Archivists have uncovered David Bowie’s secret final project, an unfinished musical set in 18th Century London, from notes discovered locked in his study after his death. Titled ‘The Spectator,’ this endeavor reveals Bowie’s deep engagement with the era’s cultural and criminal landscapes, offering a new glimpse into his creative mind.
The discovery was made in 2016 when cataloguing Bowie’s belongings following his passing, but it has only recently been revealed to the public. The notes were found in his always-locked study in New York, which was accessible only to Bowie and his personal assistant, ensuring the materials remained undisturbed and pristine until archivists began their meticulous work. This secrecy meant that even Bowie’s closest collaborators were unaware of the project’s existence until now.
‘The Spectator’ draws direct inspiration from the daily periodical of the same name that ran in London between 1711 and 1712, commenting on the manners and fads of society. Bowie’s handwritten notes include detailed summaries of key essays from the publication, such as a morality tale about two sisters—one beautiful but vain, the other plain but agreeable—which he scored eight out of ten and considered ideal for a subplot. He also documented amusing anecdotes, like a report about Mr. Clinch of Barnet who could imitate various sounds with his voice, showcasing Bowie’s playful engagement with historical sources.
Bowie was profoundly fascinated by the stark contrasts of 18th Century London: its flourishing arts scene, with influential figures like painter William Hogarth, and its notorious criminal underworld, including thieves like Jack Sheppard and violent gangs such as the Mohocks. His notes envision vivid scenes, such as public hangings where surgeons fought over corpses, reflecting his macabre interests and desire to explore the darker facets of history through narrative. This thematic depth highlights Bowie’s ability to find inspiration in historical juxtapositions, much as he did in his music career.
This project would have realized a lifelong ambition for Bowie, who expressed a strong desire to write for theatre early in his career. In a 2002 interview with BBC Radio 4, he mentioned that his intent was always to reach a broad audience, moving beyond the confines of his living room. ‘The Spectator’ represents a significant departure from his usual contemporary themes, delving into historical storytelling instead of the modern observations that characterized much of his work, such as in songs like ‘The London Boys.’
The notes have been donated to the V&A Museum in London and will be a centerpiece of the David Bowie Centre, set to open on September 13, 2025. This collection, comprising 90,000 artifacts including stage costumes, handwritten lyrics, and even the desk where Bowie worked, provides an unprecedented window into his creative process. It aims to trace his evolution as a musical innovator and cultural icon, emphasizing his advocacy for self-expression and reinvention.
Curators, including Madeleine Haddon, speculate that Bowie might have drawn parallels between the Enlightenment period and modern political landscapes, particularly considering the role of art in societal commentary. For instance, he examined how musicals were used for political satire in the 18th century, possibly reflecting on contemporary issues during his time in the US in 2015. This intellectual curiosity underscores Bowie’s perpetual innovation and his belief in art’s power to provoke thought and change.
Although ‘The Spectator’ was never completed due to Bowie’s death, its revelation enriches his legacy by demonstrating his endless curiosity and cross-disciplinary exploration. It underscores how, even in his final months, he remained engaged in ambitious projects that blended history, art, and music, leaving behind a treasure trove for fans and scholars alike. The upcoming exhibition is expected to inspire future generations of artists, celebrating Bowie’s boundary-pushing creativity and enduring impact on popular culture.