristic, otherworldly atmosphere. The use of wireless technology enabled greater mobility for the musicians, facilitating dynamic interactions with electronic instruments during performances. Outfits during the tour drew on industrial and metallic themes, with David Bowie often wearing a custom distressed canvas frock coat featuring a Union Flag motif, co-designed with Alexander McQueen; the garment included a v-neck, high-backed collar, intentional tears, burn marks, wax applications, and a red satin lining containing a lock of hair in a perspex compartment for added personal symbolism. This piece, part of a three-element ensemble with a shirt and trousers, was worn prominently to align with the album's British electronic influences and appeared on the Earthling album cover as well. Additional costumes included a reptilian-themed suit by Floria Sigismondi, comprising a deep purple crocodile-print coat with exaggerated pointed shoulders and collar, padded knee trousers, and patent leather boots, originally created for the "Little Wonder" video but adapted for select tour appearances to enhance the industrial-futuristic vibe. Technical innovations centered on the integration of live electronics, with samplers, digital loopers, and drum machines allowing real-time remixing and layering of drum 'n' bass-inspired rhythms alongside rock elements, reflecting the album's hybrid sound. Guitarist employed loop pedals and effects processors for on-stage improvisation, while keyboardist utilized samplers to replicate the album's complex electronic textures without pre-recorded backing tracks. The production team included lighting direction that complemented the staging with strobe and effects to amplify the tour's futuristic aesthetic, though specific credits for these elements evolved from collaborative designs tied to the video projections. contributed beyond costumes by influencing the visual through her video work, which informed the overall production's emphasis on immersive, abstract environments.

Itinerary and performances

Tour dates and legs

The Earthling Tour consisted of between 73 and 78 shows performed between June 7 and November 7, 1997. It followed the of 1995–1996 and preceded Bowie's participation in the Bridge School Benefit later that year. Pre-tour warm-up performances in smaller venues provided essential preparation for the main itinerary. The tour was divided into three distinct legs, spanning , , and . The European leg featured approximately 39 shows from June to August, beginning at Flughafen Blankensee in , , and concluding at the in , . The North American leg included 25 shows from September to October, starting at the Plaza of Nations in , , on September 6, and ending at Foro Sol in , , on October 23; this portion incorporated promotional appearances, such as the live broadcast from the Capitol Theatre in Port Chester for MTV's Live from the 10 Spot on October 14. The South American leg comprised 5 shows from late October to November, focused on major cities including Curitiba, Brazil, and , Argentina, with the tour closing at Estadio Ferrocarril Oeste (also known as Estadio Arquitecto Ricardo Etcheverri) in on November 7. Performances took place across a range of venue types, including arenas, theaters, and festivals, with capacities varying from approximately 1,000 seats for warm-up gigs to over 20,000 for larger festival and arena dates.
LegNumber of ShowsDatesStarting Venue/CityEnding Venue/City
European39June–August 1997Flughafen Blankensee, , , ,
North American25September–October 1997Plaza of Nations, , Foro Sol, ,
South American5October–November 1997Pedreira Paulo Leminski, Curitiba, BrazilEstadio Ferrocarril Oeste, Buenos Aires, Argentina

Notable events, cancellations, and guest appearances

During the Earthling Tour's European leg, David Bowie headlined the Phoenix Festival at Long Marston Airfield in Stratford-upon-Avon, England, on July 20, 1997, delivering a performance that featured a mix of tracks from the album alongside classics, later released as part of the archival collection Look at the Moon! (Live Phoenix Festival '97). In the North American leg, Bowie participated in MTV's inaugural Live from the 10 Spot broadcast on October 14, 1997, at the Capitol Theatre in Port Chester, New York, where he performed a set emphasizing Earthling material in an intimate venue setting. The following evening, October 15, 1997, he served as the headline performer at the GQ Men of the Year Awards at Radio City Music Hall in New York City, presenting a high-energy set that included covers and tour staples like "Waiting for the Man" and "My Death." Several shows were cancelled during the tour's European portion, including the scheduled performance at Essen Stadium in , , on June 13, 1997; in , , on July 15, 1997 (replaced by a show at Sala Aqualung on the same date); and Stadion Lechii in , , on July 27, 1997. Guest appearances were limited but memorable. During the tour itself, Bowie occasionally incorporated nods to his era, such as snippets of "Heaven's in Here" woven into "" encores. Other incidents included engaging fan interactions during encore segments, where Bowie would improvise acoustic blues snippets like "Driftin' Blues" before transitioning into full-band closers, fostering a communal atmosphere without descending into major controversies.

Setlist and repertoire

Typical setlist structure

The Earthling Tour performances typically adhered to a single-set format lasting about 90 to 100 minutes, opening with an acoustic rendition of "Quicksand" from the 1971 album Hunky Dory and closing the main set with "Hallo Spaceboy," the lead single from Earthling. Encores consistently featured "All the Young Dudes," encouraging audience sing-alongs, followed by the high-octane "Suffragette City" from The Rise and Fall of Ziggy Stardust and the Spiders from Mars. This structure emphasized a cohesive flow, blending Bowie's experimental electronica with his rock roots in an intimate club and theater setting. The tour's setlist evolved early on from an experimental two-set approach—dividing rock-oriented material from drum 'n' bass and segments—to a unified single set after mixed audience feedback from initial European dates in June 1997. This change, implemented by mid-June, allowed for a more dynamic integration of styles and resulted in shows averaging 18 to 20 songs. The band's technical setup, incorporating DAT machines for beats and live remixing, facilitated seamless transitions between tracks without interruptions. Setlists balanced roughly 40% material from , including staples like "Little Wonder" and "I'm Afraid of Americans," with 40% classics such as "The Man Who Sold the World" and "," and 20% covers or snippets, notably Laurie Anderson's "" led by bassist . Pacing built gradually, with high-energy segments—featuring intense drum 'n' bass rhythms and guitar solos—dominating the mid-show to energize crowds, before shifting to explosive rock anthems in the encores for a climactic finish.

Song selections and variations

The Earthling Tour's repertoire drew from more than ten albums, spanning his career from the late 1960s to the mid-1990s, with roughly half the songs sourced from his 1990s releases, particularly 1. Outside (1995) and (1997). This emphasis highlighted Bowie's industrial and phase, blending drum 'n' bass rhythms with guitar-driven arrangements. Key tracks from formed the tour's backbone, including live debuts of "Little Wonder," "Looking for Satellites," and "I'm Afraid of Americans," each performed over 80 times across the 98 documented shows. These were interspersed with staples from earlier eras, such as "The Man Who Sold the World" from The Man Who Sold the World (1970), "" from (1973), and "" from Scary Monsters (and Super Creeps) (1980), representing the Space Oddity-to-Let's Dance spectrum. Early European legs favored remixed and experimental cuts from 1. Outside, with "The Hearts Filthy Lesson" appearing in 58 concerts, often in a heavier, industrial reconfiguration. As the tour shifted to and beyond, selections evolved to include more dynamic additions like "Seven Years in Tibet." Brief snippets and acoustic interpolations provided further variety, including teases of "Aladdin Sane (1913-1938-197?)" motifs and unplugged renditions of "Shopping for Girls" from Tin Machine II (1991) during associated sessions. No original compositions premiered on the tour, maintaining focus on established material while allowing for spontaneous extensions in outros that amplified the electronic and improvisational texture of the shows.

Special releases and side projects

Tao Jones Index performances

The Tao Jones Index served as a for and his Earthling Tour band during a small number of secret performances in 1997, enabling clandestine explorations of electronic and drum 'n' bass music in club venues separate from the main tour's rock-leaning concerts. The name, pronounced like "Dow Jones Index," played on Bowie's birth name David Jones while nodding to the and his innovative Bowie Bonds financial issuance earlier that year. These gigs emphasized anonymity, with Bowie often performing in dim lighting or without spotlights to obscure his identity, allowing the band to immerse audiences in experimental remixes drawn from the album. The performances kicked off on June 10, 1997, at Amsterdam's Paradiso venue, where the group delivered an electronic set including tracks like "Pallas Athena" and "V-2 Schneider" in extended, improvised forms backed by drum machines, keyboards, and atmospheric visuals. Subsequent shows followed a similar format, stripping away guitars and amplifiers in favor of minimalist electronic production to highlight the rhythmic and ambient qualities of Earthling material, such as "I'm Deranged" and "The Last Thing You Should Do." The final outing occurred on July 19, 1997, in the BBC Radio 1 Dance Tent at England's Phoenix Festival in Stratford-upon-Avon, a surprise appearance that preceded Bowie's main-stage set the next day and featured eight songs in a semi-improvised drum 'n' bass style. This club-oriented approach tested the album's avant-garde edges, fostering a raw, dance-floor energy distinct from the tour's broader theatricality while echoing its underlying electronic influences. Only one recording from these sessions saw official release: a limited-edition 12-inch vinyl single in August 1997, containing live versions of "Pallas " and "" captured at the Paradiso gig, produced in 2,000 copies exclusively for Bowie's via BMG/Arista (catalog 74321 51254 1). The project proved short-lived, concluding after the Phoenix appearance as the pseudonym's secrecy eroded amid growing fan recognition.

Look at the Moon! live recording

The Look at the Moon! (Live Phoenix Festival 97) album documents David Bowie's performance at the Phoenix Festival on July 20, 1997, held at Long Marston Airfield in Stratford-upon-Avon, England. This mid-tour show featured an 18-song set that opened with "Quicksand" and included tracks like "Battle for Britain (The Letter)" and "I'm Afraid of Americans," reflecting the Earthling Tour's blend of new material from the 1997 album Earthling with earlier hits. The performance also highlighted "The Last Thing You Should Do" as the closing number, performed without any guest appearances, and showcased the full band lineup of Bowie on vocals, guitar, and saxophone, alongside Reeves Gabrels on guitars and synthesizers, Mike Garson on piano and keyboards, Gail Ann Dorsey on bass, vocals, and keyboards, and Zachary Alford on drums. Recorded live during the headline slot, the audio captures the ensemble's integration of rock instrumentation with electronic elements, emphasizing the tour's industrial and drum 'n' bass influences. involved mixing to refine the raw recording, preserving the high-energy delivery characteristic of Bowie's outings. The album was released on February 12, 2021, by Parlophone Records as the fourth installment in the Brilliant Live Adventures series of 1990s live recordings, available in 2-CD and 3-LP formats. It debuted at number 16 on the .

Reception and legacy

Critical and commercial response

The Earthling Tour received generally positive critical acclaim for revitalizing David Bowie's stage presence and blending his classic rock roots with contemporary influences. A review in the described Bowie's performance at the as a demonstration of "rock reinvigoration," highlighting his lithe, energetic delivery at age 50 and the show's balance of new material from Earthling with enduring hits, likening the techno-infused rock to a modern take on his 1977 Heroes. Similarly, the [Los Angeles Times](/page/Los Angeles_Times) praised the intimate Hollywood Athletic Club show as Bowie's "most focused, forward-looking, and challenging" in years, emphasizing the artistic freshness of integrating drum 'n' bass and industrial elements to explore themes of technology and alienation, with six tracks from the non-hit album showcasing bold experimentation. However, some critics found the electronica integration gimmicky, noting that it occasionally prioritized sonic texture over song structure and positioned Bowie as arriving late to the drum 'n' bass trend. Commercially, the tour was a success in and , with numerous sold-out arenas and theaters drawing strong crowds. The full tour encompassed approximately 78 dates across three legs. Attendance was particularly robust in the UK and , where venues like the Olympia Theatre in and the Hanover Grand in filled to capacity. Audience reactions were overwhelmingly positive, praising the tour's high energy, diverse setlist spanning Bowie's career, and the raw intimacy of the smaller club venues during the North American leg. Fans appreciated the dynamic interplay between old favorites and Earthling tracks, which created an exhilarating atmosphere, and their enthusiasm influenced minor setlist adjustments, such as increased emphasis on crowd-pleasing classics mid-tour. Contemporary coverage was somewhat limited due to the tour's club-focused scale in the U.S., but 2021 streaming releases of Earthling Tour recordings, including full concerts from the era, reignited retrospective interest among new and longtime listeners.

Post-tour releases and cultural impact

Following the Earthling Tour's conclusion in November 1997, David Bowie compiled a live album from recordings of the European leg, involving mixing sessions with Reeves Gabrels and Mark Plati, but Virgin Records rejected it for commercial release in early 1998, leading Bowie to shift focus to his next studio project. Portions of these recordings circulated as bootlegs among fans, with tracks from the tour becoming highly sought-after rarities on the secondary market due to their limited initial availability via BowieNet downloads in 2000. In January 2021, an expanded edition of LiveAndWell.com was officially released as part of the Brilliant Live Adventures series, featuring 10 live tracks from venues including the Phoenix Festival (June 1997), Paradiso in Amsterdam (June 1997), the Roseland Ballroom webcast in New York (October 1997), and the Metropolitan in Rio de Janeiro (November 1997), plus bonus tracks like "Pallas Athena" and "V-2 Schneider." The tour's experimental fusion of and drum 'n' bass helped bridge Bowie's 1990s output—rooted in albums like 1. Outside (1995)—to the more reflective electronica-tinged work of his 2000s, such as 'hours...' (1999) and Heathen (2002), while influencing the broader adoption of electronic rhythms in mainstream rock acts. Performances from the tour, including the drum 'n' bass sets under the pseudonym Tao Jones Index, appeared in retrospectives like the 1997 documentary An at 50, and later archival footage contributed to Bowie overviews exploring his genre-blending evolution. The Tao Jones Index concept, used for surprise semi-improvised sets during the tour, echoed in Bowie's later unannounced appearances on tours like Heathen (2002), emphasizing his penchant for anonymous experimentation. The 2021 reissues, including the remastered Earthling album within the Brilliant Adventure (1992–2001) box set and related rarities like the 2020 Is It Any Wonder? EP (featuring revamped tour rehearsal tracks such as "Baby Universal '97" and "Stay '97"), reignited interest in the tour's raw energy and Bowie's mid-career reinvention. As of November 2025, no significant new releases tied to the tour have emerged, though its recordings hold ongoing archival value in collections like the Centre at the V&A East, opened in 2025. Culturally, the exemplified Bowie's adaptability upon turning 50, merging rock traditions with emerging to challenge age-related expectations in music, a theme echoed in fan analyses of his enduring innovation. Fan communities sustain its legacy through bootleg trading on dedicated sites and forums, where high-quality audience recordings from shows like the remain prized for capturing the tour's improvisational intensity. The tour's immediate critical acclaim for its bold sound provided a foundation for this lasting cultural resonance.

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