David Bowie and The Spiders From Mars (September 22, 1972) Cleveland Music Hall
David Bowie and The Spiders From Mars performed at Cleveland Music Hall in Cleveland, Ohio, on September 22, 1972. The show was the 59th performance of the Ziggy Stardust Tour, which had begun on January 29, 1972.
The Cleveland concert also marked the opening night of Bowie’s first American tour. The 3,000-capacity venue sold out in just two days, largely due to the efforts of Denny Sanders, music director, and Billy Bass, programme director at WMMS Radio.
Through repeated airplay of tracks from Hunky Dory and The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, they helped build a strong regional following before Bowie and the band arrived. By the time the group reached Cleveland, they had already become one of the city's most talked-about musical attractions.
According to Woody Woodmansey, the audience immediately embraced the performance. The band opened with “Hang On To Yourself”, and the response confirmed the anticipation that had been building around Bowie’s American debut.
Woodmansey recalled that although Bowie seemed reserved during a press conference earlier that day, he transformed completely once on stage, fully inhabiting the Ziggy Stardust persona and delivering a confident, energetic performance.
Drawing on the experience gained during the UK leg of the tour and strengthened by the addition of Mike Garson to the line-up, the band felt they had reached a new level musically and visually. Woodmansey remembered that “Lady Stardust” was included in the set, something that happened only rarely during live performances.
At the conclusion of the concert, the audience rewarded the band with an ovation lasting approximately ten minutes, giving Bowie and the Spiders what Woodmansey regarded as the perfect start to their first American tour.
Woodmansey also noted that Bowie remained firmly in control of the Ziggy character during this period. He was able to step into and out of the role with ease, enjoying the success that years of determination and hard work had finally begun to bring him.
PERFORMANCE OVERVIEW
The show opened with “Hang On To Yourself” and followed the general structure of the performances the band had been presenting throughout the United Kingdom earlier in the year.
The set featured a broad selection of Bowie’s best-known material up to that point, including songs from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, along with performances of “Space Oddity” and “The Man Who Sold The World”.
Additional highlights included a performance of The Velvet Underground’s “Waiting For The Man” and Bowie’s reworked version of The Beatles’ “This Boy”. For the encore, Ziggy and The Spiders From Mars returned to perform Chuck Berry’s “Round And Round”.
Support on the evening came from Ruth Copeland, who received a favourable reception from the audience despite having worked with her backing band for only a short period.
PRESS & AUDIENCE REACTION
A contemporary review by Jim Girard documented Bowie’s arrival in Cleveland and the anticipation surrounding his American debut. The article described the unusual appearance of Bowie’s entourage at the Hollenden House hotel and the curiosity they generated among local observers.
Girard was among the journalists granted access to Bowie before the concert. He described the singer as polite but reserved during the interview, offering relatively few substantial comments beyond discussing the fictional nature of much of his work, his forthcoming productions for Lou Reed and Mott The Hoople, and his view of Ziggy Stardust as a futuristic rock-and-roll figure.
The reviewer found the concert itself far more revealing than the interview. He observed that the audience knew Bowie’s material well and responded enthusiastically throughout the performance. While many spectators appeared fascinated rather than openly demonstrative, the overall atmosphere was one of admiration and excitement.
Girard praised the band's professionalism, noting that nearly two hours of music were delivered with remarkable precision and confidence. He considered the production one of the most visually impressive and entertaining performances then appearing in popular music.
Particular praise was reserved for Mick Ronson, whom Girard described as the focal point and driving force behind The Spiders From Mars. His guitar playing, as well as his contributions on piano and bass, were highlighted as exceptional. Trevor Bolder was credited with providing steady and reliable bass work, while Woody Woodmansey was praised for his precise and powerful drumming.
The review concluded with a prediction that Bowie’s success would extend well beyond contemporary trends and media attention, describing him as a genuine star whose ambition, vision and constantly evolving artistry would ensure his continued prominence.
PERSONNEL
David Bowie — vocals
Mick Ronson — lead guitar, vocals, piano, bass
Trevor Bolder — bass
Woody Woodmansey — drums
Mike Garson — keyboards
Ruth Copeland — support act
NOTES
• 59th date of the Ziggy Stardust Tour.
• First concert of Bowie's debut American tour.• Venue capacity was approximately 3,000.
• Sold out within two days.
• WMMS Radio played a significant role in building local interest through extensive airplay of Hunky Dory and Ziggy Stardust material.
• “Lady Stardust” was reportedly included in the performance and was rarely played live.
• Audience response culminated in a standing ovation lasting approximately ten minutes.
• Encore performance was Chuck Berry’s “Round And Round”.
• Contemporary review written by Jim Girard.
• Woody Woodmansey’s recollections are taken from Spider From Mars: My Life With Bowie.
SOURCES Spider From Mars: My Life With Bowie — Woody Woodmansey
Jim Girard concert review, September 1972
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