The announcement came almost immediately after David Bowie's death: a touring celebration featuring former collaborators, sidemen and musicians who had shared stages and studios with him over the decades. The concept inevitably invited skepticism. Tribute shows often walk a fine line between genuine celebration and opportunism. Fortunately, this particular project arrived with considerable credibility attached to it.
Chief among its assets was pianist Mike Garson, one of Bowie's longest-serving collaborators and a musician whose association with the singer stretches back to 1973. No one could reasonably claim that Bowie was replaceable, but there was something reassuring about seeing people who had actually helped create this music entrusted with keeping it alive.
The presence of Adrian Belew further strengthened the proposition. Few guitarists possess a résumé as formidable: Bowie, Frank Zappa, Talking Heads, King Crimson, Nine Inch Nails and a distinguished solo career. If anyone understands the balance between technical excellence and creative unpredictability that characterized much of Bowie's work, it is Belew.
The supporting cast is equally impressive, featuring musicians such as Fishbone frontman Angelo Moore, guitarist Gerry Leonard, bassist Carmine Rojas and several other veterans drawn from different eras of Bowie's career. Unsurprisingly, the musicianship throughout the evening is impeccable. The songs are performed with care, respect and considerable skill.
Yet that ultimately proves to be part of the problem.
For much of the concert, the performances feel almost too polished. Every note is in place. Every arrangement is executed flawlessly. The reverence for the material is evident, but it occasionally comes at the expense of spontaneity. Bowie's music was many things, but it was rarely safe. Even at its most sophisticated, there was usually an element of risk, eccentricity or theatrical danger lurking beneath the surface.
Only Angelo Moore consistently injects that sense of unpredictability into the proceedings. Whenever he takes centre stage, the concert suddenly acquires the urgency and sense of occasion that much of the evening otherwise lacks. His performances remind the audience that Bowie was not merely a master songwriter but also a provocateur, a shape-shifter and a performer who thrived on surprise.
Some of the evening's frustrations stem from the allocation of stage time. Belew's role feels surprisingly limited, particularly given both his history with Bowie and his singular talents as a guitarist. One leaves wishing he had been given more opportunities to put his distinctive stamp on the material. Other contributors receive considerably more attention, not always to the benefit of the overall balance.
None of this makes the concert unsuccessful. Quite the opposite. Hearing these songs performed by musicians so closely connected to their history remains a pleasure, and there is undeniable value in preserving a repertoire of this quality on stage.
Still, one cannot escape the feeling that something is missing. Whether the responsibility lies with the performers, the format or an audience seated comfortably inside the stately surroundings of the Salle Pleyel is difficult to determine. What is certain is that Bowie's music has always thrived on disruption, surprise and a willingness to flirt with chaos.
This celebration delivered the songs, the musicians and the respect.
A little more danger would not have hurt.
