Limehouse Lizzy – Flowerpot, Derby


I first saw LL almost exactly five years ago at the Assembly Rooms in Tamworth. They have now been touring for twenty- five years. Thin Lizzy toured for seventeen years. As custodians of the music, Limehouse Lizzy can lay claim to the songs even more strongly now than the original band!

At the heart of the action is Wayne Ellis who has bulked up considerably in the time since I last saw him. As muscular as a cage fighter, the packed house on a hot summer’s night (yes we did Dance in the Moonlight) was red hot (I mean steaming), causing a perspiring sheen to glint on his muscular exposed biceps, much to the excitement of the ladies.


The set opened to a blazing “Jailbreak” and never looked back, a greatest hits set culled mainly from the seminal “Live and Dangerous” album, augmented by some judiciously chosen album tracks the best of which was “Opium”. Visually pleasing, but not clone like facsimiles of the original band members, the spirit of the band, and the music, was captured perfectly. The ubiquitous “Boys are back in Town” and “Whiskey in a Jar” raised the roof at the end, but for me “Don’t Believe a Word”, and particularly “Are You Ready”, were the rockers that really rocked. The latter is a hermetically sealed explosive charge which ticks, goes off, and is then gone. A perfect pop song. The former I have always found multi layered, and Ellis skilfully squeezes the ambivalence out of the lyrics. Is it a laddish, misogynist taunt and boast? ( you know you’ll want it anyway). Or is it an elegiac paean from a man who cannot settle down, a cri de Coeur warning someone whom he knows deserves better?

A tremendous show, at a great venue., and credit to the sound man, loud, clear, no distortion, no deafness until the following morning!


My only gripe was time. I thought a 9.30pm start was late for a band that plays a long two hour set. But with an electronic timer on stage that barely touched fifty five minutes before the break, they then had to gallop through the second half which finished a few minutes after 11.30pm as they were being told to hurry up. Two highlights of the Tamworth show, “Still in Love with You” and “Parisienne Walkways” were not played, nor replaced by something similar, denying the guitarists a bluesy work out opportunity. The second half, for all of its glory, felt as though bits were missing. The promoters should set a start time sufficient for the band to play a full set. What happened on Friday left frustrated fans, and I suspect frustrated band members.


Despite this the set was fresh, interesting and vibrant. I would love to see them do a mash up of “Rosalie” with Springsteen’s “Rosalita” not least because it would make further use of the excellent sax player who guested on “Moonlight”. I look forwards to seeing them again soon- so should you

Gary Longden

For the review five years ago:


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Sutton Arts – 2018/19 Programme Previewed

I have a soft spot for Sutton Arts theatre. It is intimate at just over a hundred seats, well maintained, with a generous bar area, has good car parking nearby, but crucially offers a strong programme, with varied directors. A new season is always to be looked forwards to, what follows takes a look at what you could be taking a look at over the next twelve months:
Fame 21st 30th June
The mid -summer musical is now a traditional event at Sutton Arts. Despite the physical logistical hurdles of a theatre ill-designed for musicals, they have consistently triumphed, not least with “West Side Story”.
“Fame” has much to commend it, a classic title song, a gender and ethnically diverse cast, an upbeat message and lashings of feel good joie-de vivre. Husband and wife team Armstrong / Whitehead are seasoned technicians at producing big shows on a small stage. Popular with schools and amateur theatre, this is a sure-fire hit.
However, it is not without its challenges. There are three “Fames”, the film (1980), television series (1982), and musical (1988), which itself has undergone several revisions. From inception it is nearly forty years old now. To put this in perspective, Oklahoma! was appearing for the first time the same number of years before “Fame’s” premiere , as there is between now and when “Fame” first appeared. The X factor, BGT, So you Think You Can Dance all offer a modern take on fame which was unknown back then. Of course you can reimagine the setting, but you cannot reimagine the songs, just rearrange them for modern ears.
Will we be offered a period nostalgia show which risks being dated, or a reboot which risks being unfaithful to its roots? Or will Dexter and Emily weave their magic somewhere in between? It will be worth finding out.
And Then There Were None 30/8- 8/9.
Agatha Christie, like Alan Ayckbourn, has an audience. “And Then There Were None” sticks to a formula, and does it well. It is unlikely to attract a fresh, but will satisfy its existing, audience. Dexter Whitehead directs again
Rabbit Hole 18th -27th Oct
This production, directed by Louise Farmer and Faye Hatch is what delights me about Sutton Arts. Tissues will need to be supplied with each ticket as this is a tear jerker, a study of the pain of others, that will resonate with anyone who has experienced close bereavement. The plot of “Rabbit Hole,” by David Lindsay- Abaire,centres on the impact of the accidental killing of a small child, redemption, grief, and coming to terms with loss. Which sounds gloomy, but it isn’t. So sharply entertaining is the script, such is its honesty and accuracy that it succeeds in engaging, rather than overwhelming, laced with some tension releasing humour. When it was performed on Broadway, Tyne Daly, of Cagney and Lacey fame, was inundated with plaudits.
The mundane opening prepares the ground for what is to come. A woman is sorting laundry with her sister. But a loud silence pervades the room. While the talk is inflected with the ritualistic familial rhythms of fondness and annoyance, the strain of something unspoken pulses. It takes you perhaps five minutes to realize that the child-size clothes the mother is folding with such mechanical efficiency belonged to her son, a 4-year-old boy named Danny who was struck and killed by a car eight months earlier.
Every action, big and small, and every word that follows are informed by our awareness of the characters’ awareness of Danny’s death. Grief has obviously not brought the members of Becca’s family — including her husband, Howie, and her mother, Nat — closer together. Sorrow isolates them. Anything that anyone says is almost guaranteed to be the wrong thing.
A bold choice , a challenging play, I can’t wait.
Dick Whittington 8th – 22nd Dec
The Armstrong/ Whitehead nexus reconvenes for Panto season which runs before Christmas. Sutton Arts know how to produce a traditional pantomime, and Dick Whittington is one of the stronger panto stories. Expect plenty of “Dick “jokes”. It is always good. It is always well attended. It is always a joy. It is invariably more satisfying than more expensive shows at larger theatres. They know the formula – they deliver.
Ding Dong  24/1- 9/2
A Marc Camoletti ( of “Boeing Boeing” renown) farce. The plot follows a husband who finds out that his wife is cheating on him and decides the perfect revenge will be for him to sleep with his wife’s lover’s wife. Camoletti is good, devotees of farce will not be disappointed.
Jerusalem 14th -23rd Mar
Like “Rabbit Hole”, another inspired selection by the programming team.
Written by Jez Butterworth it is an homage to England, full of bombast and rooted in a sense of place: England. Butterworth’s Jerusalem is not to be confused with the 2005 play of the same name by Simon Armitage. This will be one of Director Dexter Whiteheads’ biggest directorial challenges.
It is a chronicle of us, now, a tale of identity and nationhood and belonging, set in a fictional Wiltshire village on St George’s Day. It merges myth and legend with the here and now, it hints at why “Jerusalem” is sung most vociferously by middle aged men with red chests, and pendulous beer bellies.
A play about nationality in a multi- national country will always be controversial, “Jerusalem” will attract and polarise in equal measure- it will not bore.
Gin Game 24th April – 4th May
D.L. Coburn’s 1978 Pulitzer Prize winner, written in 1976, is a two-hander about a pair of retirement home residents who banter and bitch away their hours at a card table. Rose Manjunath directs, I am sure she will relish being involved with a play with so small a cast, and relatively light narrative, which depends upon acting and performance.
The play premiered on Broadway in 1977 and borrows thematically from the contemporaneous “On Golden Pond”, it is also colour blind, providing maximum flexibility on casting save for gender and age.


With little action, apart from the drama of The Gin card game humour becomes all important for the two demanding parts assumed by the actors, initially the proverbial odd couple, for whom friendship is found, as mutual understanding grows. The Card game is also used as a metaphor for life as a game of luck and judgement, as well as more familiar reflections about the place of the elderly in society.
There are elements of both “Driving Miss Daisy” and “Visitors” ( the latter brilliantly done by Barry Atchison a couple of years ago) in this play, Manjunath relishes this sort of production, I am sure it will be excellent.
Guys n Dolls 13th -22nd June
One of the great musicals, a certified classic which I cannot wait to see, even though it is a year off as I write. Great songs, great characters, great feel good show, sit back and enjoy. Armstrong / Whitehead will be Rocking Your Boat.




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The Age Of Bowie – Paul Morley


Time dulls the memory, sometimes for the best. Bad meals, bad holidays, lost love, time has a way of neutralising those memories. Sadly, it also dulls the memory of bad rock critics. I had forgotten what a pompous, self-important, narcissist Paul Morley was until I started to read his book on himself, on Bowie. Bombastically the dust cover carries a quote that Morley is the Bowie of Rock writing. Wrong.

I am a similar age to Morley, and have been a fan for a similar period of time. If I had wanted to read a book about Morley, I would have a choice, instead, he inflicts his own turgid, mangled, personal stream of consciousness, occasionally bringing Bowie into the process under the pretext of writing a book “about” Bowie. At 480 odd pages it is long, yet it is short of anything new or insightful, instead it is regurgitated, reheated, pap.

There are errors. “Alabama Song” was not performed on the Isolar/ Station to Station tour, “Jean Genie” was inspired by a John Lee Hooker riff, not a Muddy waters one. But for a book so long, there is so little new. A first person interview with Peter Frampton’s Dad, Bowie’s Art Teacher offers a glimpse into what might have been. Otherwise there is nothing. The list of those who could contribute insight is long, Duncan his son, Imam his wife, Angie his ex -wife, Tony De Fries his ex -manager, numerous band mates, particularly Woody Woodmansey, Tony Visconti, Carlos Alomar Earl Slick, Peter Fripp , Iggy Pop, and Adrian Belew and long time friend George Underwood amongst them. That would take time, effort, persuasion, money, and be about others, instead Morley rattles this off in ten weeks.

Ignore the puff piece quotes on the dust cover, do not waste your time by buying, or reading, this book- unless you are Paul Morley’s mother.

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Elements of Freestyle – Birmingham Hippodrome

elements hip

This evening’s show was part of the Birmingham International Dance Festival 2018 and is the brain child of Artistic Director Marco Gerris who is gaining an enviable reputation as a stuntman and stunt co-ordinator for the film industry, leading his Dutch Dance company Ish.

The show itself is a new production of urban arts, an adrenaline drenched melange of sports, music, dance and theatre. Gerris is a Filipino who grew up in Belgium, riding his bike from gymnastics to violin lessons and from judo to saxophone sessions. He trained at Antwerp’s Herman Teirlinck Drama Institute, the Higher Institute for Dance Education and the Open Living Theatre . In the late nineties he settled in Amsterdam, where he worked as a dancer, skater and actor. He was elected Dutch freestyle skating champion and played in various productions, including the musical “Endless” and productions by the dance company AYA. In addition, he spent a lot of time in the Amsterdam Vondelpark where he befriended actors, dancers and skaters and made contacts. His new network inspired him to create his first piece in 2000 – ISH.

The company’s name derives from the suffix “-ish”, which stands for something you cannot define, simply because it is both one thing and another. ‘At a meeting with an American dancer, I talked about everything I want to do, everything I find inspiring and my aversion to sticking to just one discipline. Gerris remembers: ‘You are ‘ish’, you’re a bit of everything and that’s your strength.’

ISH aim to do for dance and street performance what Circle du Soleil did for Circus, update, reboot and reimagine the genre with trademark multidisciplinary performances. On Dutch national television, Marco appeared as a judge in the popular television programme, “So You Think You Can Dance” for two years. I like the Dutch, they speak great English and are a little bit mad (Think the Dutch National Football Team, Van Gogh etc) with a loveable creative streak, both of which were on display this evening.


Four large skating ramps and gantries occupy the stage, assembled in multiple ways to showcase the diverse art and performances of breakdance, inline skating, skateboarding, free running, BMX, and freestyle basketball. But primarily this is a show about movement – lots of it. Ish were fortunate to be playing the main hall with its massive stage able to accommodate both the equipment and the action. The show was played to a pre-recorded backing track which alternated between electronica, hip hop, heavy metal, grunge and ambient, but overlaid by live performances from a cellist and violinist situated on the opposite wings of the stage adding immediacy and colour to proceedings. Gerris’ early violin lessons were obviously not wasted! My only surprise was that the performing company was all male, I cannot believe that there are no women who deserve a showcase in this production.

The show was fabulous, enthusiastically received by a good sized audience of all age ranges from young children, through teenagers, up to grandparents. I saw “Stomp” a few weeks ago, and I felt this was better. The challenge for Ish is how to brand the show that they can reach out to attract the mainstream audience they deserve. With no spoken narrative, the production reaches out to all nationalities, as well as all ages. The standing ovation at the end was richly deserved. When they next tour this country- catch them!

Gary Longden

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Spiritual Sat Nav – Noel Hogan


sat nav pic

I first met Noel as a visitor at a Lizian events show. He had the enthusiasm of a puppy, and the freneticism of an amphetamines drenched Ramones gig. We spoke about his forthcoming book, and I was delighted to secure a copy from him to read when he exhibited at Lincoln

Self- help/ spiritual guidance books are an awkward commodity. They risk either trotting out familiar, banal platitudes, or are so eccentric they have little use in the real world. Hogan is different, battlefield experience from his time in the RAF, provides the backdrop to his spiritual journey, a journey which takes some surprising twists and turns. What I particularly enjoyed is the bizarre juxtaposition of some of his cultural reference points.

Emanuel Swedenborg’s “Heaven & Hell” is a totemic masterpiece which influenced Kings and thinkers worldwide. David Icke’s reputation is less sure footed. But that does not matter, such contrasts mentally jolt the reader, making them yell out “are you sure?” – before turning to the next page. Hogan also uses the Police’s “Spirits in the Material World” as a touchstone for his book. Again, an interesting choice as Sting is either a pompous prat, or a sublime troubadour depending upon taste.

He also references “The Shawshank Redemption” and “Sliding Doors”. “Shawshank” is an oddity, a Stephen King Novella whose messages seem far greater than its fairly routine story. There is a parallel with this book. This genre is routine, bit Hogan seeks to lift it by episodic anecdote beyond that. Chief protagonist Andy is a Messianic figure in “Shawshank”, as David Icke purports himself to be – see what I mean about jarring juxtapositions?

“Sliding Doors” is wholly different to “Shawshank” its premise pivots on a single idea, that one moment can change everything. It references the idea of parallel universes too. That time is not linear. Thus, everything is happening now, infinitely splitting as we make decisions. Hogan likes Jim Carrey too. He focusses on him as a “tears of a clown” figure, a man of substance behind his comic ribaldry. Yet for me his most profound work came in “The Truman Show” in which an individual was unwittingly living out his life in a TV reality show. The substance of that is interwoven throughout this book. Are we putting on an act? If so, who for? Is “all the world a stage”? What really matters?

Amongst the routine self -improvement fare is a little gem. It came from his time in the RAF when a Sergeant invited him to write his own assessment, one of life’s turning points. In turn Hogan invites us to write our own life review. I am squirming at the thought. Hogan would like that. At times he meanders like an Aircraftsman on his lunchbreak, then he hits the target with the precision of an Exocet missile.

He writes about Near Death Experiences persuasively and insightfully. It is as comforting and reassuring a section about death (“Does it hurt”) as I have come across. Yet sometimes he attempts too much, I found the section on the Akashic records incomplete and the Meditation chapter felt compulsory rather than essential. His fable of the elephant and the stake, in which a baby elephant cannot pull out a tethering stake, so gives up, a defeat which endures when he is an adult, even though he would be strong enough to pull out the stake with ease, is well told, neatly linking with a chapter urging us to take responsibility for our own happiness. He also reminds us that if we knew how little time others spent thinking about us, we would not worry what they thought ! When linking this to the artificial construct of time, as opposed to those things which really matter, he is on strong ground. That weakens a little when debating conspiracy theories, dismissing those who debunk them as slaves to the Mainstream Media. There is a big difference between an honest search for the truth, and a parallel reality based on what might be.



Noel Hogan


I enjoyed this book, which is as personable as the author. Light, easy to read, and well divided into chapters, it is both accessible and thought provoking. Its rough edges are part of its appeal rather than a drawback.  “Spiritual Sat Nav” may help you reach your destination. Not only will you enjoy reading his work, you will also enjoy meeting Hogan who is to be found on the Lincolnshire Mind Body Spirit exhibition circuit.

Gary Longden

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Birdsong- Derby Theatre


The centenary of the ending of the Great War has prompted many tributes, some more meritorious than others. The eponymous novel, by Sebastian Faulks, first published in 1993, has established itself as a modern classic, a love story set against the backcloth of war, where the omnipresent threat of death heightens human’s search for love, and loss is only a rifle shot or shell blast away. Stephen Wraysford, who arrived first as a textile industrialist, returns as a British officer, taking his men over the top at the Somme, injured in a field hospital.


A weighty novel always poses a page to stage challenge. As it is, the production runs to two and a half hours. Flashbacks are used extensively by adapter Rachel Wagstaff to fill in the narrative gaps, a device used with uneven, and narrative slowing, effect. Wagstaff impressively gained Faulk’s support, endorsement and involvement in this adaptation, which does not rely upon the audience having read the book.


For scenery, a trench, ladders, and tunnels cutaway, dominates the stage. Before the War, Wraysford, had engaged in a passionate and dangerous affair with the beautiful Isabelle Azaire. After war breaks out, he must lead his men into the carnage of the Battle of the Somme, and through the sprawling tunnels that lie deep underground. Credit is due to Victoria Spearing’s authentic and convincing set, overlaid with Dominic Bilkey’s soundscape, and Alex Wardle’s clever lighting. Music and songs are also powerfully deployed, courtesy of James Findlay, not least in the moving scene when the troops are writing what they know are likely to be their last letters home. Confronted with the ghastly tableau of war, Wraysford holds the memories both of his affair with Isabelle, and his untroubled life before, tight, as he tries to survive the maelstrom.



The flashbacks can sometimes teeter on the absurd, rather than the dream like. But Tom Kay works hard to offer a poignant compelling performance of Wraysford’s fragile mental state. Yet it is the vox pops of the ordinary protagonists which resonate. A sapper, Tipper, choosing to take his own life rather than let someone else do it, personifies the tragic tradition of a man who cannot escape his fate. A Private borrows from the “Inbetweeners” tradition in a portrayal of sexual bravado, seemingly emulating Wraysford’s exploits, which in truth, amount to nothing. Madelaine Knight effortlessly oozes sex appeal as textile heiress Isabelle Azaire


Wagstaff has succeeded in producing a play which stands, and breathes, in its own right. Although the audience was dominated by female aficionados of the book, those who had not seen it expressed no difficulty in appreciating the story, driven by Alastair Whatley and Charlotte Peters’ creative direction. A fine response to a powerful moment in history. Birdsong runs until Saturday 16th, then continues on tour.
Gary Longden

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The Bowie Experience – Wolverhampton Grand


I went to the show as a Bowie devotee. I have seen Bowie live several times, three times in the seventies, I own all of his recorded material, and have been a fan since 1973. When I first heard Mick Ronson’s wailing guitar from “Moonage Daydream”, floating from my neighbours’ bedroom window, I was hooked.


I also went to see Visconti’s “Holy Holy”, with Woodmansey on drums. It had been surprisingly good. Glen Gregory, Marc Almond and Ronson’s daughter were brilliant on vocals. It augured well, the music would stand reinterpretation and revocalsiation. My feelings pre- show were mixed. It was time for another Bowie fix, certainly. I was not interested in a look a like, or sound a like show. That would be pointless. I did want something which captured the spirit of the man and the music. Then there was the matter of song choices. The “Lets Dance” version of “China Girl” is awful, the “Idiot” version sublime. Would he go for a pop presentation, or a more daring dive into Bowie’s back catalogue?


Any Bowie Tribute act has a challenge. Which Bowie? Some, like, myself have followed him from the start, but we are not in the majority. Broadly speaking there are three Bowie sub-tribes. The first will take in anything up to Station to Station, the Ziggy Stardust fans. Then there are those from Low to Scary Monsters. Then from Lets Dance onwards. You can’t be all things to everyone.


The Grand was pretty much sold out on Friday night, which is good, by any measure. A reflection of the enduring popularity of David Bowie, and his music. It was packed with Bowie aficionados and cognoscenti, a big audience, but it was going to be a demanding one too.


I have grown a little blasé about “Space oddity”, his oldest, most enduring, and arguably biggest hit. Opening with it made sense chronologically, and as a crowd pleaser. What surprised me was how good the BE arrangement was. Two female backing vocalists, and multi instrumentalists Emily and Charlotte, flanked the stage. Not only were they easy on the eye, but their vocals beefed up the lead vocal, harmonised, and were to prove a reassuring constant as the show evolved. The full band sound was far richer than the more sparse original recordings and set a standard from which they rarely slipped. They skipped into “Queen Bitch” without pausing for breath, producing one of the several highlights of the evening. The first half was material up to “Aladdin Sane” from which there is so much to go at.


Any judgement of the show, and running order, will be coloured by personal preference. Bowie’s live shows were far from flawless. “Lady Grinning Soul” was a delight to hear, and well done. Bowie never played it live, not because it was not a great song, it is, but because there are three very demanding components. Firstly, Bowie hits a G#5, secondly flamenco guitar, is a specialist skill. Thirdly Garson is one of the finest jazz pianists in the world. On the studio track Bowie is credited with acoustic guitar which I query because his playing was competent, but not exceptional, Ronson was very accomplished and although credited with electric guitar only may have filled in on the recording. How did they do? The keyboards for the show sounded predominantly chord based, wisely no attempt was made to out Garson, Garson. Darren Jones made the best of a very demanding guitar part, but was to emerge as an ebullient set moved on, and Laurence Knight focussed on the spirit of the song rather than trying to hit every note. As the show went on Charlotte Talbot was given increased vocal duties – it would have been interesting to hear her take lead, or shared vocals on this one, as well as “Lady Stardust” which was not played on the night.


On bankers “Ziggy Stardust”, “Suffragette City” and “Moonage Daydream” lead guitarist Tim Wedlake suffered from his guitar being low in the mix, what should have been a sledgehammer became a gentle tap. Yet on “The Man Who Sold the World” the more intricate guitar work found him in his element. One of the many challenges facing any such guitarist playing from Bowie’s entire catalogue is that they are up against Ronson, Alomar, Slick, Fripp, Belew and Frampton – which is quite stiff comparative competition, not least because of the specialism that each brought. “Rebel Rebel” and “Jean Genie” closed off the first set nicely. “Watch that Man” and “Drive in Saturday” would have been welcome additions though.


The second half stretched over a far greater timeline, and while the song choices were good, inevitably some felt discordant against each other. “Diamond Dogs” for me has not worn well, although they opened the second half with it. Oddly they played the album intro, complete with Rod Stewart “hey”, whose live excerpt they lifted for the crowd section, rather than re-record it themselves. “Hallo Spaceboy” was brilliantly played but jarred . “Ashes to Ashes” suffered from the keyboard part being to low in the mix, and the outro shortened and simplified. The closing “Heroes” did not work because the signature guitar motif was absent and again the keyboards were too low in the mix. By contrast “Under Pressure” was an absolute highlight, again courtesy of Charlotte Talbot, as was “Fashion”. I would have added in “Look Back in Anger” and “Thursdays Child” into the second half. The first half of “Station to Station” was a bit of an oddity, “Golden Years” worked brilliantly. But why, with Charlotte and Emily, and the other backing singers amongst the band, were a few more songs from “Young Americans” not played beyond the title track? “Fascination” would have been perfect.


The voice of the people is the voice of God. The BE sold out a medium sized theatre, the feedback from fellow hard core fans at the interval and curtain was positive, crucially, the feedback from the curious and “plus ones” even better. I did feel that at times Laurence was concentrating more on imitating Bowie than capturing the feel of the music, I also thought that the costume changes ended up being an irritation. Good as they were, they were often unnecessary. The unsung heroes were the rhythm section, Paul Gill on drums and Lydia Close on bass. Tucked at the back they were the reliable, essential, engine room of the show. I also enjoyed the obvious rapport between sax player Emily, and rhythm guitarist Darren Jones. More than anyone they captured the spirit of the music, exuding an infectious joie de vivre and all round happiness. James Stead on Keyboards, like Tim Wedlake on lead guitar, suffered from a poor mix so it is difficult to say anything other than a competent contribution to a great show was made.


It is pretty clear that the Bowie Experience has a winning formula on their hands. Bowie’s career, and catalogue, is so extensive that it offers the opportunity to present several self contained shows, as well as a greatest hits format. “China Girl”? They cheated! The arrangement featured the Nile Rodgers choppy oriental guitar motif, but rocked out at the end.


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