Tin Machine Tour
| Tour by Tin Machine | ||||
| Associated album | Tin Machine | |||
|---|---|---|---|---|
| Start date | 14 June 1989 | |||
| End date | 3 July 1989 | |||
| Legs | 1 | |||
| No. of shows | 12 | |||
| Tin Machine concert chronology | ||||
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The Tin Machine Tour of David Bowie's band Tin Machine commenced on 14 June 1989, following a performance of "Heaven's in Here" at the International Music Awards in New York City on 31 May 1989. The tour comprised 12 performances in six countries (USA, Denmark, Germany, Netherlands, France, United Kingdom) in venues with a capacity of 2,000 or less. Joined onstage by Kevin Armstrong, Tin Machine performed the entirety of their Tin Machine album with the exception of "Video Crime," augmented with cover version of songs from Bob Dylan and Johnny Kidd & The Pirates.
The band played in "fashionable black suits" in front of stark lighting in what was described as a departure from Bowie's previous tour. The 17 June show was added at the last minute when Bowie saw the long lines for tickets to 16 June's performance; the show was at midnight (technically the night of 16 June) and tickets were sold at half-price. For 24 June's performance in Amsterdam, video screens were erected outside the venue for those unable to obtain tickets. The video for "Maggie’s Farm" was recorded at the same venue. The 25 June performance at La Cigale, Paris was recorded with excerpts broadcast on Westwood One FM Radio. Four songs from the same performance were released as b-sides to the 1989 singles; "Tin Machine" and "Prisoner of Love."
The Los Angeles Times had a positive review of Tin Machine's first show of the tour in New York City, saying "the band was full of life, raucous and brash, good-natured and smart."Rolling Stone magazine described fans who had gone to see "the Thin White Duke crooning 'Young Americans'" as receiving a rude awakening as Bowie offered "no oldies, no encores and no apologies." Reactions to the US shows were mixed as fans and critics felt that the proximity to Bowie was often more exciting than the music the band was playing. Ultimately, Rolling Stone magazine stated that it was Bowie's presence that "elevated the songs from the level of average grunge to that of theatrical avant-garage rock." They later said it helped Bowie regain some of the credibility he had lost during his previous album and tour.
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