Rumors circulate that the late British rock icon David Bowie could return to the stage as a hologram, a possibility driven by rapid advances in stage technology. For decades Bowie has remained a benchmark for reinvention, and the idea of a posthumous performance using life like visuals has moved from fantasy to a business model. The estate could leverage licensing, rights, and branding to create new experiences while honoring the artist’s legacy. In North America and beyond, fans are curious about how such performances would feel and how they would fit into contemporary concert formats.
Word around the industry points to Bowie’s name being registered as a trademark under a category that covers performance likenesses and star avatars, a move that could unlock licensing for holographic performances, merchandising, and branded experiences. The licensing step aligns with a growing trend where estates and production teams explore digital representations to extend a legacy and preserve a creative presence long after the artist’s passing. This shift reflects changing fan expectations and the rising value of immersive live experiences in modern entertainment markets.
The talk circles suggest the team behind the project has ties to Bowie’s heirs, implying a planned holographic show. Proponents argue that high fidelity visuals generate strong demand and offer a sizable revenue stream with global reach. Such programs are routinely positioned as contemporary experiences that blend nostalgia with cutting edge technology, drawing both longtime supporters and younger audiences. Yet the conversation includes reservations from fans and fellow artists who worry about the ethics and artistry of reviving creators in this way, weighing the potential benefits against the sense of human connection that live music historically delivers.
Across the industry, notable examples illustrate the trend. A Swedish company has produced ABBA avatars that toured successfully, while the Kiss brand has acquired the rights to similar visuals. Plans have circulated for a holographic Elvis Presley project to tour as well. However voices in music and art push back, highlighting the need for careful boundaries and clear consent. Mike Shinoda has stated that his band will not perform with a hologram of the late Chester Bennington, underscoring tensions between technological progress and the personal, human element that makes live shows resonate. In the meantime, Bowie’s handwritten lyrics to Starman have sold for about £200,000, underscoring the enduring appeal of authentic artifacts alongside what the next generation of fans can experience digitally.