David Bowie: the Berlin years live again in two graphic novels: “Low” and “Ho lasciato ogni posto”

In 2026, ten years after the death of David Bowie, his Berlin years return to the spotlight with two graphic novels that tackle the most experimental three-year stretch of his career. Between 1976 and 1979, the Thin White Duke released the celebrated trilogy made up of “Low“, “Heroes” and “Lodger”: three albums that redefined his musical language, leaving a deep mark on the sound and aesthetics of European rock.

“Low – David Bowie e gli anni di Berlin” (Bao Publishing)

On March 6th, Bao Publishing releases “Low – David Bowie e gli anni di Berlin”, written and drawn by German cartoonist Reinhard Kleist. The author continues the path he began with “Starman”, focusing on Bowie's move to West Berlin in 1976, when he left Los Angeles to escape excess and addiction. The story moves between the underground scene, the sessions at Hansa Studios, and his time living with Iggy Pop, painting an emotional, layered portrait. Berlin, still divided by the Wall, emerges as an active force: political tension and artistic ferment feed directly into the songwriting.

"Ho lasciato ogni posto" (Feltrinelli Comics)

On March 31st, meanwhile, "Ho lasciato ogni posto" by Lorenzo Coltellacci and Mattia Tessaro arrives in bookshops via Feltrinelli Comics. The approach here is more historical and contextual. The Bowie depicted is far removed from the glam imagery of Ziggy Stardust: less icon, more an artist in evolution. Around him move decisive figures such as Brian Eno and Robert Fripp, at a moment marking the transition from the end of the Seventies to the birth of post-punk and new wave.

Coltellacci and Tessaro, already authors of volumes dedicated to Joy Division ("E' stata mia la colpa") and to the Cure ("Morire non importa"), reconstruct the cultural context of those years, showing how the Berlin period left a lasting mark on the music of the Eighties.

"Bowie changed us, our world - the authors explain - And he changed himself, reaching the peak of his creativity and definitively cementing rock as an art form. Yet, in contrast with all this brilliance, he goes through a period full of shadows, in a Berlin divided by a real and symbolic wall, still waiting to come down".

Two works differing in approach and style, united by the same creative turning point: the moment when Bowie redefines himself and helps shift the axis of rock toward electronic, fragmented, modern territory.

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