Nine Inch Nails, David Bowie Moon Over Mountain View
MOUNTAIN VIEW, Calif. _ Although fiercely entertaining, the Nine Inch
Nails-David Bowie show at Shoreline Saturday night had more than its
share of technical weirdness.
During NIN's set, leader Trent Reznor spent almost as much time
performing as he did smashing equipment, hurling full water bottles at
the black-clad technicians and displaying his newly toned buttocks to
a film crew and various photographers.
Oddly enough, Reznor's crankiness didn't really detract from the show.
He's less a whiner than a perfectionist, which made Saturday's
potential train wreck quite entertaining. When one of the keyboards
delivered sounds that resembled a colicky robot, Reznor flung it away.
Guitars, microphones and even band members were subjected to the
NIN spent most of its set hammering home the relentless industrial
groove that has made it a platinum-selling band. Reznor and his band
kicked things off with ``Tell A Lie创 from ``Pretty Hate Machine.创
During the tune, Reznor tossed a few profane phrases at the camera
people, and turned his back to them as often as he could.
The set marched on, highlighted by a sharp version of ``Closer,创
one of NIN磗 biggest hits. By then, Reznor was drenched in sweat, his
hair plastered to his head. Too many hearings of the sanitized radio
version can make you think it would be easy never to hear ``Closer创
again. Reznor restored the song磗 power with his performance.
Besides his concerns with the equipment, Reznor also seemed peeved
that the audience wasn't sufficiently enthusiastic. This critic had
seen a rowdier crowd at the Boston show, but didn't feel the
Shoreline throng needed their pulse checked or anything. It could be
that Reznor was used to audiences who were there mainly to see his
show. It was clear Saturday that quite a few people at the big
Mountain View tent wanted to see Bowie.
When Bowie came on stage to the strains of ``Warszawa,创 he was
greeted warmly. Clad in a multilayered Issey Miyake clothing event,
Bowie intoned the lyrics from ``Scary Monsters创 in a style that was
sort of Goth Bing Crosby (one of Bowie's old duet partners). In the
blink of an eye, the tune revved up with Reznor supplying backup
vocals and few keyboard wallops. Aiding and abetting on the tune
was longtime Bowie sideman Carlos Alomar, as well as NIN band
members Chris Vrenna, Robin Finck, Danny Lohner and James Woolley.
Bowie and Reznor joined forces on NIN's ``Reptile,创 as well as
``Hallo Spaceboy'' from Bowie's new album, ``Outside.创 The
collaboration ended with the duo trading vocals on NIN's ``Hurt.创
After that, the backdrop rose and Bowie's band kicked off his set.
The month since this tour began has made all the difference in
Bowie's performance. The tour's first show, Bowie's first live
performance in close to five years, was somewhat listless, probably
due to the fact that most of the audience wasn't familiar with the
songs on ``Outside.创 Bowie also has softened his hard-line stance
that this tour was about promoting ``Outside创 and nothing else.
The best example of this Bowie's performance of ``Under Pressure.创
Bassist Gail Ann Dorsey went to church with her backing vocals,
turning a slight hit into something rich and fine.
Bowie grouped some old songs together in the middle of his set.
``Andy Warhol,'' ``Breaking Glass创 and ``Man Who Sold the
World创 all had their moments. ``World创 almost had a touch of
Marlene Dietrich in Bowie磗 languid delivery.
Some of the songs from ``Outside创 also sounded as though they
had gotten a groove transplant. ``The Voyeur of Utter Destruction
(As Beauty)创 has picked up considerably from the beginning of the
tour. However, ``Small Plot of Land'' remained logy and
indecipherable. The only thing that saved the song were Mike
Garson's jagged, crashing piano figures. Garson was featured on
Bowie's 1973 album ``Aladdin Sane.创
Bowie's set ended with an old song, ``Teenage Wildlife.创 As the
tune drew to a close, Bowie clutched his stomach, and fell to one
knee. He raised up slightly and put his hand up as if signaling drummer
Zach Alford to stop. Alford did. The crowd cheered, expecting an
encore, but the lights came up and that was that.
It doesn't take a genius to see how much NIN's precise industrial
rantings owe to Bowie's multiple musical identities, particularly the
Bowie of the ``Low-Heroes-Lodger创 period. Seeing Reznor and
Bowie collaborating was a charge that won't soon be matched.
By Claudia Perry
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is provided courtesy Keith Duemling and Tracy Thompson from the collection previously
located at SUS.