Holy Holy is the Bowie project led by Woody Woodmansey and Tony Visconti, with Glenn Gregory of Heaven 17 carrying the vocal lines. They focus on David Bowie's early 1970-73 phase, often spotlighting The Man Who Sold the World and key moments from Ziggy Stardust with studio detail and live bite.
From studio genesis to stage muscle
Expect a set that likely leans on
The Width of a Circle,
All the Madmen,
The Man Who Sold the World, and
Moonage Daydream. The crowd feels mixed in the best way, from longtime crate-diggers in worn glitter lapels to newer fans trading notes on guitar sustain between songs. You may spot RCA-era tees, silver nail polish beside sharp blazers, and a few people holding first pressings for signatures after the encore.
What you might hear tonight
Trivia worth noting: parts of
The Man Who Sold the World were cut at Trident and Advision with
Tony Visconti producing, and this project began with him on bass to honor the late
Trevor Bolder. For clarity, the song list and production touches here are drawn from recent patterns and could change on the night.
The Holy Holy Scene, Up Close
Glam memories, modern manners
The room fills with sharp blazers, metallic eyeshadow, and lived-in boots rather than full costume, a quiet nod to early '70s club photos. You will hear calm pre-show talk about pressing variants and which player nailed the
Moonage Daydream solo last time. During choruses, people sing every word, but the biggest swell hits on the Ziggy line "Ziggy played guitar" and the "wham bam thank you ma'am" shout. Merch tends to be classic: block fonts, album-hued posters, and a program that reads more like studio notes than a scrapbook.
Shared rituals, not cosplay
Between songs, strangers compare favorite tempos for
The Width of a Circle and trade stories about finding
Ziggy Stardust on a thrifted LP. The mood stays welcoming and curious, with gear nerds, pop fans, and art kids swapping references without fuss.
How Holy Holy Makes It Sound Alive
Built from rhythm up
Glenn Gregory brings a grounded baritone that respects
David Bowie's phrasing without mimicry, rounding sharp consonants and leaning into long vowels.
Woody Woodmansey drives the band with tom-forward patterns and tight snare shots that keep riffs firm and focused.
Tony Visconti anchors the low end with a pick, slipping melodic runs beneath choruses so guitars can stay big and simple. The guitarist aims for
Mick Ronson-style sustain, while keys handle
Hunky Dory-leaning piano touches and string pads that mirror the records.
Faithful, with smart tweaks
Arrangements mostly keep album keys and forms, but endings often stretch into short codas and a few tempos bump up slightly to suit live space. A subtle habit is doubling key vocal hooks with guitar and keys on early choruses, then thinning the texture later so solos land larger without extra volume. Lighting stays supportive and color-shifts by era, letting the music carry the story.
Kindred Constellations for Holy Holy Fans
If these artists live on your playlist
If you like the synth-edged art-rock of
Gary Numan, this show offers that cool, sculpted tone with a glam guitar spine. Fans of
The Psychedelic Furs often connect with Bowie's moody melodies and will find similar drama in the mid-tempo cuts. The theatrical baritone of
Peter Murphy points to the same storytelling lineage that
David Bowie shaped, and Holy Holy leans into that arc. Britpop listeners who follow
Suede tend to enjoy the swagger and tight dynamics these early songs carry on stage. For elegant arrangements with art-school roots,
Bryan Ferry sits close by, especially if you favor crisp rhythm guitar and satin synth pads. All of these artists prize strong hooks presented with style over spectacle, much like this set.
