Bowie’s Glastonbury appearance came during his Mini Tour, with a band that included Earl Slick on lead guitar, Mark Plati on guitar and bass duties, Gail Ann Dorsey on bass, guitar and vocals, Sterling Campbell on drums, and Mike Garson on keyboards, alongside additional players Holly Palmer and Emm Gryner. The 2000 Glastonbury show has only grown in significance over time. It was later issued as a live album in 2018, further cementing the gig’s reputation to a wider audience. Emily Eavis, well-known Glastonbury festival organiser, has previously singled it out as one of the best sets she has seen at the festival, highlighting the show’s lasting place in Glastonbury history.

The reunion will take place at Cameron House on the banks of Loch Lomond in Scotland on 7 and 8 November 2026, in an event titled Bowie: Live on the Loch. The two-day charity weekend will raise money for Save the Children and bring together Bowie’s Glastonbury 2000 house band for a live performance, rare footage, an exhibition, and a charity auction, making the location part of the event’s appeal as well as its tribute to Bowie’s lasting connection with Scotland.

A charity concert built around that legacy would also tap into a wider appetite for Bowie-related tributes, especially in the years since his death in 2016.  This one-of-a-kind, rememorative show would not just be nostalgic, but a chance to reconnect audiences with the sound and energy of one of Bowie’s most admired live chapters. What made that night in 2000 special was not just Bowie’s presence, but the chemistry around him. The band gave shape and lift to songs that already carried enormous cultural weight, turning the set into a communal event as much as a headline performance. More than two decades later, that bond still has the power to resonate.

Tickets can be purchased here.

The tribute will celebrate Bowie’s enduring influence on music and culture, with 2026 marking ten years since the legendary singer’s death in January 2016. Organisers aim to create an event that honours his remarkable career and highlights how his work continues to inspire generations of artists around the world.

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The concert is expected to take place at The O2 Arena in London and feature a lineup of some of today’s most prominent performers. It is said that a number of leading young musicians are currently being approached to take part, with the intention of showcasing artists who have been influenced by Bowie’s music and creative vision. 

The event is set to include an all-star backing band alongside the Royal Philharmonic Orchestra. This combination of contemporary artists and orchestral arrangements is a fitting tribute to the theatre and spectacle that characterised Bowie’s own performances throughout his career. The BBC is said to be investing significant effort and resources into the project, seeing it as a centrepiece of its summer music programming.

As well as celebrating Bowie’s artistic legacy, the concert will also support charitable causes that were important to the him during his lifetime. All proceeds from the event are expected to be donated to Teenage Cancer Trust and Nordoff and Robbins, a music therapy charity with which Bowie had a long-standing relationship. The fundraising element reflects Bowie’s history of using his influence to benefit charitable initiatives.

Despite Bowie’s enormous cultural impact, live tributes to the singer have remained fairly sparse. The closest comparable event occurred in 2016 at Carnegie Hall in New York, just months after his death. That performance featured appearances from artists including Cyndi Lauper, Debbie Harry and the Pixies, but it was smaller in scope than the event now being planned in London.

Bowie remains one of the most innovative figures in popular music history. Over the course of several decades, he constantly reinvented his sound and visual identity, helping shape genres ranging from glam rock to electronic music. His ability to merge art, fashion and performance helped redefine what a pop star could be, influencing countless performers who followed.

The upcoming tribute concert is therefore expected to act not only as a memorial but also as a celebration of Bowie’s continuing impact on modern music. If the plans go ahead as expected, the broadcast could become one of the BBC’s most ambitious musical events in recent years – an evening dedicated to honouring one of Britain’s most iconic and progressive artists.

The song’s renewed momentum extends Bowie’s cultural reach to a new generation, much like with Kate Bush’s 1985 single “Running Up That Hill” from Season 4 that skyrocketed to No. 1 on the Hot 100 after decades being dormant. Similarly, Metallica’s “Master of Puppets” hit the top 10 after Season 4’s air-guitar scene with beloved misfit character Eddie Munson. Now, “Heroes” joins the elite club, proving Generation Z’s unwavering ability to revive 80s classics, spurred on by the interconnectedness and trendism of social media.

Stranger Things Creators Matt and Ross Duffer credited actor Joe Keery, who plays Steve Harrington in the show, with the choice to use Bowie’s original version of “Heroes” as the last song, after earlier seasons had leaned on Peter Gabriel’s cover. Keery, known musically as Djo has a successful music career himself with his hit single “End of beginning” finding itself repeatedly in the charts, proving himself musically knowledgeable. Ross Duffer has described the track as an “anthem for Stranger Things”, noting that the decision to let the song run uninterrupted over bespoke animated credits was designed to give the series one last poignant moment of closure.

Heroes” has long stood as one of Bowie’s most impactful songs, from its Cold War‑era Berlin Wall associations to its status as a staple of his live sets and retrospectives.​ Brian Eno’s ambient production layered Bowie’s ad-libbed vocals over Tony Visconti’s wall-of-sound guitars, creating a defiant love song that later soundtracked Wall fall footage and features in films like Moulin Rouge. Its raw emotion, “We can be heroes, just for one day”, mirrors the kids’ Upside Down triumphs, cementing Bowie’s timeless grip on rebellion. In a statement, Bowie’s estate and label Parlophone highlighted the track as “powerful and evocative”, encouraging fans to revisit the newly remastered HD video as streams continue to climb post‑finale.

Millions of younger viewers are encountering Bowie for the first time through Stranger Things, folding him into the same pop‑culture universe that has recently re‑elevated artists like Bush and Prince.​With “Heroes” now trending across playlists and socials, the Stranger Things sync is poised to become a key chapter in the song’s long afterlife, reaffirming Bowie’s status as one of pop’s most transcendent innovators in history.

Born in Yorkshire in 1945, Price studied at Bradford School of Art before completing a fashion course at London’s Royal College of Art in the mid‑1960s. He first made his mark at Stirling Cooper in 1968, designing sharply cut menswear, including tight, buttoned trousers later worn by Mick Jagger on The Rolling Stones’ 1969 Gimme Shelter tour. In 1979 he launched his own label, building a reputation for sculpted eveningwear that fused old Hollywood glamour with details of fetish.​

Price became a go‑to image maker for musicians, collaborating with David Bowie, Roxy Music, Lou Reed and Duran Duran over several decades. He designed the jacket worn by Bowie in the 1986 video for ‘As the World Falls Down’, bringing his precise tailoring to the singer’s onscreen persona. For Duran Duran, he conceived the pastel silk suits seen in the 1982 ‘Rio’ video, looks that helped solidify the band’s sleek, escapist vision of 1980s pop.​

Across the 1970s and early 1980s, Price crafted the visual world of Bryan Ferry and Roxy Music, styling the band on eight album sleeves. His tightly corseted gowns and broad‑shouldered suits became shorthand for sophisticated, hyper‑sexual glamour that anticipated the power‑dressing of the decade to come.

From the 1990s, Price also dressed Camilla, then Duchess of Cornwall and now Queen Camilla, creating outfits for high‑profile engagements, including a tour of the United States. Despite a five‑decade career, he staged only a handful of runway shows. 

Last month, he returned to the spotlight with a London show in collaboration with fashion label 16Arlington, where Lily Allen modelled a black velvet “revenge dress” inspired by Princess Diana and cut by Price.​

News of his death prompted tributes from across fashion and music, with Duran Duran’s Nick Rhodes remembering Price on his Instagram. “He was a visionary fashion designer, with extraordinary technical skills. Nobody did glam better than Antony… Antony was a loyal, kind, intelligent and razor-witted, friend. I’ll miss you Tone”.

The Design Museum and other institutions praised his role in shaping late‑20th‑century pop imagery, noting that his influence far outstripped his public profile. Fans and collaborators alike celebrated a designer whose dramatic, sculpted clothes permanently altered the look of rock and pop.

Featured Image Credits: Robert Sullivan, Mary Evans

The David Bowie Centre for the Study of Performing Arts will open its doors on September 13, showcasing more than 90,000 items from the late artist’s career. The collection – drawn from the David Bowie Estate and acquired with support from the Blavatnik Family Foundation and Warner Music Group – promises to trace Bowie’s creative processes as a musical innovator, cultural icon, and relentless advocate for reinvention.

Alongside stage costumes, handwritten lyrics and personal artefacts, archivists have discovered a note headed “Memo for radio show – list of favourite records”. The document reveals a selection of tracks that inspired and influenced Bowie, ranging from classical works to rock ’n’ roll, avant-garde and punk.

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The list includes Alan Freed and His Rock ’N’ Roll Band’s ‘Right Now Right Now’, Jeff Beck’s ‘Beck’s Bolero’, and Little Richard’s ‘True Fine Mama’. Bowie also singled out The Beatles’ ‘Across The Universe’ – a track he later covered on his 1975 album ‘Young Americans’. Other favourites include Roxy Music’s ‘Mother of Pearl’, The Walker Brothers’ brooding ‘The Electrician’, and ‘Tom Violence’ by Sonic Youth.

The full list reads:

• Ralph Vaughan Williams – ‘Fantasia on a Theme by Thomas Tallis’
• Richard Strauss – ‘Four Last Songs’
• Alan Freed and His Rock ’N’ Roll Band – ‘Right Now Right Now’
• Little Richard – ‘True Fine Mama’
• The Hollywood Argyles – ‘Sho Know a Lot About Love’
• Miles Davis – ‘Some Day My Prince Will Come’
• Charles Mingus – ‘Ecclusiastics’
• Jeff Beck – ‘Beck’s Bolero’
• Legendary Stardust Cowboy – ‘I Took a Trip on a Gemini Spaceship’
• The Beatles – ‘Across the Universe’
• Ronnie Spector – ‘Try Some, Buy Some’
• Roxy Music – ‘Mother of Pearl’
• Edgar Froese – ‘Epsilon in Malaysian Pale’
• The Walker Brothers – ‘The Electrician’
• Sonic Youth – ‘Tom Violence’

Archivists also uncovered a handwritten list of Bowie’s “ins” and “outs” from 1995. Among the “ins” were “chaos surfing”, “no tidy endings” and “David Bowie”, while the “outs” included “religion”, “irony”, “your 15 minutes” and, intriguingly, “David Bowie” once again.

The documents were found in a room Bowie kept locked and accessible only to himself and his personal assistant. Left untouched until now, they will join the wider collection when the David Bowie Centre opens to the public later this month.

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The model said: “David Bowie was a very special person. Someone who was much more than a friend – he was an enigma. So, when the chance came to dive into this extraordinary five-year chapter of Bowie’s life for 6 Music and BBC Sounds, hearing from those who joined him on his creative journey and those he continues to inspire, I was excited to help share the story of such an incredible transformation. This podcast is a real celebration of my friend, a true British icon.”

Each episode will focus on Bowie and the many things that made him the artist he was such as his early performances with The Hype, his love for art and especially Andy Warhol and the legacy he left behind with iconic character Ziggy Stardust.

The podcast is partnering with The V&A museum which is launching their David Bowie Centre at their East Storehouse location in London which is “is a new working archive for the world’s largest collection dedicated to Bowie’s life and works, with free rotating displays of highlights from the collection” according to a press release.

Gossip singer Beth Ditto will join the event with her own new series Indie Forever Disco starting in November as well as having a regular spot on Nick Grimshaw’s Breakfast Show from September 1. She stated: “I’m so excited to be joining 6 Music and to get to work with Nick every week is just the cherry on top. I’ve always been a huge fan of the station, so honestly… I’m so excited, I’m speechless. Which should work out great for radio!”

The Bowie podcast, hosted by Kate Moss, will be available on BBC Sounds from 6am on Wednesday September 10 and broadcasted on Monday September 22 and will feature some unheard archived performances and interviews, including an exclusive interview from 2001 with podcast creator Des Shaw, as well as some recently unearthed audio from the BBC Archive.

The show will also include interviews of the ones closest to Bowie such as Boy George, Lou Reed, Sinéad O’Connor, Lady Gaga, Elton John, Iggy Pop, Robbie Williams and more.

The centre will open its doors on September 13 at the V&A East Storehouse, after originally being teased back in February 2023. As described on the V&A website, it will give fans the chance to “step into the creative worlds of David Bowie – artist, disruptor, icon.  Explore the costumes, sounds, lyrics, and sketches that mapped his many reinventions and use his radical imagination as a springboard to something new.”

A number of special displays will be curated for the exhibitions – with over 90,000 of Bowie’s personal items being on show over nine special displays.

We are thrilled to announce that the exceptional archive of legend @DavidBowieReal is coming to the V&A! Spanning 80,000 items across his 60 year career, you can explore Bowie’s life’s work in ways never possible before at @vam_east Storehouse from 2025 #DavidBowieArchive pic.twitter.com/sTGtJnydKB

— V&A (@V_and_A) February 23, 2023

Two of the displays are being curated by the aforementioned Nile Rodgers and The Last Dinner Party. Rodgers has selected items that reflect his and Bowie’s “shared love of the music that had both made and saved our lives”.

Speaking of the exhibition, Rodgers said: “My creative life with David Bowie provided the greatest success of his incredible career, but our friendship was just as rewarding. Our bond was built on a love of the music that had both made and saved our lives.”

Although The Last Dinner Party didn’t have the same personal relationship with Bowie as Nile Rodgers did, ‘Ziggy Stardust’ certainly had a major inspiration on the bands musical journey.

The ‘Prelude To Ecstasy’ rockers curation will include exclusive photos by Mick Rock of Bowie in the studio, his Electronic Music Studios synthesiser user manual, writings from the 1976 ‘Station To Station’ tour and Bowie’s handwritten lyrics for ‘Win’.

The group recently unboxed several items and artefacts of Bowie’s in a YouTube video for V&A. Check it out below.

Speaking of the inspiration Bowie gave to them, The Last Dinner Party said: “David Bowie continues to inspire generations of artists like us to stand up for ourselves. Bowie is a constant source of inspiration to us.

“When we first started developing ideas for TLDP, we took a similar approach to Bowie developing his ‘Station To Station’ album – we had a notebook and would write words we wanted to associate with the band.”

As for the opportunity to curate a display for the Bowie Centre, the band said: “It was such a thrill to explore Bowie’s archive, and see first-hand the process that went into his world-building and how he created a sense of community and belonging for those that felt like outcasts or alienated – something that’s really important to us in our work too.”

The David Bowie Centre opens on September 13 with entry being free, but ticketed. Tickets will be available to book at a later date from here.

House’s daughter Holly confirmed that her father died on Sunday 25 May. No cause of death has been given at this time. 

Born in Nottingham, England, Simon House was a composer, and classically trained violinist and keyboard player. He played for numerous bands and musicians, his first being rock band High Tide. Initially, he joined the band as a bassist, but Tony Hill, the band’s founder, suggested he play the violin instead.  

House also played in Third Ear Band, an instrumental band that worked on soundtracks for films, contributing to the soundtrack of Polanski’s 1971 adaptation of ‘Macbeth’.  

On 29 August 1969 – House’s 21st birthday, Hawkwind gatecrashed a High Tide gig at the All Saints Church Hall, likely beginning their association. House would join Hawkwind, one of the earliest space-rock bands, in 1973. Simon House brought a more classical flair to Hawkwind’s discography, writing the title track for their 1974 album ‘Hall Of The Mountain Grill’. House and the other Hawkwind members would often work closely with science fiction author Michael Moorcock, contributing to his concept album ‘New Worlds Fair.’ He left Hawkwind in 1978 in favour of Bowie’s live band. 

David Bowie had taken note of House’s talent during his time with High Tide. House would play with Bowie on his ‘Isolar II’ world tour, and provided violin, mandolin and backing vocals on his 1979 album ‘Lodger’.  

House worked as a session musician through the ’80s, featuring on Japan’s fifth album ‘Tin Drum’ and Thomas Dolby’s hit single ‘She Blinded Me With Science’. He rejoined Hawkwind in 1989, and left and rejoined several times between then and 2007.  

Producer Brian Perera, whose label Cleopatra Records released some of House’s later projects, shared this statement on Instagram: 

“It’s with heavy hearts that we say goodbye to our dear friend and brilliant collaborator. Simon wasn’t just a musician — he was a sonic architect who helped shape the sound of a generation. He shared the stage with legends: David Bowie, Lemmy-era Hawkwind, and Nik Turner, always leaving his unmistakable mark. 

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“From the art-rock brilliance of Bowie’s ‘Boys Keep Swinging’ era to the boundary-pushing tours with Nik and Cleopatra in the ’90s, Simon’s electrifying violin and cosmic keyboard work lifted every track, every show, every moment. His vision brought depth, texture, and soul — he simply made everything better. We miss you deeply, Simon. Rest easy, my friend. Your sound lives on.”

‘Xandri’ is an entirely solo effort, with all tracks written, recorded and produced by Jones. The album feels like bedroom pop, with each track featuring simple acoustic guitar chords, with the occasional subtle electronic flourish. Each element combines to produce an album that is a melting pot of Jones’ efforts, with her solitary approach making the record feel like an intimate portrait of the artist. This feeling is compounded by the self-publicising of the album, with no record label seemingly attached to the release.

Some have taken Jones’ individual approach as an indication of her deliberately trying to distance herself from her famous parents, avoiding any accusations of nepotism and carving out a name of her own. Jones has also earned praise for the quality of the album, with one X user saying, “It’s really interesting. Not at all what I expected.” 

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 Even the artwork for the album cover seems to have been created by the 24-year old, featuring two faces that resemble the tragedy and comedy masks usually associated with theatre. Jones has experience working as a visual artist, and has shared previous creations on her social media and on her website, where her pieces can be bought.   

In the run up to the release of ‘Xandri’, Jones shared snippets of various tracks, often partnered with pictures and videos from her youth. These videos came before any announcement, and were filled with questions about any potential release. Some videos shared to her instagram page, @_p0odle, received backlash for seemingly using generative AI to assist in the animation process despite working as a visual artist herself, and Jones has yet to comment on it.  

I know you posted this before you posted your review but, I wonder if she’s just trying to do everything herself and that’s just kind of how things are done today? Like she’s saying oh I don’t want to hook up with the industry and just do it myself? I look forward to listening.

— Sarafina (@Sarafina7707) April 5, 2025

Though this is her first formal release of music, Jones went viral in 2023 when she sang two of her father’s most famous songs. She covered ‘Starman’ and ‘Life on Mars’ on an Instagram live stream, and was praised for her soft singing voice.

Beyond this album, Jones has shown a creative ambition for years, even releasing a fashion line in 2023. Her website, which the clothing is listed on, also includes a mission statement, emphasising the importance of art in her life. “Art has been a rock in my life for as long as I can remember,” the artist shared. “My hope is to inspire those who come across this body of work to join in on the journey to find something that fuels a passion to find your driving force in life.”

Whether music becomes a permanent outlet for Jones, or she pursues other interests, ‘Xandri’ aligns with her passion for exploring herself through creative endeavors on her own terms.

The new song and album moves away from their typical rock genre, and embraces a new, experimental, post-punk style, performed in sprechgesang mode. It contains their true Suede traits, but introduces a new option and genre for the Britpop band. Fans captured the performance of the unreleased song, which you can watch below.

Their performance of ‘Antidepressants’ has been extremely well received by fans, with listeners taking to X to express their excitement for the band’s new sound alongside their eagerness for the release.

Dear X, Suede’s new song Antidepressants! I like it!

— childchild (@childchild) June 23, 2024

The five piece were headlining the Big Top Stage on the Saturday of this year’s festival, and attracted a huge crowd, alongside stirring anticipation for the band’s new album and era. This year’s festival held a star studded lineup, with performances throughout the day from Pet Shop Boys, Blossoms, and Keane. The Sunday lineup does not disappoint either, with sets from the iconic rock band Greenday, alongside Simple Minds and Zara Larsson.

Suede’s new album will be their first since ‘Autofiction’, however in the past two years they have released deluxe editions of albums such as ‘Autofiction’, which included the loved but unreleased song ‘The Sadness In You, The Sadness In Me’, and ‘Bloodsports’, which was released earlier this year and included eight new songs, such as ‘Nothing Can Stop Us’, ‘No Holding Back’, and ‘What Violet Says’. However, fans are still being left in anticipation as the band has not yet confirmed when the new album will be released, and ‘Antidepressants’ is yet to reach any streaming platforms. So far, there is very little information known about their new album apart from the fact that it is “much more experimental”, which Mat Osman, Suede’s bassist, told NME in 2022.

There is hope for more information and new music as the band embark on their co-headline UK and Ireland tour with the Manic Street Preachers. The two iconic 90s rock bands are travelling to Cardiff, Manchester, London, Leeds, Edinburgh, Margate, and Dublin, and you can find any remaining tickets for their tour here. Following the tour, Suede will then perform at Heritage Live on August 1st. This huge outdoor show in Essex will see performances from Suede, Johnny Marr from The Smiths, and Nadine Shah, you can find tickets here.

Since reforming after a performance for the Teenage Cancer Trust Foundation in 2010, after being broken up since 2003, the band have seen lots of popularity, as fans loved ‘Bloodsports’, their first album after reforming, and loved ‘Nightsports’ even more, which is unsurprising considering Bowie labelled them as a future “institution” that deserved recognition from the Royal Family.