David Bowie: (Spaceboy)

David Bowie’s Low – Always Concerned with Masks appeared as a one‑page album review in Rolling Stone on April 21, 1977, assessing the stark, experimental shift of Bowie’s Berlin‑era masterpiece. The piece explored the album’s fractured emotional landscape, its avant‑garde structures, and Bowie’s ongoing fascination with identity, persona, and concealment, framing Low as a bold reinvention that challenged both rock conventions and audience expectations.

In March 1977, RCA reframed Bowie’s first decade as a gallery of televised identities — twelve albums, twelve personas, one artist in perpetual motion.

In March 1977, Bowie slipped into New York’s Ocean Club with Iggy Pop — a quiet, electric night where Low, Berlin, and the city’s underground collided.

A sweater, a keyboard, and a refusal to sing — Bowie’s Berlin persona plays out in real time.

A Somerset nightclub, a neon glow, and a performer who turns cabaret into a kind of living theatre — Angie Bowie’s world is never ordinary.

A final week, a final bow — and a reminder that Lindsay Kemp’s influence echoes through every performer he touched.

A chase across Europe, a silent star, and a press corps left grasping at rumours — Bowie’s Berlin era was as much about absence as presence.

Published in February 1977, Circus Magazine devoted its cover and a four‑page feature to David Bowie’s Low, examining his move to Europe, his collaboration with Brian Eno and Tony Visconti, and the avant‑garde shift that reshaped his music and persona.

A critic reassesses Bowie’s artistry through the lens of “Sound and Vision,” praising his restraint, structure and emotional clarity while questioning why his brilliance has taken so long to be universally acknowledged.

David Bowie’s "Are Polls Worth It?", a one-page article in Record Mirror, February 19, 1977.