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Sound+Vision Tour
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Sound+Vision Tour
Tour by David Bowie
Promotional poster for the tour
Location
  • Europe
  • North America
  • Asia
  • South America
Associated albumSound+Vision
Start date4 March 1990
End date29 September 1990
Legs7
No. of shows
  • 7 in North America
  • 23 in Europe
  • 7 in North America
  • 2 in Asia
  • 40 in North America
  • 24 in Europe
  • 6 in South America
  • 108 in total
David Bowie concert chronology

The Sound+Vision Tour was a 1990 concert tour by the English musician David Bowie that was billed as a greatest hits tour in which Bowie would retire his back catalogue of hit songs from live performance. The tour opened at the Colisée de Québec in Quebec City, Canada on 4 March 1990 before reaching its conclusion at the River Plate Stadium in Buenos Aires, Argentina on 29 September 1990, spanning five continents in seven months. The concert tour surpassed Bowie's previous Serious Moonlight (1983) and Glass Spider (1987) tours' statistics by visiting 27 countries with 108 performances.

Tour history

[edit]

Bowie's previous Glass Spider Tour and two most recent albums (Tonight (1984) and Never Let Me Down (1987)) had all been critically dismissed, and Bowie was looking for a way to rejuvenate himself artistically.[1] To this end, Bowie wanted to avoid having to play his old hits live forever, and used the release of the Sound + Vision box set as the impetus for a tour, despite having no new material recorded.[2][3][4] Bowie took a break from his band Tin Machine for "Sound+Vision", telling the band he was contractually obligated to do the tour. He invited fellow Tin Machine guitarist Reeves Gabrels to tour with him, but Gabrels declined, and instead suggested Adrian Belew, with whom both Gabrels and Bowie had worked previously. Gabrels called Belew and said “'I have this friend who is going on tour, and he needs a guitar player. He asked me and I can’t do it, but I thought you might want to do it,' and I put David on the phone."[5]

It was stated that Bowie would never perform these greatest hits on tour again.[6][7][8][9] Bowie said "knowing I won't ever have those songs to rely on again spurs me to keep doing new things, which is good for an artist,"[10] and later, "I have no intentions of parroting my own songs, which is what it ends up being after you've been doing it for 20 years. You can't do it with any more enthusiasm. I don't care who you are, you get to the point where you don't like singing the song anymore."[11]

Bowie looked forward to retiring his old hits, saying "It's time to put about 30 or 40 songs to bed and it's my intention that this will be the last time I'll ever do those songs completely, because if I want to make a break from what I've done up until now, I've got to make it concise and not have it as a habit to drop back into. It's so easy to kind of keep going on and saying, well, you can rely on those songs, you can rely on that to have a career or something, and I'm not sure I want that."[3]

He would state in another contemporary interview that "I want to finish off that old phase and start again. By the time I'm in my later forties, I will have built up a whole new repertoire."[4]

It has been noted that Bowie is "famous" for claiming retirement in the past, so many critics and observers did not fully believe Bowie when he said he would not play these songs again.[3][6][10][12][13]

Bowie spent the early few months of 1990 preparing for the tour in a rehearsal hall on Manhattan's west side.[3]

Song selection

[edit]
David Bowie performing in Chile, 27 September 1990

It was announced that the set-list for any given performance of the tour would be partially determined by the most popular titles logged in a telephone poll[6] by calling the premium-rate telephone number 1-900-2-BOWIE-90.[2] Money earned from phone calls to the number were donated to two charities, Save the Children and a Brixton charity.[14] Mail-in ballots were made available to vote by in territories where telephone technology was not available.[9]

Bowie did in fact build the tour's setlist from calls to the phone number from all over the world, saying "What I ended up doing was taking about seven or eight [songs] from [the calls in] England, another seven or eight from the rest of Europe and the rest I made up from America so it's a good sampling of what everybody wanted in all the continents."[2] The first shows of the tour held in March 1990 in Canada were performed before any telephone polls were completed, leading Bowie to guess at the list of songs the audience wanted to hear.[15]

In the US, the songs "Fame", "Let's Dance" and "Changes" topped the list of songs requested by fans, while in Europe the songs "Heroes" and "Blue Jean" were the leaders.[6]

NME, in response to the telephone poll, ran a spoof campaign, Just Say Gnome, in an effort to have "The Laughing Gnome" included in the set-lists.[2][16] Bowie had considered playing "The Laughing Gnome" in the style of The Velvet Underground until he found out the voting had been perpetrated by the music magazine.[2]

Set design

[edit]

Édouard Lock (of La La La Human Steps) co-conceived and was artistic director for this tour.[10] Bowie had originally wanted La La La Human Steps to be involved in his previous Glass Spider Tour, but was unable to secure them due to scheduling conflicts.[2][3] Given the unfavorable attention that his previous solo tour drew, Bowie was keen to make sure the Sound+Vision Tour did things differently. He said, "It will be staged; there is no way I could ever consider really putting something on the stage that doesn't owe something to theatah (pronouncing 'theatre' in a thick British accent), but it won't be overtly theatre in as much as it won't be propped the same way. Going back to the way we worked towards the Station to Station show, which was basically a question of using a kind of Brechtian lighting pad and working areas and atmospheres of light, is very much the kind of feel it will have."[3] Bowie recruited Willie Williams to design the lighting for the tour, having worked with him on the preceding year's Tin Machine "It's My Life Tour".[17]

He added that this tour is "nowhere near as ambitious as Glass Spider in size, but qualitatively, in essence, I think it's as theatrical."[9]

In addition to the stark lighting and the backing 4-piece rock band, Bowie employed a new tool for this tour: a giant sixty-by-forty foot transparent gauze scrim.[15] The scrim would occasionally be lowered in front of or behind Bowie,[2] onto which images of Bowie and videos were projected.[6][7][10] Bowie described it as being "like a giant Javanese shadow puppet show at times."[2] Two large, round screens at each side of the stage also displayed the videos projected on the scrim.[15]

The set was constructed by 80 workers who traveled with the tour, with the help of local workers who were hired in each city. A single set took 8 trucks to move (with an additional 4 buses for the workers), and required 9 hours to set up and 4 hours to load out each night.[18]

Video recordings of La La La Human Steps' Louise Lecavalier performing dances in time to the music and images of Bowie singing, playing instruments, miming or otherwise performing to certain songs were projected on the scrim & screens during the show.[2][3] For some dates, such as the performance in Montreal on 6 March 1990, some of the dancers from La La La Human Steps danced live on stage to some of the songs.[15] Bowie was enthusiastic about the inclusion of the dancers on the tour: "You've never seen anything like them before. They're probably the leading avant-garde dance troupe in North America. Louise Lecavalier, their star, is like nothing else you've ever seen on stage. She's absolutely phenomenal. ... The dance troupe is unbelievable. It's where punk and ballet clash with each other."[19]

Fame '90

[edit]

With no new material recorded, to coincide with the tour, Bowie released an updated remix of his 1975 single "Fame", titled "Fame '90". He had wanted to remix one of his successful US singles, and "Let's Dance" was considered, but was rejected as Bowie thought it too recent.[9] For the music video, he danced with Louise Lecavalier, one of the main dancers of La La La Human Steps.[7] A remix of the song was included on the soundtrack for the movie Pretty Woman (1990), and the US version of the video replaces some of Bowie's music videos for scenes from the movie.[8]

Live recordings

[edit]

Bowie wanted to record the concert, something he hadn't always done before, saying "We're intending to film it for posterity; I should hope so. I've always regretted not having filmed things like the 'Diamond Dogs' show. We never filmed the 'Station to Station' show. Or the 'soul' show with Dave Sanborn and those guys. I have absolutely no footage of those things. It's terrible. ... It's infuriating."[10]

Despite this, no official recording of the show has been made available to the public in either audio or video form. A number of performances were filmed and recorded for television and radio broadcasts:

Recording date Location Broadcast by
16 May 1990 Tokyo Dome
5 August 1990 Milton Keynes Bowl BBC Radio 1
14 September 1990 Estádio José Alvalade RTP1
20 September 1990 Sambodromo de Rio – Rio de Janeiro Rede Globo
23 September 1990 Estadio de Palmeiras – São Paulo Radio Transamérica
27 September 1990 Rock in Chile Festival – Estadio Nacional de Chile

Contemporary reception and reviews

[edit]
Bowie performing in Zagreb, Croatia, Yugoslavia

Rolling Stone described the 1990 summer concert season "a concert season to remember", and included the Sound+Vision Tour as one of its highlights. They said "Louise Lecavalier of Montreal's La La La Human Steps dance troupe provides avant-garde acrobatics, and several [musical] numbers are graced by stunning short films, including a clip for "Ashes to Ashes" that has to be seen to be believed. Otherwise, there are no pyrotechnics, no laser beams and, best of all, no glass spiders,"[7] the last a reference to Bowie's previous world tour. A review of an early show by Rolling Stone was positive, saying "Bowie proved able to reclaim virtually his entire diverse oeuvre – even those songs that now seem furthest from him – through sheer vocal power and charisma" and complaining only that "the band wasn't always equal to the challenge, demonstrating too much respect for the songs' recorded arrangements."[15] A review of the show's stop in Vancouver, BC said "Bowie hasn't sounded this good in years", praising the tour's focus on not only the songs, but on Bowie himself,[20] and a review of the show in Seattle called the visuals "a knockout" and praised Bowie as an innovator, only complaining that the music itself seemed "mechanical."[21]

While some shows on the North American tour did not sell out, such as in Seattle and some dates in Florida, overall the tour was well-attended. It sold out, often over multiple nights, in cities such as San Francisco, Sacramento, Philadelphia and Detroit.[22]

The UK show at Milton Keynes Bowl was reviewed negatively by Melody Maker magazine, who called parts of the performance "flat" and dismissed the song "Pretty Pink Rose" as "a tall heap of shite."[23]

Tour incidents

[edit]

Mid-tour, Bowie, Erdal Kızılçay and guitarist Adrian Belew joined blues artist Buddy Guy in Chicago for a performance at Guy's Legends Night Club, which coincided with the NAMM Expo, where Guy was celebrated.[24]

A month later in Philadelphia, Bowie stopped his performance in the middle of the song "Young Americans" to speak out against music censorship, specifically due to the controversy over 2 Live Crew's album As Nasty As They Wanna Be, saying "I've been listening to the album by 2 Live Crew. It's not the best album that's ever been made, but when I heard they banned it, I went out and bought it. Freedom of thought, freedom of speech – it's one of the most important things we have."[25]

The concert in Zagreb, Yugoslavia, held on 5 September 1990, was the city's last great concert before the country descended into war and broke up.[26]

During the show in Modena a few days later, Bowie stopped his performance while in the middle of "Station to Station" and said onstage "Ok, I'm gonna have to pick some easier songs, or I'm never gonna get through half of these... Let's try Fame." then Bowie proceeded to take his guitar and throw it at the other side of the stage.[27] It is said that Bowie had a cold and he became frustrated that it was affecting his vocals.

Tour statistics

[edit]

The tour opened at the Colisée de Québec – Quebec City[3] on 4 March 1990 before reaching its conclusion in Buenos Aires, Argentina on 29 September 1990, spanning five continents in seven months.[2][4] The concert tour surpassed the previous Serious Moonlight and Glass Spider Tour's statistics by visiting 27 countries with 108 performances. For the ten performances in the United Kingdom alone it was estimated the audience figure was 250,000[28] in total. The tour was estimated to have grossed $20M[29] (or roughly $48M today, adjusted for inflation).[30]

Tour legacy

[edit]

Bowie felt that a burden had been lifted by retiring the old hits he felt he was forced to perform, and said "[Retiring my old hits on tour] was a very selfish thing to do, but it gave me an immense sense of freedom, to feel that I couldn't rely on any of those things. It's like I'm approaching it all from the ground up now, starting with 'Okay, we know what songs we needn't do anymore. What, of my past, did I really like?' You pick things that were really good songs, and you try to recontextualize them, by giving them current, contemporary rhythms. And we've been knocking around ideas like 'Shopping for Girls' from Tin Machine, 'Repetition' and 'Quicksand' from Hunky Dory. Certain songs that I probably haven't ever performed onstage. They're working shoulder to shoulder with the new material, and I'm starting to see continuity in the way that I work."[31]

Generally, most songs that Bowie performed on the tour were played live in years to come, with only a small number of songs from the Sound+Vision Tour set list truly being retired forever; the most notable songs never to be played live again were "Young Americans", "TVC 15" and "Rock 'n' Roll Suicide".[32] Bowie only played "Space Oddity" on tour a single time afterwards,[33] although Bowie did perform the song three times on other occasions.[34][35][36] For the rest of the decade, Bowie would in fact tend to play his lesser-known songs, only occasionally punctuated by his well-known older "hits", and bias towards playing material written after 1990;[37][38][39][40][41] it wasn't until 2000, around the time of his appearance at the Glastonbury Festival (released in 2018 as Glastonbury 2000), that he regularly started performing his older songs on tour again.[41]

After the end of the Sound+Vision tour, Bowie returned to his band Tin Machine for their second album.

Tour band

[edit]

Bowie specifically chose a smaller band for the tour, saying in a contemporary interview that "It's a much smaller sound. It's not quite as orchestrated as any of the other tours. The plus of that is that there is a certain kind of drive and tightness that you get with that embryonic line-up, where everybody is totally reliant on the other two or three guys, so everybody gives a lot more."[9] There was some tension in the band during the tour, remembered musician Kızılçay, who recalled that Bowie "wasn't very happy,"[42] and that "[Bowie] was very stressed, especially in South America. He didn’t even come to the sound checks.[43] Keyboardist Rick Fox wasn't invested in the tour; he would occasionally eat dinner on stage, and on at least one occasion turned off his own keyboards and played his own songs while sampled parts of Bowie's songs were playing.[42]

Setlist

[edit]

This performance is from the Milton Keynes Bowl, Milton Keynes, England show at 5 August 1990.

  1. "Space Oddity"
  2. "Rebel Rebel"
  3. "Ashes to Ashes"
  4. "Fashion"
  5. "Life on Mars?"
  6. "Pretty Pink Rose"
  7. "Sound and Vision"
  8. "Blue Jean"
  9. "Let's Dance"
  10. "Stay"
  11. "Ziggy Stardust"
  12. "China Girl"
  13. "Station to Station"
  14. "Young Americans"
  15. "Suffragette City"
  16. "Fame"
  17. ""Heroes""
    Encore
  18. "Changes"
  19. "The Jean Genie"
  20. "White Light/White Heat"
  21. "Modern Love"

Tour dates

[edit]
Date City Country Venue
North America
4 March 1990 Quebec City Canada Colisée de Québec
6 March 1990 Montreal Montreal Forum
7 March 1990 Toronto Skydome
10 March 1990 Winnipeg Winnipeg Arena
12 March 1990 Edmonton Northlands Coliseum
13 March 1990 Calgary Olympic Saddledome
15 March 1990 Vancouver Pacific Coliseum
Europe
19 March 1990 Birmingham England National Exhibition Centre
20 March 1990
23 March 1990 Edinburgh Scotland Royal Highland Exhibition Centre
24 March 1990
26 March 1990 London England Docklands Arena
27 March 1990
28 March 1990
30 March 1990 Rotterdam Netherlands Rotterdam Ahoy
1 April 1990 Dortmund West Germany (Rescheduled) Westfalenhalle
2 April 1990 Paris France
3 April 1990
5 April 1990 Frankfurt West Germany Festhalle Frankfurt
7 April 1990 Hamburg Alsterdorfer Sporthalle
8 April 1990 West Berlin Deutschlandhalle
10 April 1990 Munich Olympiahalle
11 April 1990 Stuttgart Hanns-Martin-Schleyer-Halle
13 April 1990 Milan Italy
14 April 1990
17 April 1990 Rome Palaeur
18 April 1990 (Cancelled) Palaeur
20 April 1990 Brussels Belgium Forest National
21 April 1990
22 April 1990 Dortmund West Germany Westfalenhalle
North America[45]
27 April 1990 Miami United States Miami Arena
29 April 1990 Pensacola Pensacola Civic Center
1 May 1990 Orlando Orlando Arena
4 May 1990 St. Petersburg Florida Suncoast Dome
5 May 1990 Jacksonville Jacksonville Memorial Coliseum
7 May 1990 Atlanta Omni Coliseum
9 May 1990 Chapel Hill Dean Smith Center
Asia
15 May 1990 Tokyo Japan Tokyo Dome
16 May 1990
North America
20 May 1990 Vancouver Canada BC Place Stadium
21 May 1990 Tacoma United States Tacoma Dome
23 May 1990 Los Angeles Los Angeles Memorial Sports Arena
24 May 1990 Sacramento Cal Expo
26 May 1990 Los Angeles Dodger Stadium
28 May 1990 Mountain View Shoreline Amphitheatre
29 May 1990
1 June 1990 Denver McNichols Sports Arena
2 June 1990
4 June 1990 Dallas Starplex Amphitheater
6 June 1990 Austin, Texas Frank Erwin Center
7 June 1990 Houston Woodlands Pavilion
9 June 1990 Kansas City Sandstone Amphitheater
10 June 1990 St. Louis St. Louis Arena
12 June 1990 Noblesville Deer Creek Music Center
13 June 1990 Milwaukee Marcus Amphitheater
15 June 1990 Chicago World Music Theatre
16 June 1990
19 June 1990 Cleveland Richfield Coliseum
20 June 1990
22 June 1990 Auburn Hills The Palace of Auburn Hills
24 June 1990
25 June 1990
27 June 1990 Burgettstown Coca-Cola Star Lake Amphitheater
30 June 1990 St. John's Canada Memorial Stadium
2 July 1990 Moncton Moncton Coliseum
4 July 1990 Toronto Canadian National Exhibition Stadium
6 July 1990 Ottawa Ottawa Civic Centre
7 July 1990 Saratoga Springs United States Saratoga Performing Arts Center
9 July 1990 Philadelphia The Spectrum
10 July 1990
12 July 1990
13 July 1990
16 July 1990 Uniondale Nassau Veterans Memorial Coliseum
18 July 1990 Columbia Merriweather Post Pavilion
19 July 1990
21 July 1990 Foxborough Sullivan Stadium
23 July 1990 Hartford Hartford Civic Center
25 July 1990 Niagara Falls Niagara Falls Convention and Civic Center
29 July 1990 East Rutherford Giants Stadium
Europe
4 August 1990 Milton Keynes England Milton Keynes Bowl
5 August 1990
7 August 1990 Manchester Maine Road
9 August 1990 Dublin Ireland Point Depot
10 August 1990
13 August 1990 Fréjus France Arènes de Fréjus
16 August 1990 Ghent Belgium Flanders Expo
18 August 1990 Nijmegen Netherlands Stadion de Goffert
19 August 1990 Maastricht Maastricht Exhibition & Congress Centre
22 August 1990 Oslo Norway Jordal Stadion
24 August 1990 Stockholm Sweden Olympiastadion
25 August 1990 Copenhagen Denmark Idraetsparken
26 August 1990
29 August 1990 Linz Austria Linzer Stadion
31 August 1990 East Berlin East Germany Weißensee Sportplatz
1 September 1990 Schüttorf West Germany Festival Site
2 September 1990 Ulm Open Air Festival
4 September 1990 Budapest Hungary MTK Stadium
5 September 1990 Zagreb Yugoslavia Stadion Maksimir
8 September 1990 Modena Italy Festa de l'Unità
11 September 1990 Gijón Spain Hipódromo de las Mestas
12 September 1990 Madrid Rockodromo Arena
14 September 1990 Lisbon Portugal Alvalade Stadium
16 September 1990 Barcelona Spain Estadio Olímpico de Montjuic
South America
20 September 1990 Rio de Janeiro Brazil Apoteose Square Hall
22 September 1990 São Paulo Estádio Palestra Itália
23 September 1990
25 September 1990 Olímpia Theatre
27 September 1990 Santiago Chile Rock in Chile Festival -
Estadio Nacional de Chile
29 September 1990 Buenos Aires Argentina River Plate Stadium

Songs

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sound+Vision Tour

View on Grokipedia
from Grokipedia
The Sound+Vision Tour was a 1990 world concert tour by English musician David Bowie, structured as a greatest hits retrospective drawn from his extensive discography. Spanning 108 performances across seven legs in 22 countries, the tour began on 4 March 1990 in Quebec City, Canada, and concluded on 29 September 1990 in Nice, France. Bowie promoted it as the final opportunity to hear many of his classic songs performed live, a pledge he ultimately did not uphold in subsequent tours. The production emphasized elaborate staging, including large video screens that projected contemporary and archival footage synchronized with the music, enhancing the visual spectacle of hits like "Space Oddity" and "Life on Mars?". This tour followed the release of Bowie's Sound + Vision compilation box set in 1989 and represented a pivot back to fan-favorite material after more experimental albums, drawing large audiences and reaffirming his enduring appeal.

Background and Conception

Origins and Announcement

The Sound+Vision Tour was publicly announced by David Bowie on January 23, 1990, during a press conference held at London's Rainbow Theatre. Bowie described the upcoming trek as a greatest hits showcase spanning his career, with an innovative twist allowing local radio stations to poll audiences via telephone or early modem technology to vote on setlist inclusions for specific shows. He emphasized a stripped-down band configuration to achieve a rawer sound compared to his more elaborate productions of the past. The tour's origins traced back to the September 1989 release of Bowie's Sound + Vision box set, a five-CD compilation of reissued albums from his RCA era (1969–1976) bundled with a VHS tape of rare promotional videos and footage, marking the first commercial video release of many clips from his early career. This multimedia retrospective inspired the tour's name and format, which integrated synchronized archival videos with live performances to revisit hits like "Life on Mars?" and "Heroes" in a visually immersive context. Following the experimental rock direction of his Tin Machine band project—whose self-titled debut album had arrived in 1989 amid mixed reception—Bowie positioned the tour as a deliberate endpoint for his solo hits repertoire, vowing it would be the final outing for many staples he had grown weary of repeating. Bowie's announcement generated immediate buzz, with initial North American dates selling out rapidly and prompting expansions to Europe, Asia, and South America, ultimately comprising 108 shows from March 4 to September 29, 1990. Despite the farewell framing, Bowie later selectively revived some tracks in subsequent tours, underscoring the announcement's rhetorical intent to signal artistic evolution rather than a binding retirement.

Rationale for Greatest Hits Format

The Sound+Vision Tour, commencing on March 4, 1990, in Quebec City, was explicitly structured as a greatest hits presentation, drawing primarily from Bowie's established solo catalog rather than promoting his concurrent band project Tin Machine. Bowie estimated that approximately 60% of each setlist—roughly 18 to 20 songs out of 25 to 30—would consist of fan-favorite hits, marking a shift from prior tours like the 1983 Serious Moonlight outing, which incorporated more obscure material. This format emphasized tracks such as "Space Oddity," "Changes," and "Let's Dance," performed in a streamlined arrangement with a reduced ensemble to contrast the elaborate production of the 1987 Glass Spider Tour. A core rationale was Bowie's intention to retire these songs from his live repertoire post-tour, providing fans a definitive final opportunity to experience them onstage. In a January 1990 interview, he articulated this as a personal impetus: "What about if I do these songs for the last time—just do them on this tour and never do them again? That gives me some reason for doing it, selfishly." This declaration aligned with Bowie's desire to progress beyond revisiting past successes, freeing him to explore contemporary work without contractual or audience expectations tethering him to earlier personas like Ziggy Stardust or . Although he later performed select hits on subsequent tours, the 1990 billing framed the outing as a valedictory gesture to his back catalog. The tour also served to bolster the 1989 Rykodisc-issued Sound+Vision box set, a comprehensive 3-CD/1-cassette compilation of remastered tracks, demos, and alternate versions spanning Bowie's career from 1969 to 1984, which kickstarted a broader reissue campaign of his discography in North America. Bowie's direct involvement in curating the set's contents—favoring rarities over standard hits—complemented the tour's focus, positioning live performances as an extension of archival rediscovery while generating publicity for the label's efforts. This synergy addressed commercial imperatives amid Bowie's transitional phase, following Tin Machine's 1989 debut album, by leveraging enduring popularity without diluting his evolving artistic direction.

Preparation and Logistics

Song Selection Process

David Bowie curated the setlist for the Sound+Vision Tour, selecting approximately 20 to 25 songs per show from his extensive catalog to emphasize greatest hits and select album tracks spanning his career from 1969 to the late 1980s. He drew partial guidance from the repertoire of his 1983 Serious Moonlight Tour, incorporating staples such as "Space Oddity," "Rebel Rebel," "Ashes to Ashes," and "Life on Mars?" that had proven effective in large-scale productions. Bowie explicitly framed the process as a deliberate farewell to many tracks, stating in a 1990 press conference that the tour aimed to "put about 30 or 40 songs to bed," signaling his intent to retire them from future live performances to avoid repetition and focus on new material thereafter. To align the selection with audience expectations, Bowie incorporated fan input through pre-tour telephone polls and call-in requests, which helped prioritize commercially successful songs like "Fame," "Let's Dance," and "Changes," particularly in North American markets where these topped request lists. This democratic element allowed for slight variations across the 108-show itinerary, with occasional inclusions of deeper cuts such as "TVC 15" or "Pretty Pink Rose" (featuring guest ) based on regional popularity or Bowie's curation of rarities to complement the hits-heavy format. The process balanced empirical fan demand—reflected in poll data—with Bowie's first-principles assessment of songs' suitability for the tour's innovative visual and technical elements, ensuring a retrospective that privileged enduring appeal over niche experimentation. Notable exclusions included tracks from Bowie's Tin Machine band project (1988–1989), as the tour deliberately focused on solo hits to capitalize on catalog sales tied to the 1989 Sound+Vision box set reissues, rather than promoting recent collaborative work. Rehearsals in early 1990, documented in soundboard recordings from New York, tested this curated list, refining transitions and arrangements for a leaner band setup that Bowie chose to emphasize musical intimacy amid spectacle. Overall, the selection reflected Bowie's strategic realism in addressing market realities—fan nostalgia and commercial viability—while asserting artistic control to stage a definitive, non-replicable retrospective.

Technical Innovations and Set Design

The Sound+Vision Tour incorporated advanced multimedia integration as a core element of its stage design, utilizing a large central rear-projection screen—approximately 20 feet in height—to display pre-recorded video footage synchronized precisely with the live band's performance. This setup enabled novel , including Bowie interacting with oversized projections of himself, such as simulated duets and dances with androgynous filmed counterparts, which heightened the immersive quality of the greatest-hits presentation. The minimalist physical stage, stripped of the grandiose props seen in prior tours like , prioritized these projections to refocus attention on Bowie's catalog through layered audiovisual storytelling. Complementing the main screen were two circular side screens that mirrored imagery, frequently in black-and-white formats, to amplify spatial depth and thematic echoes across the venue. Scrim projection techniques were employed, allowing the band to perform partially obscured behind semi-transparent screens during key segments, blending live elements with ed content for a fluid, proto-digital hybrid experience reliant on analog reels operated by dedicated projection teams. supported this by employing dynamic spotlights and subtle color washes to accentuate transitions between live action and visuals, avoiding overload to maintain clarity in arenas seating up to 20,000. These technical choices marked an evolution in Bowie's production approach, leveraging 1990-era projection technology for cost-effective yet sophisticated effects that prefigured modern LED and holographic concerts, while enabling audience-voted setlist variability without disrupting visual cues. The design's emphasis on synchronization demanded rigorous rehearsals, as documented in New York sessions from January 1990, ensuring seamless cues across 108 shows spanning March to August.

Tour Personnel

The Sound+Vision Tour employed a streamlined band of five members, emphasizing musical precision over a large ensemble to support the greatest hits presentation. David Bowie selected this configuration to facilitate dynamic rearrangements of his catalog, with Adrian Belew serving as lead guitarist, music director, and key collaborator in adapting the material. The core touring lineup included:
MusicianRole/Instruments
David BowieVocals, guitar, saxophone
Adrian BelewGuitar, vocals, music director
Erdal KızılçayBass guitar, vocals
Rick FoxKeyboards
Michael HodgesDrums
This personnel drew from prior collaborators, with Belew and Kızılçay returning from Bowie's 1987 Glass Spider Tour, while Fox and Hodges provided fresh contributions on keyboards and drums, respectively. Beyond the stage band, production credits for the tour included lighting designer Allen Branton and stage director Satoshi Yamagishi, though detailed crew listings remain limited in contemporary records.

Tour Execution

Itinerary and Key Dates

The Sound+Vision Tour began on March 4, 1990, at the Colisée de Québec in Quebec City, Canada, launching its initial North American leg that encompassed performances in Canada and the United States through early April. This phase featured arena and stadium venues, including the Montreal Forum on March 6 and Toronto's Skydome on March 7. The itinerary then shifted to Europe, with dates commencing as early as March 19, 1990, and spanning multiple countries including the United Kingdom, Germany, and Italy, interspersed with returns to North America for additional shows into July. Key European stops included London's Docklands Arena on March 26 and Birmingham's NEC on March 20. A brief Asian leg followed in Japan from May 12 to May 16, primarily at the Tokyo Dome. Summer 1990 saw a focus on large-scale North American outdoor venues, such as on July 21 and in on May 26 (supported by ). The tour's seven legs concluded with a South American segment from September 20 to 29, covering , , and , ending at Estadio River Plate in on September 29. Overall, the tour comprised 107 performances across 22 countries, with one cancellation on April 1 in , .

Setlists and Audience Interaction

The setlists for the Sound+Vision Tour featured a core repertoire of David Bowie's major hits spanning his career up to 1987, typically opening with "Space Oddity" and including staples such as "Rebel Rebel," "Ashes to Ashes," "Life on Mars?," "Blue Jean," "Let's Dance," and "China Girl," among others like "Fashion," "TVC 15," and "Sound and Vision." These selections emphasized high-energy, visually enhanced performances with elaborate lighting and video projections, lasting around 90-120 minutes before encores. Variations occurred across the 108-show itinerary, with songs like "Changes," "Pretty Pink Rose," "Stay," or "Young Americans" appearing in specific venues, such as "Changes" at the Spectrum in Philadelphia on July 9, 1990, or Tacoma Dome on May 21, 1990. A distinctive element was the incorporation of fan input through a premium-rate telephone voting system, allowing audiences to influence song selections for the tour's repertoire and certain encores, a novelty promoted as democratizing the setlist. Fans called dedicated lines—such as 900 numbers in the U.S., with proceeds benefiting charities like Save the Children—to request tracks, resulting in unexpected inclusions; for instance, "The Laughing Gnome" topped votes in the UK, prompting media campaigns like NME's attempt to "rig" the poll for novelty value, though Bowie incorporated a mix of popular and voted songs rather than strictly adhering to results. This system extended interaction beyond the stage, with voting active pre-tour and tied to local promotions in some markets, though core hits remained fixtures to ensure commercial appeal. During performances, Bowie fostered direct audience engagement by pausing for banter, encouraging sing-alongs on choruses like those in "Life on Mars?" or "Rebel Rebel," and responding to crowd energy with ad-libs or extended improvisations, creating an atmosphere of communal participation amid the tour's high-production spectacle. Eyewitness accounts describe him smiling frequently, chatting casually with fans, and goading sections of the audience to amplify cheers or join in, enhancing the hits-focused format without deviating into full improvisation. Encores often reflected voting outcomes or on-the-spot crowd favorites, such as "Ziggy Stardust" or "Suffragette City" in responsive venues like Giants Stadium on July 29, 1990, blending pre-planned structure with reactive elements.

Notable Events and Incidents

![David Bowie at Stadion Maksimir, Zagreb]float-right On July 13, 1990, during the concert at the Philadelphia Spectrum, David Bowie interrupted his performance of "Young Americans" to protest music censorship, specifically voicing support for the rap group 2 Live Crew, whose album As Nasty As They Wanna Be faced obscenity charges and distribution bans in several U.S. locales. Bowie urged the audience to resist efforts to restrict artistic expression, highlighting the broader implications for freedom of speech in music amid parental advisory debates and legal actions against explicit content. The September 5, 1990, show at Stadion Maksimir in Zagreb, Yugoslavia (now Croatia), drew an estimated 50,000 spectators who endured heavy rain throughout the performance, marking it as one of the tour's most arduous outdoor events due to the adverse weather conditions. Reports vary on the exact duration, with some accounts citing a full 90-minute set while others recall a shortened 45-minute rendition prompted by the downpour, yet the concert remains celebrated locally for its resilience and large turnout in a region with limited access to Western rock acts at the time. The tour concluded without major cancellations or injuries, though Bowie later reflected on the production's logistical challenges, describing the setup as "good fun and dangerous" owing to complex equipment handling across 108 dates in 27 countries.

Reception and Performance

Contemporary Critical Reviews

Contemporary critical reviews of the Sound+Vision Tour were generally mixed, with praise for the innovative integration of visuals and sound often tempered by criticisms of the retrospective setlist's lack of vitality and occasional flatness in delivery. Critics noted the tour's emphasis on Bowie's pre-1980 hits, framed as their final performances, which some viewed as diminishing their impact by removing forward momentum. A review of the May 24, 1990, concert at the Forum in Inglewood, California, described the performance as "occasionally inspired, mostly flat," highlighting erratic interest levels from Bowie and a band that overpowered nuances, particularly guitarist Adrian Belew. The setlist, drawn entirely from past material without new songs, was faulted for leaving classics feeling "lifeless and deflated," though moments like "Life on Mars?" and "Ziggy Stardust" elicited stronger engagement, and the casual stage manner was seen as refreshing. Visual elements, including gigantic ghostlike images on a transparent screen, were commended for effectively merging Bowie's live presence with his iconic personas. In contrast, coverage of the July 21, 1990, show at Foxboro Stadium praised Bowie's "typically stylish manner" in delivering hits like "Space Oddity" and "Suffragette City," marking them as final renditions under the tour's premise. Unlike the extravagant 1987 Glass Spider Tour, the production was lauded for its "sharp, smart use" of stadium space, balancing spectacle with focus on the music and visuals. Skepticism was expressed regarding Bowie's retirement pledge, likened to The Who's unfulfilled 1982 farewell. Reviews in some markets highlighted a divide, with music occasionally positioned as secondary to the elaborate video projections and lighting, reducing songs to props for multimedia effects. Publications like Rolling Stone included the tour among highlights of the 1990 summer season, recognizing its appeal as a comprehensive retrospective.

Commercial Metrics and Attendance

The Sound+Vision Tour encompassed 108 performances across 27 countries from March to August 1990, marking an expansion in geographic reach compared to David Bowie's preceding major tours. Individual shows frequently achieved high occupancy, indicative of sustained fan demand for Bowie's hits retrospective format. For instance, the July 7, 1990, concert at Saratoga Performing Arts Center in New York sold out, filling the venue's lawn area amid regional competition from other major acts. Likewise, the June 27, 1990, performance at Star Lake Amphitheatre in Pittsburgh, Pennsylvania, drew a capacity crowd. Specific attendance records highlight venue-specific turnout: the March 23, 1990, show in , , at the Royal Highland Exhibition Centre attracted 7,000 spectators, while the Birmingham, England, concert on an unspecified date in the tour's European leg saw 12,500 attendees. London's Wembley Arena performance sold 12,000 tickets within 60 minutes of availability. The tour's finale consisted of two August 4–5, 1990, dates at Milton Keynes Bowl, collectively drawing nearly 120,000 attendees under challenging summer conditions. Aggregate commercial data, such as total gross revenue or cumulative attendance, remains sparsely documented in primary contemporary reports, though the tour's structure and reported sellouts underscore its viability amid Bowie's evolving career phase post-1980s commercial peaks. Estimates circulating in retrospective analyses place overall attendance around 250,000, with grosses approximating $20 million (equivalent to roughly $37 million in 2020 dollars after inflation adjustment), but these figures derive from secondary compilations without direct verification from box office ledgers or promoter statements.

Audience and Fan Perspectives

The Sound+Vision Tour drew large, enthusiastic audiences across its 108 dates in 27 countries, with many shows selling out due to the emphasis on Bowie's classic hits, which appealed to longtime fans seeking a retrospective performance. Attendees often highlighted the interactive nature of the concerts, where Bowie engaged crowds by chatting, encouraging sing-alongs, and smiling frequently, fostering a sense of communal celebration of his catalog. For instance, at the two Milton Keynes Bowl shows on August 4 and 5, 1990, nearly 120,000 fans attended despite sweltering heat, describing the events as massive and memorable spectacles amid thousands-strong gatherings. Fans valued the tour's structure as a "greatest hits" showcase, viewing it as a rare opportunity to hear rarely performed tracks live before Bowie's announced retirement of much of his pre-1980s material, which generated excitement rather than widespread objection at the time. In the United States, such as the July 7, 1990, performance at , audiences responded positively to the crowd-pleasing setlist, with bootlegs and reviews noting sustained energy and appreciation for the hits-driven format. European fans echoed this, recounting the pleasure of reliving Bowie's rock history through amplified visuals and direct performer-audience rapport, though some later reflected on the tour's "farewell" framing as a pivotal shift in his live approach. Smaller, surprise events amplified fan loyalty; a March 1990 Dublin gig for 300 select attendees mixed hits like "The Jean Genie," eliciting privileged excitement among the intimate crowd. Overall, fan accounts from the era portray the tour as a high point for accessibility to Bowie's legacy, with minimal contemporary backlash to the hits-only focus, contrasting with Bowie's own intent to pivot away from nostalgia.

Recordings and Media

Official Releases

No official live audio or video recordings from the Sound+Vision Tour's 108 concerts were commercially released during Bowie's lifetime or subsequently by his estate or record labels. The tour's concept and name derived directly from the Sound + Vision box set, a retrospective compilation issued by Rykodisc on September 19, 1989, comprising three CDs of remastered album tracks, B-sides, alternate mixes, and previously unreleased recordings from 1969 to 1980, alongside a VHS tape containing 17 music videos, promotional clips, and live footage excerpts. This set represented Bowie's reclamation and reissuance of his pre-1983 catalog masters from Philips Records, enabling high-fidelity remastering and enabling the tour's emphasis on visual archival material projected during performances. Later reissues of the box set occurred, including a 2003 edition and a 2014 four-CD version extending to 1994 material, but these postdated the tour and did not incorporate live content from it.

Unofficial and Archival Material

Unofficial audio recordings of Sound+Vision Tour performances have proliferated among collectors, often sourced from audience tapes, soundboard leaks, or radio broadcasts, capturing variations in setlists and Bowie's improvisational elements across the 108-show run. Notable examples include bootlegs of the March 27, 1990, show at the Birmingham NEC Arena and the Docklands Arena in London, praised for their near-complete sets and solid audience-sourced sound quality rated around 8.5 out of 10 by fan archivists. These recordings highlight tracks like "Space Oddity" and "Rebel Rebel" in configurations differing from the official Quebec release, with some featuring extended band introductions or rare encores. Rehearsal tapes from early 1990, prior to the tour's March 4 launch in Quebec City, have surfaced unofficially, offering glimpses into song arrangements and technical setups, such as the integration of orchestral elements and video screens. One such collection, bootlegged as Sound + Vision Tour Rehearsals, documents sessions likely from New York on January 20, including stripped-down versions of hits like "Changes" and "Ashes to Ashes," distributed in limited CD editions among enthusiasts. These differ from partial official rehearsal excerpts, providing unpolished takes that reveal Bowie's refinement process for the hits-focused format. Video archival material includes fan-captured multicamera footage from European legs, such as the August 19, 1990, concert at MECC in Maastricht, Netherlands, and the August 29 show at Sportstadion in Linz, Austria, which preserve visual aspects like stage lighting and crowd interactions not fully documented in official media. A radio-broadcast recording of the August 5, 1990, Milton Keynes Bowl performance, shared via fan networks, captures the UK finale's high-energy atmosphere for nearly 60,000 attendees, though audio fidelity varies due to transmission artifacts. Bootleg vinyl and CD releases, like the Superstar Concert Series from the May 16 Tokyo show, compile full sets with tracks such as "TVC15" and "Life on Mars?", circulating since the early 1990s despite lacking Bowie's endorsement. Fan discussions emphasize challenges in sourcing high-fidelity versions, with many bootlegs suffering from audience noise or incomplete tracks, yet they remain valued for documenting tour-specific rarities, including soundchecks and alternate mixes absent from commercial outputs. These materials, often traded on forums or archived digitally, underscore the tour's preservation amid Bowie's intent to retire older material post-1990.

Legacy and Analysis

Influence on Bowie's Career Trajectory

The Sound+Vision Tour, spanning 108 performances from March 4 to June 29, 1990, across 27 countries, marked a strategic pivot for Bowie away from the collaborative constraints of Tin Machine toward reasserting his solo identity through a retrospective of hits from Space Oddity (1969) to Let's Dance (1983). Billed as a one-off event to retire his pre-1990 catalog from live sets, the tour's scale exceeded prior outings like the 1983 Serious Moonlight and 1987 Glass Spider tours, reflecting Bowie's recognition of his back catalog's commercial draw amid the underwhelming sales of Tin Machine's albums. This success prompted Bowie to dissolve Tin Machine by 1991, ending a phase of band-oriented experimentation that had yielded critically divisive results and modest attendance on its 1989 tour. The Sound+Vision outing reinvigorated his market position, providing financial stability and audience validation that facilitated a return to solo production; his next album, Black Tie White Noise (1993), debuted at No. 1 on the UK Albums Chart, incorporating jazz-funk elements while signaling a deliberate evolution beyond 1980s pop-rock formulas. Despite Bowie's pre-tour declaration of forgoing future performances of older material to prioritize new work, the tour's reception—evidenced by strong ticket sales and fan engagement—eroded this stance, as classics reappeared in subsequent setlists, such as during the 1995 Outside Tour supporting Nine Inch Nails. This pragmatic adjustment highlighted the causal role of audience demand in shaping Bowie's trajectory, underscoring how reliance on established hits sustained his viability amid inconsistent solo output in the early 1990s, rather than fully enabling unbridled innovation.

Retrospective Evaluations and Criticisms

Retrospective assessments of the Sound+Vision Tour frequently commend its streamlined production and musical execution as a marked improvement over the extravagant and critically derided Glass Spider Tour of 1987. Reviewers looking back have emphasized the tour's efficient stage utilization, with one 2016 analysis noting Bowie's "sharp, smart use of the huge amount of space that stadium stages create," avoiding the prior tour's narrative bloat and mechanical excesses. The ensemble, featuring guitarist Adrian Belew, multi-instrumentalist Erdal Kızılcay, and a horn section, delivered reimagined arrangements that infused classics like "Life on Mars?" and "Heroes" with renewed vigor, often highlighted for their precision and energy in later fan and archival recollections. Criticisms, primarily drawn from contemporaneous observations that have echoed in hindsight, center on the tour's reliance on back-catalogue material without integrating new compositions, framing it as a nostalgic retrospective rather than forward-looking innovation. A 1990 Los Angeles Times critique observed that the "final spin" premise for old songs contributed to performances lacking poignancy, suggesting the announced retirement dulled their interpretive depth. Similarly, a New York Times review described certain tracks as "hurried," underscoring the event's character as a hits reprise amid Bowie's post-Tin Machine pivot, which some later analyses interpret as a strategic popularity booster following the band's polarizing reception. Bowie's assertion that the tour would conclude live renditions of his pre-1980s hits—a commitment not upheld in subsequent outings like the 1995–1996 Outside Tour—has fueled retrospective skepticism about its artistic sincerity versus commercial imperatives, though empirical attendance figures exceeding 1.5 million across 108 dates affirm its market efficacy.

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