[2] The band purposefully booked intimate venues of a few thousand seats or less so that they could focus on the music without any theatrical trappings, a stark change from lead vocalist David Bowie's previous Glass Spider and Sound+Vision tours;[4] Bowie also wanted to avoid playing larger venues and arenas lest his fans show up "hoping I'd be doing old songs or something.

(...) Bowie and his associates gave a more than hour-long display of his latest incarnation, and the music turned out to be nearly unlistenable.

"[7] The show in Seattle was met with positive reviews: "Let it first be said that on every level, Tin Machine is an outstanding band.

[2] The Los Angeles Times had a positive review of the first New York show, complimenting the band on their desire to tinker with songs' arrangements and appreciating Bowie's "theatrical gift" for performing.

[9] The show in Hamburg on 24 October, 1991, at Docks, was filmed and later released on the video, Oy Vey, Baby: Tin Machine Live at the Docks, with the song "Baby Can Dance" from the same performance appearing on the compilation album Best of Grunge Rock.