Reznor Nails The Opener, Putting Bowie Under Pressure

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David Bowie and Nine Inch Nails, last night at the Tacoma Dome.

The Thin White Who? Reinventing himself for the umpteenth time, David Bowie left his audience a little confused last night with a new image and a new musical style that all but emulated his opening act, Nine Inch Nails.

In a spotty set that was dense with material from his new album, "Outside," the 48-year-old rocker grabbed the young crowd by the eardrums. Fans expecting a greatest-hits run-through probably felt a bit cheated. For all the others who were there because of the flaming industrial rhythms of Nine Inch Nails' frontman Trent Reznor, it was icing on their techno-rock cake.

From his 1970s days as Ziggy Stardust, the Thin White Duke, the Plastic Soul man and hipster of the Berlin rock scene, David Bowie has always tried to stay ahead of the rock-'n'-roll curve.

After about 1983 and the "Let's Dance" album, it seemed he was running a losing race. A few tepid hits in the mid- to late-'80s and his hard-rock experiment in the band Tin Machine weren't enough to keep up momentum. The retro sheen of his highly underrated 1993 album, "Black Tie White Noise," barely made a blip.

There's been a lot of hype surrounding "Outside" and this tour pairing Bowie and Reznor. The album reunites Bowie with producer/collaborator Brian Eno, who worked with him on the trio of Berlin albums, "Low," "Heroes" and "Lodger." But the muddle of pulsing guitars and heavy beats on "Outside" combined with its indecipherable concept theme have so far added up to another non-event. Techno-sizzle from Trent

The 2 1/2-hour show began with the adrenaline frenzy of Nine Inch Nails' future-rock. Seeing Trent Reznor scream himself hoarse while inciting bodies into a moshing rabble gave the feel of the movie "Strange Days." The fury of his synth- and guitar-fueled tirades were as unnerving as the apocalypse that movie predicts for turn of the millennium.

When Bowie sauntered on stage to join Reznor, he clearly had the stronger presence. With mad duets on the Bowie classics "Scary Monsters" and "Look Back in Anger," the two men demonstrated the debt they owe each other.

Hanging back while Reznor provided the hot-blooded flourish, Bowie knew just when to step in with his dignity and resonant voice to lend an element of sophistication.

A little nostalgia

After Reznor took his leave and the show became all Bowie, a fair amount of Nine Inch Nails fans likewise made their way to the exit. Those who remained perked up for the fire of Bowie's new hit, "The Heart's Filthy Lesson" (also featured in the movie "Seven"), a fun version of his early tune "Andy Warhol," and a nostalgic rendering of "Under Pressure."

Much of the other new material was unremarkable. Even Bowie had to rely on crib notes for the lyrics to two songs the band was trying for the first time.

The setting was an open stage dressed with mannequins, signage and giant window shades. Guitarist Reeves Gabrels remained calm under his balding pate, but managed to gouge out breakneck riffs. Bowie's old rhythm-guitar sideman Carlos Alomar looked vaguely bemused by all the modern flash. Bowie himself still cut a dashing and confident figure. With a flair for theatricality and a trace of innovation, his persona may have been new - not necessarily improved.