A unique glimpse into David Bowie's formative years and his surprising connection to Hull has been provided by his former drummer, John Cambridge. Cambridge, who played with Bowie in The Hype, recounts how he convinced the budding rock star to drive his Rover 100 from London to Hull in 1970 for a more affordable MOT and service, leading to Bowie staying at his parents' home in Brisbane Street.
Cambridge's recollections paint a picture of a young Bowie, pre-stardom, seeking practical solutions and immersing himself in the everyday life of a working-class Hull neighbourhood. The drummer, who also lived with Bowie and producer Tony Visconti at Haddon Hall in Beckenham, South London, was a key figure in the early development of Bowie's sound. He was instrumental in bringing two more Hull musicians, guitarist Mick Ronson and bassist Trevor Bolder, into Bowie's orbit, laying the groundwork for the iconic Spiders from Mars.
Despite being replaced by Driffield drummer Mick "Woody" Woodmansey before The Spiders from Mars achieved global fame, Cambridge maintains a philosophical perspective on his role in Bowie's history. He recalls taking Bowie and his first wife Angie on tours of Hull pubs, with one memorable encounter where a local mistook Bowie for a lookalike. Cambridge also served as Bowie's best man and continued to receive Christmas cards from the star until his death in 2016, highlighting a lasting personal connection.
The story of Bowie's Hull connections takes on renewed significance as a major touring exhibition celebrating his life and music is set to open. Announced earlier this month, the exhibition will feature a collection of artefacts from Bowie's career, including costumes and instruments. It is slated to arrive at Hull's Ferens Art Gallery in early 2028, offering local residents and fans a chance to explore the legacy of the artist who once walked their streets.
Suzi Ronson, Mick Ronson's future wife and Bowie's hairdresser and wardrobe mistress during the Ziggy Stardust era, further underscores the down-to-earth nature of the Hull musicians. She describes Ronson, Bolder, and Woodmansey as "normal blokes" who, despite their backgrounds, quickly embraced the flamboyant androgynous stage outfits that became synonymous with Bowie's glam-rock persona. Her anecdote of Bowie telling Woodmansey, "It takes a real man to wear pink," illustrates the transformative power of the era and the musicians' willingness to push boundaries.