Number of Discs: 2
Total 2dvd set running time: 03h:48m:34s
Running Time: 02:00:28
Title Region Code: 1, 2, 3, 4, 5, 6, All
Video Mode: Interlaced
Display Mode: DirectDraw
FourCC Code: YUY2
Surface Type: Overlay
Video compression mode: MPEG-2
TV system: 625/50 (PAL)
Aspect Ratio: 4:3
Display Mode: Only Letterbox
Source picture resolution: 704x576 (625/50)
Frame Rate: 25.00
Source picture letterboxed: Not letterboxed
Audio Coding mode: Dolby Digital 2.0
Sampling Rate: 48kHz
Audio application mode: Not specified
Number of Audio channels: 2
Bitrate: 256 Kbps
Number of Audio streams: 1
Quicksand / The man who sold the world / Queen Bitch / I’m waiting for the man / The Jean Genie / I’m afraid of Americans / Battle for Britain (The letter) / Fashion / Seven years in Tibet / Fame / Outside / Stay / Looking for satellites / Under pressure / The hearts filthy lesson / Hallo spaceboy / Scary monsters (And super creeps) / Little wonder / The last thing you should do / Dead man walking / White light, white heat / O superman / V-2 Schneider
Fairly good video and sound quality, very good for an audience recording.
Song skipping does not always match chapter numbers.
David Bowie was superb at a small venue like The Shepherds Bush Empire, show was sold out.
Excerpts from a review of UK Independent, August 20, 1997:
"To begin with, it's just him and his 12-string as he launches into "Quicksand", the Aleister Crowley number from Hunky Dory. He takes it very slowly, and every line is cheered. This is hardly surprising."
"The band amble on and join in "Quicksand", but the treatment is leaden - which, as it turns out, presages the entire evening. There's lots of the squealing guitar that was a hallmark of the post-Ronson sound, but the kilted, shaven-headed Reeves Gabrels must surely have more in his armoury."
"Going on about the staging at a rock concert is a bit like admiring the floodlights at a football ground, but in this instance you have to admire it - installation artist Tony Oursler draping the equipment in white, and doing strange things with balloons. There are two huge ones painted as eyeballs, which Bowie casts adrift during a meaty account of the recent jungly single, "Little Wonder". Three smaller ones, centre stage, have unsettling, Bjork-like faces projected on them at intervals, contributing to the rich weirdness of the visuals. So too does bassist Gail-Ann Dorsey, with her shaven-head, baby-devil horns, furry hoof shoes and horse's tail.
But adoration, not interior design, is what the evening is about, and Bowie loves to be loved. When he takes a fan's outstretched hand during "Stay", he lets it linger there. It seems like a genuinely tender moment. Bowie might have become the Queen Mother of rock - Gawd bless 'im - but when you get that, "He's smiling at me!" moment (as I did) you know you're still in the presence of a star"