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.

Berlin becomes a crucible — a place where Iggy Pop rebuilds himself and Bowie finds a new artistic language.

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.

A minimalist NME advert from February 19, 1977 promoting Bowie’s single “Sound & Vision,” capturing the cool, detached aesthetic of his Berlin period.

On 18 March 1976, David Bowie appeared on screen not as a performer but as a presence — pale, luminous, and untethered — turning The Man Who Fell to Ear

A candid Bowie in Detroit — weary, razor‑sharp, and already preparing to reinvent himself once again.

A stark, cinematic advert announcing Bowie’s most enigmatic persona — the Thin White Duke stepping into the American spotlight.

Bowie in 1976 was a paradox — a man who built personas to survive, yet longed for a new kind of honesty. This NME feature captures the moment he began to question the very machinery he had created.