Motion and Exposure: A Review of Bowie’s Lodger
How Bowie captures an interior perspective toward movement and an image of societal difficulties. by Adam Drake B’29published February 5th, 2026
How Bowie captures an interior perspective toward movement and an image of societal difficulties. by Adam Drake B’29published February 5th, 2026
Released in 1979, Lodger was the final piece of Bowie’s Berlin Trilogy, which also included Low (1977) and “Heroes” (1977). In Lodger, Bowie departed from the synth-heavy style of the previous two albums and the various instrumental tracks of those albums, instead focusing on a lyricism that blends with the dual concept of the album. Lodger is bizarre in a great way, perhaps using its weirdness as a means of presenting its stances on issues of the second half of the album.
“Fantastic Voyage” - The opening track is, I believe, the most emotional song on the album. Bowie’s vocals are strikingly somber with a vibrato reminiscent of a trembling body. Here, Bowie reflects on the acceptance of a state that one finds to be unacceptable. Despite protests, one is forced to live in a certain manner, and thus “We’ll get by, I suppose.” Bowie appears to end this song in a cliffhanger of despair, “I’ll never say anything nice again / How can I,” but I feel that the song as a whole imparts a message of perseverance despite worry, keeping hope in a situation that seems so out of one’s control. Bowie’s journey, the voyage being the concept of the first side of this album, begins with a tone of fear that is processed through hope and tactics of acceptance.
“African Night Flight” - Bowie breaks into fast, rhythmic lyrics in this song that make me think of the experience of being somewhere new. The audio surrounds the listener with a variety of sounds from the singing and the flashing instrumentals. The rapidity, paired with the electronic style of the song, brings to mind flights, new cities, new experiences, and the beauty of exploration. When travelling and attempting to shove every experience into a packed schedule, life really can feel that fast, especially when one does not truly understand the history and lives of those in the space they occupy.
“Move On” - The moment of decision. After great experiences in one space, one might desire a change of scenery, a new place to better understand themself. When does that move come? What causes individuals to seek a change, to become tired with their home? What draws individuals back or away? Here, Bowie speaks of journeys and movements, the movements of people over time. The concept of travel is presented and brings to mind the life events or emotions that may provoke such a move. How does a change in location create a change in routine, profession, relationships?
“Yassassin” - In my opinion, the greatest track on the album. The music attracts the listener with its sense of movement. The lyrics perhaps present the disruption of a normal life: “just a working man.” “You want to fight / But I don’t want to leave.” The sense of motion within the instrumental aspects of the song, paired with the fear of movement, creates a stage for conflict. One wants to live, dancing and uninterrupted by violence, but the disruption comes, and one must respond, breaking routine and the peace of remaining. Movement is to be feared for the one who is in a home that is needed and loved; being forced to move on from this home would be disastrous, a different take on the journey through new spaces of the last track.
“Red Sails” - A solo voyage. Departing from others to enter a journey against the tide. Red could here stand for a passion to embark for the new. The singing feels excited, with instrumentals that seem to encourage this same excitement through the joyous and, in the end, positively pensive atmospheres they create.
Photo courtesy of Thin White Duke
“D.J.” - The album shifts its topic. Travel has transformed into critique of misunderstanding and commentary on mistreatment. “I am a D.J., I am what I play / Can turn around no, can’t turn around” can be read as the fear of being solidified in one style or group due to one’s past. Clearly, Bowie rebels against any form of a solidification of style, evolving over his musical career, particularly through this album and its experimental style, concepts, and lyricism. The opportunity for improvement and change is real.
“Look Back in Anger” - The second greatest track on this album. I view this song as a regret for patience. Perhaps the narrator has been underwhelmed by that which has had him “Waiting so long.” Although it is easy to look backward with anger at oneself, at one’s situation, and at what one believes they deserve, if one looks backward in this way they will create a harmful space for themself. Instead, one should move forward and always seek to be better, maintaining patience and hope through a fortitude that resists disappointment or discouragement.
Photo courtesy of IMDb
“Boys Keep Swinging” - In this song, Bowie comments on the mistreatment of women in a social context. Bowie presents how the assumption of success for men, and the lack of this assumption for women, can create barriers. Offensive remarks made about women, rather than comments that support the value of women, only feed into these assumptions.
“Reptition” - Bowie now approaches the topic of domestic violence. The story presented by Bowie causes pain for the listener. Bowie indicts those who abuse their spouses, thereby calling for a total cultural change: rejection of domestic violence, rejection of the normalization of abuse.
“Red Money” - The images that come to my mind are of money earned through violence and oppression. “Can you hear it fall / Can you hear it well / Can you hear it at all.” Are we aware of the abuses present in the world, of the violence used for profit and for personal gain? How can we speak out against these abuses of the person? The red money is fleeting, it ignores the value of those exposed to violence for its gain. These lyrics also draw on some similar phrasing from Iggy Pop’s “Sister Midnight” from 1977, produced by Bowie and appearing on The Idiot. “Such responsibility / It’s up to you and me.” We must speak out to prevent violence, we must work toward creating a cultural mindset that rejects replacing human security with profit; the value of human life must be preserved. The mindset has increased from “Fantastic Voyage.” Bowie calls for action in tandem with the hope of that first track, creating a vision of a world that reflects that same hope.
Overall, Lodger is a fantastic piece of Bowie’s oeuvre, deserving of increased attention. Through societal and personal commentaries, it presents a way of reflecting on life, especially in movement. Beyond its literary value, the music is interesting, engaging, and fun. I highly recommend this album to any fans of Bowie, art rock, or music in general.