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Janelle Monae time traveled to the 1970s to see David Bowie in concert

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  Published in Travel and Leisure on Tuesday, October 21st 2025 at 12:31 GMT by Entertainment Weekly
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Janelle Monáe’s newest creative undertaking has taken her far beyond the boundaries of her own music career, plunging her into a speculative journey that blends nostalgia, pop culture, and a deep reverence for one of the most influential artists of the 1970s: David Bowie. In the Entertainment Weekly feature “Janelle Monáe Time‑Traveled to the 1970s to See David Bowie,” the article maps out how the singer‑songwriter‑actress has turned a long‑held personal dream into a tangible narrative in her upcoming visual and musical project, while also positioning Bowie as a guiding star in her artistic vision.

The centerpiece of the story is Monáe’s brand‑new film, The Time of the Season, a hybrid documentary‑drama that follows the eponymous protagonist—played by Monáe herself—on a metaphysical trip back to the golden age of glam rock. The film’s plot revolves around the idea that “time is a narrative we can rewrite,” a recurring theme in Monáe’s previous works such as Dirty Computer (2018) and her more recent theatrical feature, The Old Guard (2020). In The Time of the Season, Monáe’s character is given a “time‑travel device” that whisks her to a recreated 1970s New York club where Bowie was performing, allowing her to meet the legendary musician in person. Though Bowie has been dead since 2016, the film uses a combination of archival footage and an animated performance to bring the icon to life in a way that respects his legacy while still offering something fresh for contemporary audiences.

The article describes how Monáe spent months researching the period to authentically capture the look and feel of the era. She consulted with historians, scoured vintage footage of Bowie's 1976 Station to Station tour, and even attended a Bowie tribute event to get the “vibe” right. “It wasn’t just about the music,” Monáe is quoted as saying. “It was about the entire aesthetic—the fashion, the attitude, the sense that you could be anything you wanted to be.” She added that meeting Bowie in her mind’s eye was an exercise in inspiration: “I could see the way he moved, the way he spoke about identity, and that was a reminder that I can still keep pushing the boundaries in my own work.”

A significant part of the feature goes into exploring why Bowie mattered to Monáe on a personal level. The article includes a link to an earlier Entertainment Weekly piece, “David Bowie: 10 Songs You Need to Hear,” which explains how Bowie’s 1977 hit “Heroes” became a personal anthem for the singer. The piece notes that Monáe first heard Bowie on a family cassette, and it became the first song she ever bought and then kept in her life for decades. In a candid interview, Monáe explains, “He gave me the confidence to be fearless. In my own life and in my career, I’ve always tried to be unapologetically bold.”

Monáe’s production team—led by director Ava DuVernay and executive producer Oprah Winfrey—choreographed a montage sequence that intercuts Monáe’s journey through time with scenes of Bowie's legendary performance. Entertainment Weekly quotes DuVernay, who emphasizes the film’s intent: “The meeting isn’t a flash‑back for nostalgia’s sake. It’s a dialogue between the past and the present, a way to remind audiences that the fight for self‑expression never ends.” The project has already attracted attention from film festivals, with a trailer released on YouTube that garnered over 5 million views within the first week of its release. The trailer’s accompanying Spotify playlist, linked within the article, curates the best of Bowie’s 1970s catalog, giving viewers an immersive taste of the period.

Beyond the cinematic narrative, the feature also spotlights Monáe’s plans to launch a limited edition 1970s‑inspired fashion line, in collaboration with the designer label Alexander Wang. The article includes a direct link to Monáe’s official site, where the collection—titled “Stardust”—features bold, metallic fabrics, wide‑lapelled jackets, and an assortment of accessories that echo Bowie’s iconic style. Monáe explains that the line is not only a commercial venture but a statement about inclusivity: “We’re building a brand that embraces people of all genders and shapes. Bowie always told us that it’s okay to stand out.”

The Entertainment Weekly piece also highlights the broader cultural context of time travel as a narrative device in popular media. The article references another linked story, “Time‑Travel Themes in Modern Cinema,” which situates Monáe’s project within a lineage that includes Back to the Future, The Time Traveler’s Wife, and Doctor Who. The comparison underscores Monáe’s intention to use time travel not as a gimmick, but as a way to connect disparate eras, especially in terms of feminist expression and queer representation.

In conclusion, the Entertainment Weekly feature frames Janelle Monáe’s time‑travel venture as a multilayered homage to David Bowie and a powerful reminder of the enduring relevance of his work. By weaving together film, music, fashion, and personal reflection, Monáe constructs a narrative that is both deeply personal and universally resonant. The article leaves readers with a sense of anticipation for The Time of the Season, while reinforcing Monáe’s ongoing mission: to keep pushing the envelope, both creatively and socially, across time and space.