There are groups, there are supergroups, and then there are supergroups who pay homage to a musical legend. Then, just to raise the bar a little higher, there are supergroups whose members actually played with that legend.
Step forward, Holy Holy. The legend is, of course, David Bowie – and tonight, they brought his music to Glasgow.
At the heart of Holy Holy are two musicians with an extraordinary connection to Bowie’s catalogue. Drummer Woody Woodmansey was a member of The Spiders from Mars, while bassist and producer Tony Visconti worked extensively with Bowie across some of his most celebrated recordings. Front and centre is Heaven 17’s Glenn Gregory, leading a talented eight-piece band through a career-spanning celebration of one of music’s genuine originals.
The O2 Academy feels like a particularly good fit for tonight’s proceedings. It has a charm of its own, large enough to make the occasion feel suitably grand while somehow retaining a sense of intimacy. The multi-level layout provides decent sightlines, with sloped seating above and a standing floor below, while the sizeable stage gives the band plenty of room to breathe.
Formed in 2014, Holy Holy takes its name from Bowie’s song of the same title, which seems entirely appropriate for a band built around a deep respect for his work. This current tour arrives following considerable demand and is being billed as ‘The Final Tour’. With 2026 also marking a decade since Bowie’s death, there is an added poignancy to the whole affair.
There was no support act tonight. Quite frankly, you don’t really need to warm up a crowd for a set of Bowie songs.
The scheduled 8.30pm start arrived almost bang on time. The house lights faded, and Woody Woodmansey appeared behind his drum kit, elevated above the stage and bathed in royal blue light. A lengthy musical introduction gave the remaining musicians their own moment before Glenn Gregory casually slipped into position behind the microphone.
And then we’re off.
Gregory has clearly mastered the art of fronting a stage. He has the voice, naturally, but there’s far more to his performance than simply singing the songs. His stage presence has matured into something assured and commanding, complete with the right moves, the right patter and just enough banter to keep the connection with the audience alive.
There’s also a genuine sense of gratitude about Gregory being part of Holy Holy. When he explained how his involvement came about, it came across not as rehearsed PR patter but as someone who still appreciates just how remarkable the opportunity is.
The opening ‘Five Years’ was a suitably restrained beginning, gradually drawing the audience into the evening. From there, the set ebbed and flowed through different eras, shifting between reflective moments and more explosive bursts of classic Bowie.
The crowd was a joy to behold. There was a remarkable spread of ages, from those who remember Bowie first time around to younger fans who have discovered his music through their parents, streaming services or the seemingly endless rabbit hole of online music.
That cross-generational appeal is perhaps the greatest testament of all. Bowie’s music has outlived fashion, trends and even the man himself.
For anyone who somehow managed to arrive tonight unfamiliar with the catalogue (perhaps dragged along by a Bowie-loving parent or mate), there were still plenty of songs guaranteed to ring a bell. ‘Ashes to Ashes’, ‘Space Oddity’ and ‘Rebel Rebel’ are hardly obscure, and then there was that Nirvana song that Bowie covered… ‘The Man Who Sold the World’ (insert wink and laughing emoji)
The 21-song set had pretty much everything you could want from a Bowie celebration and then some. There were songs from across his career, musicians who were directly involved in creating the original recordings, an Eighties icon behind the microphone and, most importantly, a palpable warmth between those on stage and the audience in front of them.
If I have a gripe (and I usually do), it was the sound. Tonight’s mix was simply too loud in places, with distortion creeping in and some elements getting lost altogether. The keyboards, in particular, occasionally seemed to disappear beneath the sheer volume. It’s a shame because the musicianship deserves better… That aside, it’s difficult to complain about much else.
It was a brilliant night, and I have the ultimate proof: I bought a T-shirt.
As a final aside… I must point out that Glenn Gregory is an icon of today and not just the 80s; he’s a big lad, and I don’t want him going all Liam Neeson on me!
Review & Photographs by John Brown Photography
