Pin Ups Tour

Lore & Background

The concept behind the tour revolved around celebrating 1960s British pop culture through reinterpretations of songs by bands like the Pretty Things, the Who, the Yardbirds and Pink Floyd. This approach allowed Bowie to showcase his vocal versatility while acknowledging the musical foundations that shaped his early career. It was a deliberate shift away from original material, serving as a palate cleanser before diving into new creative directions. Visually, the tour represented a stripping away of the elaborate costumes associated with previous years. While some glam makeup remained, the focus shifted to raw performance and musical interplay rather than theatrical narrative. This change reflected a growing desire to be seen as a serious musician beyond the persona that had brought him initial fame.

In Their Own Story

The venue hummed with anticipation under the dim lights of a London winter night. A fan clutched a ticket tightly, recalling the alien makeup from months prior. As the spotlight hit center stage, there was no costume change, just a man in simple clothes holding a guitar. The music started soft, a familiar melody from another decade echoing through the hall. In that moment, the crowd understood something had shifted; the character was gone, leaving only the artist behind to begin a new chapter.

Reader's Guide

The tour primarily visited major cities across the United Kingdom and mainland Europe during the cold winter months of late 1973. Unlike previous spectacles, stage design was stripped back significantly to focus on musical performance rather than elaborate costumes or theatrical props. Venues were often intimate halls where the connection between artist and audience felt more direct without the barrier of a constructed character persona standing in the way. The setlist heavily featured songs from the namesake covers album, including tracks by the Pretty Things, the Who, the Yardbirds and Pink Floyd, alongside select original compositions. Audience reception varied widely; some fans missed the theatricality of the Spiders From Mars era, while others appreciated the rawer musical approach presented on this stage. It was a testing ground for how the crowd would react to a less costumed performer delivering familiar melodies in a new context. Mike Garson's piano work became a central sonic element, replacing Mick Ronson's guitar riffs as the driving force behind many numbers during these shows. This period signaled the quiet end of the glam rock chapter before Bowie adopted his Thin White Duke persona later in 1974. Promotional materials emphasized the album's retro aesthetic over futuristic themes, marking a distinct shift in artistic direction for the coming year.

Did You Know?

• Pin Ups was recorded at the Château d'Hérouville in Hérouville, France, after being recommended by Marc Bolan.
• The album cover featuring Bowie and supermodel Twiggy was originally intended for British Vogue magazine.
• Bowie donated an unreleased backing track of the Velvet Underground's 'White Light/White Heat' to Mick Ronson for his 1975 solo album Play Don't Worry.
• The album was recorded in sessions lasting for three weeks from July to August 1973.
• Bowie had considered re-recording his 1966 single 'The London Boys' for Pin Ups but the idea was discarded.