David Bowie Official

Carry The News: The OFFICIAL David Bowie twitter feed with general announcements and promotions.

[David Bowie Official @DavidBowieReal]

BOWIE’S 1976 GOLDEN YEAR ADVERT IS 50 TODAY

“Don’t let me hear you say life’s taking you nowhere, angel...”

You’re most likely familiar with this classic Andrew Kent shot of David Bowie on the Isolar tour in America in 1976.

As you can see from the second image here, an adjacent frame was used for a full-page press advert which appeared fifty years ago today (21st August 1976), in the American trade magazine, Billboard.

The advert was published to highlight the success of both Station To Station and ChangesOneBowie, along with new release Stay.

Station To Station reached #3 in the USA (#5 in the UK) while ChangesOneBowie peaked at #10 (#2 in the UK). So, along with The Isolar Tour and the release of The Man Who Fell To Earth, 1976 was a golden year indeed.

Anyway, the main reason for this post is to kick off David Bowie Advert Of The Week (DBAOTW).

We did attempt this a few years back, but there didn’t seem to be much of an appetite for it. However, it seems that Bowie press adverts are very popular on well known auction sites these days.

So, we’ll be posting weekly from our archive of many hundreds, for as long you enjoy them.

📸 Andrew Kent

#DBAOTW #AndrewKentBowie #Bowie1976

[David Bowie Official @DavidBowieReal]

I DIG EVERYTHING 45 IS 60

“Everything’s fine and I dig everything...”

David Bowie’s third and final single for Pye Records was released sixty years ago on 19th August 1966. I Dig Everything was penned by Bowie, as was the B-side: I’m Not Losing Sleep.

As with all three of the Pye 45s, both sides of the record were produced by Tony Hatch, who expressed his sadness at the failure of the records many years later...

“I, particularly, recognised something special about Bowie. I personally loved his take on London life and was very disappointed when we couldn't make others realise just how original he was.”

The track was originally demoed with Bowie’s then-band, the Buzz, but Hatch was unhappy with their efforts and replaced them with unnamed session players.

David retained enough of a fondness for the song to resurrect it for the 1999 'hours...' promotional tour and the TOY album.

Which version do you prefer? The original or the re-record?

#IDigEverything60 #Bowie1966

[David Bowie Official @DavidBowieReal]

SIX-PAGE BOWIE COVER FEATURE IN ROCK&FOLK

“I’ve got a long long way to go...”

Young Parisian*, Jérôme Soligny, has been in touch with details of the latest edition of Rock&Folk magazine. ( https://t.co/MxI8zsjtKY)

He authored the six-page piece in celebration of the Shel Talmy recordings release.

The feature includes an interview with one third of The Lower Third (you do the maths), drummer Phil Lancaster.

Jérôme has translated the closing paragraph just for you...

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Chrysalis

Of undeniable historical significance, just like his debut album on Deram, “The Shel Talmy Recordings” features tracks to which David Bowie would, to everyone’s surprise, return to towards the end of his career. In 1999 and 2000, with his live band, he performed and re-recorded some of his old songs, including those from 1965 with the Lower Third, for an album project, “Toy”, which would ultimately only see the light of day after his death. As for Shel Talmy, who has since passed away, but who told Richie Unterberger in 1985 that Bowie’s music, twenty years earlier, was “strange and ahead of its time”, David paid tribute to him in his own way as early as 1973, by recording four covers of tracks originally produced by the American – “I Can’t Explain”, “Anyway, Anyhow, Anywhere”, “Where Have All the Good Times Gone” and “Friday on My Mind” – for “Pin Ups” (partly at the Château d’Hérouville). Finally, because David Bowie was always consistent in his ideas and was sometimes ahead of his own time, it is worth noting that when he was writing the most obscure lyrics for some of the songs collected here, he was already using the cut-up technique devised by Byron Gysin and developed by William Burroughs. So yes, in 1965, David Robert Jones did indeed emerge from his chrysalis, but – as one would expect – he did so in his own way. There was no question of him taking flight haphazardly, like some common butterfly. (Jérôme Soligny / 2026)

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Thanks for the heads up, Jérôme.

* One or both of these descriptions may be inaccurate. 😉

#RocknFolkBowie #Bowie1965 #BowieTalmy

[David Bowie Official @DavidBowieReal]

HAPPY BIRTHDAY LEXI

“The paintings are all your own...”

As you most likely know, today is the 26th birthday of Alexandria Zahra Jones.

Her mother, Iman, has posted some great images, including the first one here, along with this accompanying message...

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Happy birthday Lexi!

You are smart, creative, funny and loving young woman and I thank God everyday I get to be your mommy! You will always be my baby!

Music: Lexi Jones “Moral Compass” Xandri 2025

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The second image here is of Lexi’s dad on his 26th birthday. He’s pictured at RCA's pressing plant in Washington (UK), along with bodyguard Stuey George and a couple of Spiders in the shape of Mick Ronson and Woody Woodmansey. David spent time with staff and signed lots of posters and the like on the day. Birthday cake was had.

Hope you’re having a wonderful 26th yourself Lexi, much love from all here at DBHQ.

Finally, don’t forget to keep an eye on Lexi’s Linktree to experience some of her own striking creations: https://t.co/b9TxnmB1z0

#HappyBirthdayLexi

[David Bowie Official @DavidBowieReal]

TODAY (DEMO) OFFICIAL VISUALISER

“Walking memory lane...”

The headline says it all, but in case you missed our previous post...

David Bowie’s Today (demo) is issued today, and it’s another previously unreleased track from the forthcoming (18th September) The Shel Talmy Recordings album, which is available for pre-order now on CD, LP, and a limited 1LP Red Vinyl exclusive to https://t.co/3GpudJx4nl. ( https://t.co/Xb1TyAWoBm)

Watch the visualizer here: https://t.co/wMQD0fO83C

#Bowie1965 #BowieTalmy

[David Bowie Official @DavidBowieReal]

SHEL TALMY RECORDINGS - 2ND SINGLE: TODAY (DEMO)

“Today we’ll love again...”

Another previously unreleased track from The Shel Talmy Recordings album is issued today, Friday 14th August.

As we told you a month ago, the album is the definitive 1965 collection produced by Shel Talmy (The Who, The Kinks) and it’s available for pre-order now on CD, LP, and a limited 1LP Red Vinyl exclusive to https://t.co/3GpudJxCcT. ( https://t.co/Xb1TyAWWqU )

Arriving September 18, this release compiles Bowie's rarest early sessions and features unheard tracks with guest appearances by Jimmy Page and Nicky Hopkins.

Listen to the second single, Today (Demo), (from 14th August) here: https://t.co/0pukAvkgMI

Link to full press release in our Linktree.

#Bowie1965 #BowieTalmy

[David Bowie Official @DavidBowieReal]

YOU BELONG IN ROCK N’ ROLL SINGLE IS 35

“It makes me feel alright, alright, alright, alright, alright...”

You Belong In Rock N' Roll was released as the first single from the upcoming second Tin Machine album, on Monday 12 August 1991 in the UK, ahead of the It’s My Life Tour (which kicked off in October).

The track was promoted with various formats and some very memorable TV appearances. Despite this, the record only reached #33, albeit still the most successful Tin Machine single release in the UK. It deserved wider recognition, but so did most of Tin Machine’s output.

Reeves Gabrels helped make those TV appearances something to behold by utilising plectrum alternatives, including a vibrator and foodstuff! Even David couldn’t conceal his surprise on occasion when he glanced over at Reeves and laughed at whatever prop Reeves had selected for that particular performance.

You can find several of these hilarious TV performances of the song on YouTube.

Here’s Tim Plamer on the extended mix of the track:

“We took the recording of ‘You Belong In Rock N’ Roll’ to another studio in Surrey, Ridge Farm, where Reeves and I created a 12″ extended mix of that song, which is one of my favourites. And we were able to take the song to the next level. Quite often, extended mixes aren’t worth listening to, but in this particular case we came up with something really interesting.”

Check out the mix here: https://t.co/ENCoS07WZY

There was also a promotional video filmed in Dublin during rehearsals at Factory Studios in August, ahead of warm up shows in the city and the LAX Airport show.

The sense of fun that came over in the TV appearances was also apparent in the video, which you can watch here: https://t.co/gIFGE6cFYR

Meanwhile, enjoy these cracking shots by Brian Aris taken during the band’s time in Dublin.

Tin Machine - You Belong in Rock 'n' Roll:

Release Date: Monday, 12 August 1991
Entered UK Chart: 24/08/1991 at 39
Peak Position: 33
Number of weeks on chart: 3
Producers: Tin Machine, Tim Palmer

#BowieYouBelongInRockNRoll35 #BowieTM235 #BowieBrianAris

[David Bowie Official @DavidBowieReal]

PITCHBLACK PLAYBACK EARTHLING REMINDER

“Sending me so far away, so far away...”

A quick reminder that tickets are still available for Tuesday’s (11th August) Bowie Nights - Pitchblack Playback: Earthling. (https://t.co/vHvANCAjaI)

This is the third and final of the current run of Bowie Pitchblack Playbacks.

The evening comprises two parts: a listening session in the dark to the album, followed by the Lightroom show.

Did any of you get along to the previous sessions? How was the experience?

📸 Nina Schultz 1996
📸 Earthling album cover Frank Ockenfels 3 1996

#BowieLightroomLDN #pitchblackplaybackbowie

[David Bowie Official @DavidBowieReal]

PITCHBLACK PLAYBACK LET’S DANCE REMINDER

“Let’s dance - To the song we're playing...” *

A quick reminder that tickets are still available for tomorrow’s (4th August) Bowie Nights - Pitchblack Playback: Let's Dance. (https://t.co/vHvANCzLla)

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Lightroom and Pitchblack Playback present a series of evenings including a unique listening experience of each album alongside a viewing of the smash-hit show David Bowie: You're Not Alone.
Each evening comprises two parts: a listening session in the dark to one of Bowie's greatest albums, followed by the Lightroom show.

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Did any of you get along to the Ziggy Stardust Pitchblack Playback? How was the experience?

* Today’s lyric quotation is not to be taken at face value during the playback. That would be a health and safety nightmare.

📸 Greg Gorman 1982

#BowieLightroomLDN #pitchblackplaybackbowie

[David Bowie Official @DavidBowieReal]

HAPPY BIRTHDAY IMAN

“We reach out over race and hold each other’s hands…”

We hope you’re having a beautiful birthday, Iman.

The birthday lady is pictured here with her husband in 1993. Jeffrey Mayer took the shot during the video shoot for the Black Tie White Noise single.

Much love to you Iman, from all here at DBHQ.

#ImanBirthday #DavidAndIman #EternalLove

[David Bowie Official @DavidBowieReal]

LIFETIME ACHIEVMENT AWARD FOR SUKITA

“Photograph king, watches you go…”

Great to hear that Masayoshi Sukita is to receive the much-deserved Lifetime Achievement Award at Abbey Road Music Photography Awards in September.

Regular visitors to these pages will be well aware of his work, which was created via several sessions with Bowie over a 37-year period starting in 1972.

The great man had this to say about the award...

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“It is a big honour for me to receive the Lifetime Achievement award at the Abbey Road Music Photography Awards," added Sukita. "I am very pleased to be a part of the history of photography. I will keep working on photography, and hope people will continue to enjoy my work.”

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In the superb Genesis Publications book, Speed Of Life, by Bowie and Sukita, Bowie said this about his favourite Japanese photographer...

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“It’s very hard for me to accept that Sukita-san has been snapping away at me since 1972 but that really is the case. I suspect that it’s because whenever he’s asked me to do a session I conjure up in my mind’s eye the sweet, creative and big-hearted man who has always made these potentially tedious affairs so relaxed and painless. May he click into eternity.”

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Enjoy this random selection of Sukita’s beautiful portraits from across the years.

Read more about the award over at Music Week here: https://t.co/y7bolv2RtA

#BowieSukita

[David Bowie Official @DavidBowieReal]

DAVID BOWIE - THE SHEL TALMY RECORDINGS

“I want your love...”

Read on for the full press release.

#Bowie1965 #BowieTalmy

DAVID BOWIE - THE SHEL TALMY RECORDINGS
THE DEFINITIVE 1965 COLLECTION FEATURING TEN PREVIOUSLY UNRELEASED TRACKS ON CD & DIGITAL & SIX ON VINYL
AVAILABLE ON CD, LP, DIGITAL, AND LIMITED EDITION OFFICIAL BOWIE STORE RED VINYL

PLUS ALTERNATIVE COVER VINYL STRICTLY LIMITED TO 1965 COPIES AVAILABLE FROM RECORD STORE DAY OUTLETS & HMV

RELEASED ON PARLOPHONE 18th SEPTEMBER 2026 - AVAILABLE FOR PRE-ORDER NOW: https://t.co/Xb1TyAWoBm

LISTEN TO THE PREVIOUSLY UNHEARD I WANT YOUR LOVE NOW: https://t.co/PBfuoQuCJF
“I thought he absolutely was going to make it. The only unfortunate thing is that he and I were about six years ahead of the market.” Shel Talmy, 2017
DAVID BOWIE THE SHEL TALMY RECORDINGS is the most complete collection of tracks recorded by a nascent David Bowie, then Davie Jones, with legendary ‘60s producer Shel Talmy, best known for his groundbreaking hits with The Who and The Kinks. The album features ten previously unheard tracks on CD and digital, and six songs on LP, with contributions from legendary Yardbirds and Led Zeppelin guitarist Jimmy Page, then a guitar slinger for hire, and Nicky Hopkins, celebrated piano player for The Rolling Stones, The Beatles, The Who and Jeff Beck.
As the musician and music historian Alec Palao puts it in his comprehensive sleeve notes that accompany the album, “David Bowie the artist is a book of chapters, the turn of each page delivering something completely different and unexpected from the last. And in perusal, a cardinal error would be to pit any of these episodes against the others, when in fact each fascinating phase in his career should be considered complementary. This collection, a primary chapter if not the very earliest instalment in David’s musical journey, deserves legitimate consideration. It is invariably tempting to search for clues in an artist’s tentative beginnings, and Bowie’s juvenilia has been dissected more than most, but this has rarely been done within the proper context. The sounds here should not be judged by the standards of his later career, but by the standards of what was happening in Britain at that precise point in time. In which case, they speak as loudly of the excitement of London and its music scene in that pivotal year of 1965 as they do for the launch of its brightest future star.”
Bowie and Talmy first encountered each other while frequenting London’s Denmark Street, which is now a guitar aficionado’s paradise but was then the centre of the British music industry, where budding songwriters sold their songs to the big publishers of the day. The ex-pat American Talmy had already achieved huge success with The Kinks, and was about to with The Who, as he branched out on his own to develop new talent after working as a staff producer upon his arrival in the UK. Talmy signed David and the Manish Boys in December 1964 and set about recording them, but Bowie was already moving on, forming Davie Jones & The Lower Third. The majority of the recordings Bowie made with Talmy featured The Lower Third or were solo demos. Talmy’s studio of choice was invariably IBC in Portland Place, also a favourite of The Who, who later recorded Tommy there, and which he considered to have the best outboard gear in London. The up-and-coming Glyn Johns, later to work with The Beatles, The Rolling Stones, The Who, and many more, was the engineer, and the producer had enough confidence in the combo’s abilities to bring in just the one outside player and the producer had enough confidence in The Manish Boys to bring in just the one outside player. Jimmy Page was the precocious guitar-slinger Talmy used to supercharge the more anaemic of his acts, and in this period, the future Yardbirds/Led Zeppelin eminence would frequently bring along his new toy, a custom-built fuzz pedal, to add extra bite. For The Lower Third’s IBC session, Nicky Hopkins was featured on keyboards.
This year in Bowie’s career clearly held great importance to him; in 1973, when he recorded the ‘Pin-Ups’ album, it was very much a love letter to that time in his life and to the sound of the bands that had inspired him. No fewer than four titles on ‘Pin-Ups’ (by The Kinks, The Who and The Easybeats) were originally produced by Shel Talmy. Featured on this new collection are tracks such as ‘You’ve Got A Habit Of Leaving’ and ‘Baby Loves That Way’, originally released as singles on Parlophone, that Bowie would return to later in his career, re-recording them with his Glastonbury band for the album ‘TOY’, which would finally be released in 2021.
By the end of September 1965, Davie Jones was now David Bowie, and he was once more writing another musical chapter, but the twenty-two songs featured here capture a very special time just before the ‘birth’ of David Bowie.

DAVID BOWIE
THE SHEL TALMY RECORDINGS
CD
You've Got A Habit Of Leaving (2026 Remaster)^
I Want Your Love *^
Cupid *^
I Pity The Fool (2026 Remaster)+
Baby Loves That Way (2026 Remaster)^
Keep Up With The Jones (Instrumental) *^
Leave Her To Me *^
I’ll Follow You^
You Gotta Tell Her (2026 Remaster)*^
Take My Tip (2026 Remaster)+
Certain Woman *^
Today (Demo) *-
I Want My Baby Back (Demo) (2026 Remaster)-
I Live In Dreams (Demo) *-
Bars Of The County Jail (Demo)-
That’s Where My Heart Is (Demo) (2026 Remaster)-
I Do Believe I Love You (Demo) *-
You’ve Got A Habit Of Leaving (Alternative overdub/vocal) (2026 Remaster)^
I Pity The Fool (Alternative vocal take) (2026 Remaster)+
Baby Loves That Way (Alternative vocal take) *^
Take My Tip (Alternative vocal take) (2026 Remaster)+
*Previously Unreleased
^ Davie Jones & The Lower Third
+ The Manish Boys
- Davie Jones
DAVID BOWIE
THE SHEL TALMY RECORDINGS
VINYL
Side One
You've Got A Habit Of Leaving (2026 Remaster) ^
I Pity The Fool (2026 Remaster) +
Baby Loves That Way (2026 Remaster) ^
I’ll Follow You^
Take My Tip (2026 Remaster) +
Side Two
I Want Your Love *^
Cupid *^
Keep Up With The Jones (Instrumental) *^
Certain Woman *^
Leave Her To Me *^
You Gotta Tell Her (2026 Remaster) *^
*Previously Unreleased
^ Davie Jones & The Lower Third
+ The Manish Boys
- Davie Jones
All tracks produced by Shel Talmy
Mastered & Remastered in 2026 by John Webber
Davie Jones & The Lower Third
Phil Lancaster - Drums
Graham Rivens - Bass
Denis Taylor - Guitar
Les Mighall - Drums
David Bowie - Vocals & Harmonica
The Manish Boys
Mick White - Drums
John Watson - Bass
Johnny Flux - Guitar
Bob Solly - Organ
David Bowie - Vocals

[David Bowie Official @DavidBowieReal]

CHANGESONEBOWIE AND SUFFRAGETTE CITY 45

“It's a crash course for the ravers...”

David Bowie's first global 'best of' compilation, CHANGESONEBOWIE, peaked at #2 in the UK fifty years ago this week. Featuring tracks from the period 1969 to 1976, the album was originally released on 21st May 1976 and remained in the UK Top 10 for eleven weeks.

Ten years ago, the limited-edition vinyl reissue of CHANGESONEBOWIE entered the UK's Official Vinyl Albums Chart at #1, making up for that original #2 peak.

In May 1975, Tom Kelley shot the images for the album cover and its associated advertising campaign. Kelley later said of the session: “Bowie took me back to the golden age of movie stars. He’s a visionary who looks into the camera as though he can see the finished pictures.”

While a handful of territories saw the release of Suffragette City as an A-side in July 1976 (9th July in the UK), a similar number promoted its B-side, Stay, to A-side status the following month, with Word On A Wing on the flip.

With the benefit of hindsight, Stay may well have performed better as the A-side in the UK too.

Suffragette City was intended as a promotional single for CHANGESONEBOWIE, but despite being issued in a picture sleeve - which was still considered something of a novelty in the UK at the time - the 45 failed to chart.

Of the twenty or so RCA singles released between Changes in 1972 and Beauty And The Beast in 1978 (when picture sleeves became standard issue for Bowie UK singles), only four were issued with picture sleeves before Beauty And The Beast, with Suffragette City being the fourth.

Best-of compilations are often a great entry point into an artist’s catalogue. Did CHANGESONEBOWIE do the trick for you?

📸 Tom Kelley

#CHANGESONEBOWIE #BowieSuffragetteCity #BowieKelley

[David Bowie Official @DavidBowieReal]

“Nothing prepared me for your smile…”

Here’s a charming shot of our man in 1999 looking particularly radiant, from a superb session by Jill Greenberg.

No doubt we’ll be sharing more from this shoot in the not too distant.

#RandomBowie #Bowie1999 #ThatBowieSmile #BowieJillGreenberg

[David Bowie Official @DavidBowieReal]

LIGHTROOM PRESENTS LABYRINTH AT EVERYMAN

“Looking for water...”

If you happen to be in the King’s Cross area of London tomorrow evening, you may want to take in a free outdoor viewing of Labyrinth in quite beautiful surroundings.

As part of their Everyman on the Canal season, Everyman will be showing Labyrinth presented by Lightroom.

Feel free to enter into the spirit by dressing as one of the characters, from Jareth or Sarah to Hoggle or The Junk Lady, or even The Worm if you’re that way inclined. Or, just come as yourself and enjoy a summer evening by the water.

More details here: https://t.co/NpUUYe2ldR

#BowieLabyrinth #Labyrinth40th #BowieLightroomLDN #LightroomPresentsLabyrinth #EverymanOnTheCanalAtKingsCross

[David Bowie Official @DavidBowieReal]

V&A ANNOUNCES UK TOUR OF HIGHLIGHTS FROM BOWIE ARCHIVE

“Yeah! I ran to the street looking for information...”

Image: Polaroid from David Bowie's costume fittings for the character Jareth in the 1986 film, Labyrinth. One of the highlights from David Bowie’s archive travelling to venues across the UK for the V&A’s David Bowie: On Tour from November 2026.
Photo © Victoria and Albert Museum London

#DavidBowieOnTour

NEWS RELEASE:
V&A announces national tour of highlights from David Bowie’s archive – travelling across the UK from November 2026
Issue date: Wednesday 1 July 2026

• Over 100 highlights from the V&A’s David Bowie’s archive to go on show in Dundee, Blackpool, Hull, County Durham, Bristol and beyond
• Outside of London’s V&A East Storehouse, David Bowie: On Tour is the only opportunity to see such a range of items from Bowie’s personal archive up-close
• Tour gives rare glimpse into David Bowie’s creative process and how he shaped his iconic image, music, video, TV and film work
• Highlights include legendary costumes, musical instruments + career-spanning photography, plus never-before-seen items including Polaroids for make-up and costume fittings, a Ziggy Stardust-era acoustic guitar, unrealised projects, handwritten lyrics, performance notes and costumes from Bowie’s final albums, The Next Day and ★(Blackstar)

Today, the V&A and partner venues across the UK announce a landmark national tour celebrating the creativity and enduring cultural impact of David Bowie. Bringing together 100 highlights from the V&A’s David Bowie archive – many that have never been on public display before – David Bowie: On Tour will travel to venues across the UK across multiple years, kicking-off at V&A Dundee (November 2026 –February 2027).

Following its debut in Scotland, the tour continues to Showtown in Blackpool (June–September 2027), the Bowes Museum in County Durham (October 2027–January 2028), the Ferens Art Gallery in Hull (February–May 2028), and Bristol Museum and Art Gallery (June–September 2028), with further venues to be announced in due course.

David Bowie: On Tour marks the first time highlights from David Bowie’s archive have been shared on this scale across the UK, outside of London, bringing Bowie’s story and creative imagination to new audiences across the country. This touring programme is part of the V&A’s commitment to widening access to its collections, ensuring audiences across the UK can experience their national collections where they live.

Across four sections, David Bowie: On Tour takes audiences behind the scenes into Bowie’s creative process, exploring how he created his ever-evolving image, music and screen work.

Sir Tristram Hunt, Director of the V&A, said: “David Bowie: On Tour is a landmark national partnership for the V&A, bringing highlights from David Bowie’s extraordinary archive to audiences across the UK for the first time. Working with our colleagues in museums and venues nationwide, we’re opening up Bowie’s story in the places connected to his life and legacy, ensuring people across the country can experience these remarkable objects where they live, and be inspired by his enduring creativity.”

Harriet Reed, Curator of Contemporary Performance at the V&A, said: “David Bowie’s archive reveals an artist in constant motion — a restless, forward-looking mind at work beyond the music and images we know. From fan art and his first instrument to unrealised projects, handwritten notes and unseen sketches, David Bowie: On Tour brings visitors up close to the ideas behind his work — including items from The Next Day and ★(Blackstar) never shown before —offering new insight into how his creativity took shape. It’s a rare chance to step inside Bowie’s imagination and experience the curiosity and daring that defined his life’s work.”

About David Bowie: On Tour
David Bowie: On Tour unfolds across four sections, each offering a different lens on Bowie’s creative life.

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The opening section, ‘Bowie Through a Lens’, explores how photography shaped Bowie’s image and identity, featuring work by Terry O’Neill, Mick Rock, Sukita, Brian Ward and more.

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The second section, ‘All the Somebody People’ focuses on Bowie onstage and in the studio across four defining eras, revealing how he continually reinvented his sound and personas:

• Ziggy Stardust offers a case study in Bowie’s songwriting prowess and how he crafted his iconic persona, from Freddie Burretti and Kansai Yamamoto costumes to Bowie’s handwritten notes and cut-ups plotting the album, sketches for the tour, and a seminal acoustic guitar from the era – on display for the first time.
• Bowie’s Berlin years highlight his pioneering use of techniques and recording equipment in the studio with Tony Visconti and Brian Eno for albums Low (1977), “Heroes” (1977), and Lodger (1979). From Bowie’s keys to his apartment at Hauptstraße 155, Berlin, to his unseen sketches and concept art for the cover of Low, handwritten lyrics for Lodger’s ‘Look Back in Anger’, and the koto, the Japanese musical instrument, used by Bowie on ‘Moss Garden’ from “Heroes”.
• Let’s Dance reveals how Bowie created the blueprint for major stadium tours, with a series of unseen lyrics and a set design for the Serious Moonlight tour on show for the first time, alongside photography of studio recording sessions and the album’s cover shoot.
• ★ (Blackstar) explores Bowie’s symbolism in recalling previous eras through his final recording, with items including Bowie’s handwritten lyrics for the song ★(Blackstar), and hand-painted costume for the ‘Lazarus’music video, alongside performance notes and props, giving never-before-seen insight into the album’s creation.

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The third section, ‘Hooked to the Silver Screen’, reveals Bowie’s groundbreaking performances on screen, from him pushing the boundaries with his approach to music videos to his iconic film and TV roles and unexpected cameos. Highlights include:

• Bowie’s storyboard sketches and the Natasha Korniloff-designed costume for his ‘Ashes to Ashes’ music video (1980) to his collaborations with Flora Sigismondi for the ‘Little Wonder’ music video (1997) and unseen video treatments, scripts and props for ‘The Stars are Out Tonight’ video for The Next Day album (2013).
• Contact sheets from Bowie’s first ever film set, The Image (1967), the clapperboard used for The Man Who Fell to Earth (1975), his unseen prep-notes for Merry Christmas, Mr Lawrence (1983) and his script, character notes and Polaroids of costume fittings for his character Jareth in the 1986 fantasy film, Labyrinth – along with other Polaroids of make-up tests.
• Bowie’s further onscreen moments including his role as narrator for The Snowman (1982) and his star turn as Lord Royal Highness in 2006’s SpongeBob SquarePants movie, alongside a script for an episode of The Simpsons that Bowie politely declined.

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The final section, ‘I Can’t Give Everything Away’, explores Bowie’s interest in time, documenting his process and legacy. The items and personal possessions that Bowie chose to keep in his archive are revealing, showing a creative mind constantly thinking about the next project. Highlights include:

• Musical instruments and equipment, including Bowie’s first instrument, the Grafton Alto saxophone bought for him by his father in 1961 and the harmonica microphone used on his last live tour (A Reality Tour, 2003 – 2004).
• Personal items, such as fan art, the stopwatch he used when songwriting, his 1988 British passport and his advance copy of The Velvet Underground’s 1967 ‘I’m Waiting for the Man’ record. Other items include a handwritten to-do list with the workshops, interviews and museum visits Bowie had planned, charts revealing the projects he wanted to achieve – and those that went unrealised, such as Bowie’s handwritten synopsis for a proposed TV film called The Catastrophy Cabinet dating to around 1974 – 1975.
• Items revealing Bowie organising his thoughts and planning for the future span his 1977 inventory of costumes to documents revealing his thought process and how he saw the music industry evolving, the song chart he used during the Earthling tour (1997) and post-it note conversations with his archive team about items he chose to hold onto.

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David Bowie: On Tour has been developed by V&A Touring and V&A National Programmes, in collaboration with partner venues across the UK, and is curated by Harriet Reed, Curator of Contemporary Performance at the V&A.

The David Bowie archive was acquired by the V&A in 2024 through the generosity of the David Bowie Estate, the Blavatnik Family Foundation and Warner Music Group. It comprises more than 90,000 items spanning Bowie’s extraordinary career, from iconic costumes and musical instruments to handwritten lyrics, photography, stage designs and personal papers. Visitors can book free one-to-one appointments with items from David Bowie’s archive through the V&A’s Order an Object and Archives Appointment services and also visit the David Bowie Centre – the archive’s permanent home – at V&A East Storehouse as part of East Bank in Queen Elizabeth Olympic Park.

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[David Bowie Official @DavidBowieReal]

LABYRINTH 40TH - TELL US ABOUT YOUR JOURNEY

“What kind of magic spell to use?”

Even the most casual observer can’t have failed to notice that 2026 marks the 40th anniversary of Jim Henson’s Labyrinth.

We’ve said it before, but just three years on from the influx of new recruits drawn in by the Let's Dance album and accompanying Serious Moonlight World Tour of 1983, Labyrinth became the gateway for a whole new generation of Bowie fans.

The film was first released on this day in 1986 in North American cinemas, before opening later in other territories.

Meanwhile, this week forty years ago, the Labyrinth soundtrack album reached its UK chart peak of #21, at the same time as the single Underground also peaked at #21 in the UK.

Since then, an entire Labyrinth industry has grown up around the film, with an endless stream of collectables keeping fans of Jareth and Sarah—not to mention the host of other lovable characters—happy... and, quite possibly, out of pocket!

Now we'd like to hear about your own Labyrinth journey. Whether it's a cherished memory of seeing the film for the first time, your favourite piece of memorabilia, or anything else you think fellow fans would enjoy reading or seeing, we'd love you to share it.

Send your contribution to: [email protected]

We've kicked things off on the second slide with one of the many treasures from Labyrinth’s wealth of memorabilia: the set of three MARVEL comic books published in 1986–87.

They're still relatively easy to find, although a complete set of three in mint condition will set you back a pretty penny. Even then, the dedicated collector may face one final dilemma... with barcodes or without?

#BowieLabyrinth #Labyrinth40th #BowieComic

[David Bowie Official @DavidBowieReal]

HEROES LIGHTROOM SHOP EXCLUSIVE AVAILABLE FRIDAY

“This time tomorrow I’ll know what to do...”

Back in April, we told you about the exclusive clear vinyl limited edition Let’s Dance made available at David Bowie: You're Not Alone at Lightroom in London’s King’s Cross.

Well, as you can see from the image here, the next one is "Heroes", also on clear vinyl and it will be released tomorrow.

As with Let’s Dance, to make things fairer, sales of the album are limited to one copy per ticket holder.

Let’s Dance will remain available while stocks last too.

Tickets for David Bowie: You're Not Alone here: https://t.co/gXCkQU3rMz

#BowieLightroomLDN #BowieLightroomHeroesClearVinyl

[David Bowie Official @DavidBowieReal]

YOU’RE NOT ALONE EXTENDED IN LONDON - MANCHESTER RUN ANNOUNCED

“You want more and you want it fast...”

Clues are in the headline.

Tickets for David Bowie: You're Not Alone are on sale now, priced from £25 for adults and £15 for students and concessions: https://t.co/gXCkQU3rMz

Tickets will be available until 10th January. To be the first to hear about the next ticket release sign up to Lightroom’s mailing list here: https://t.co/n1ZQ97ToiW

Manchester: David Bowie: You’re Not Alone (8 December 2026 - 10 January 2027)
Address: Aviva Studios, Water St, Manchester M3 4JQ
Tickets: https://t.co/EwQ1WzNqSQ

Keep reading for the full press release...

#BowieLightroomLDN

DAVID BOWIE: YOU’RE NOT ALONE

ACCLAIMED SHOW EXTENDED IN LONDON - MANCHESTER RUN ANNOUNCED

“Bowie rocks on” 5/5* - Mail on Sunday

“Thrillingly huge” 4/5* - The Guardian

“A pleasure to be overwhelmed by” 4/5* - The Times

“Stunning footage of live performances” 4/5* - Telegraph

“An odyssey of sound and vision” - NME

EXTENDING UNTIL JANUARY 10th | LIGHTROOM | LONDON KING’S CROSS N1C
The hit show David Bowie: You’re Not Alone will extend its run at London’s Lightroom, with the production also opening in Manchester. The show, produced by Lightroom and designed by 59, a Journey studio, brings together extensive footage of performances and appearances, narrated by Bowie himself through archive interviews, to create an immersive experience exploring the life and work of one of pop culture’s great artists.
The show will extend from its original closing date of 10th October to run in evenings through the rest of 2026, with a full week of shows planned from 5th - 10th January, to mark what would have been David Bowie’s 80th birthday on 8th January.

David Bowie: You’re Not Alone will also be opening in Manchester in December at Aviva Studios’ Warehouse space from 8th December to 10th January.

Richard Slaney, Lightroom Chief Executive, said: “The response to David Bowie: You’re Not Alone has been phenomenal and we’re delighted to be able to extend the run in London and see it open in Manchester. The show offers the chance to feel the excitement of those groundbreaking performances, and get inside the mind of one of the greats. ”

David Bowie: You’re Not Alone, produced by Lightroom and designed by 59, a Journey studio, was written and directed by 59’s Mark Grimmer (Creative Director for the V&A’s David Bowie Is exhibition) and Tom Wexler. It showcases some of Bowie’s landmark performances that redefined popular culture, using a mixture of iconic, rarely seen and never-before-exhibited material, selected from thousands of hours of film in the vaults of the David Bowie Archive in New York, from Space Oddity through Diamond Dogs and ”Heroes” to ★.

David Bowie: You're Not Alone was made in close collaboration with and authorized by the David Bowie Estate.

Mark Grimmer said: "It says something about our relationship with artistic heroes that we're drawn to mystery, otherness, the alien... In Bowie's case, this is our construct, not his. Throughout his career, Bowie repeatedly resisted being figured as anything but human. Rather than undermining his mystique, we designed a show to celebrate Bowie as a champion of human creativity - focusing on the message he expressed time and again: that art, in all its forms, is our best hope for understanding what it means to be alive."