Photo: Press/Jimmy King
Here we go again. Forget the onset of winter blues and the flu - Bowie fever is once again gradually penetrating the public's immune system. Ah, and you thought you were over it?
As Glastonbury tickets sell out in record time, the thoughts of music lovers drift towards the rumours of the line-up and headliners. Cue a flurry of Bowie-related activity and naturally, the eternal whisperings of the Thin White Duke returning to Worthy Farm turn up a notch.
And of course, the flames of our hopes are only fanned by the cover of this week's relaunched NME...
No, it's not a tell-all exclusive insight into where he's been, where he's going and his plans for an international stadium and festival tour - just a beautiful photo and words of kindness from the modern artists that he's inspired. Awesome nonetheless, but not the revelation you were waiting for.
"HE'S BACK...AGAIN" reads the strapline. Except he isn't, is he? He was back eight months ago when he shocked the universe in the wee hours of his birthday with his comeback announcement. Since then, he's just demanded your attention with a weird, ghostly presence.
There are countless new and old artists out there, whoring themselves out to the media for even a snifter of coverage. Then there's Bowie - appearing on the cover of NME three times this year already, without even uttering a word. No interviews, no public or live appearances, no constant Tweeting about what he's had for lunch - and yet he's dominated every sphere of culture throughout 2013.
From the V&A exhibition to the Radio Soulwax 'Dave' mini-movie and the worldwide celebration every time he drops a star-studded music video, Bowie's absence has proven to be more of a presence, letting his art and legacy do the talking without entering the public realm. Why would he change that by headlining Glastonbury when his legend and work alone is enough to keep him at the forefront of...well, everything?
This week alone, alongside the NME cover feature we have the release of Sonjay Prabhakar's gorgeous 2013 mix of 'Sound And Vision' and the premiere of James Murphy's 'epic' 10 minute remix of 'Love Is Lost' from the upcoming expanded re-release of The Next Day. It could be a run-up to some sort of major announcement (a tour? Glastonbury?), it could all just be clever marketing as the Mercury Music Prize approaches or it could all just be a coincidence. Either way, we're all having an awesome time.
Bowie isn't the sort of artist to build momentum - teasing you with clues as you gradually ascend to climax. You'll just wake up one morning and he'll be sat staring at you, reclining on the ceiling (Labyrinth style) with a Glasto ticket in his teeth.
The beauty of The Next Day is the era-defying magical mystery of everything surrounding it. As the posters for his 1977 classic "Heroes" read: "Tomorrow belongs to those who hear it coming". This rings ever more true now more than ever. Bowie is still eyeing up the future - but don't expect to see him coming.
That said, he's proven us all wrong before...
