On this All Hallows’ Eve in Los Angeles, the Metropolis of Angels welcomes legendary guitarist David Gilmour for a particular night on the Hollywood Bowl. This marks his return to the long-lasting venue after an eight-year hiatus, as he performs a fascinating three-night run, following a present on the newly inaugurated Intuit Dome. Gilmour’s affinity for the Hollywood Bowl is clear, on condition that the one different cities on his 2024 tour schedule are Rome, London, and New York Metropolis.
The Hollywood Bowl is a exceptional venue, wealthy in historical past and grandeur, providing glorious sightlines and excellent sound high quality. Its design completely enhances the psychedelic laser gentle exhibits for which the Pink Floyd guitarist is famend. On the age of 78, Gilmour continues to tour in assist of his strong new album, 2024’s Luck and Unusual. He stands as one of many final surviving icons from the basic rock period that reshaped popular culture within the Sixties and Nineteen Seventies.
As witnessed in 2016, attendees are arriving from far and broad, as Gilmour’s performances are restricted to simply Los Angeles and New York this yr. The nice and cozy, sunny afternoon presents the right alternative for mountain climbing within the Hollywood Hills or visiting the Griffith Observatory. Nonetheless, because the solar units, temperatures dip considerably, offering a becoming chill for the Halloween-themed present on this Thursday night time.
The night opens with the title monitor from Luck and Unusual, showcasing a bluesy psychedelic sound that echoes the essence of Nineteen Seventies Pink Floyd. Notably, the studio model incorporates an electrical piano half recorded by Gilmour’s former bandmate Richard Wright in 2007, previous to his passing in 2008. This album additionally options lyrics predominantly written by Gilmour’s spouse, novelist Polly Samson, persevering with their long-standing partnership that started with Pink Floyd’s 1994 album, Division Bell. In a latest Instagram promo clip, Gilmour remarked, “Polly and I are a staff. We’ve been writing songs collectively for over 30 years, and we’re very a lot in sync with one another. This album is the results of that synergy reaching new heights.”
As Gilmour transports the gang again to 1973, he kicks off the set with a triumphant trio of “Converse to Me,” “Breathe (Within the Air),” and “Time” from Darkish Facet of the Moon. These timeless classics resonate deeply, prompting listeners to reminisce about their teenage years—an album that has develop into a common ceremony of passage. Animated clocks glide throughout the video display, enveloping the viewers within the existential psychedelia that defines one in all rock historical past’s pivotal moments.
As Gilmour delivers the poignant traces, “The solar is identical, in a relative approach, however you’re older, shorter of breath and at some point nearer to loss of life,” the lyrics hit nearer to house for a lot of, particularly in gentle of the latest passing of legendary Grateful Lifeless bassist Phil Lesh on October 25 at age 84. Each Gilmour and Lesh have been influential figures within the psychedelic rock counterculture, and Lesh’s loss of life has reverberated profoundly amongst their followers.
For a lot of, “Time” evokes reminiscences of a October 2011 live performance on the Los Angeles Greek Theater, when Lesh and Bob Weir carried out the track with Furthur in homage to Steve Jobs, who had not too long ago handed away. This connection enhances the track’s weight tonight, although there is a sense of aid in Gilmour’s ongoing presence and electrifying efficiency.
The section that includes Darkish Facet of the Moon seamlessly transitions into “Fats Outdated Solar” from 1970’s Atom Coronary heart Mom. Gilmour delivers a shimmering acoustic efficiency that’s enriched by a mesmerizing visible of a radiant orange solar on the display behind him. When he switches to electrical guitar, the band comes collectively superbly, making a peak second within the set crammed with a soulful organ solo that enhances the classic vibe.
The instrumental “Marooned” from The Division Bell showcases Gilmour’s signature distant reverb and distinct tone, which have impressed generations of guitarists. It pairs effortlessly with “A Single Spark” from Luck and Unusual, the place Gilmour croons, “Bittersweet the night time’s embrace, I’m grateful and afraid, so pray to maintain issues rolling, I’ve solely good intentions,” main into one other gorgeous guitar solo that captures his iconic bluesy essence.
Gilmour’s masterful tone shines once more throughout the beloved basic “Want You Have been Right here.” Few songs evoke as a lot viewers participation, and a pleasant piano solo amplifies the uplifting ambiance.
As the primary set nears its conclusion, Gilmour proudly introduces his daughter, Romany Gilmour, who offers harp and vocals for the poignant “Between Two Factors” from Luck and Unusual. Their collaboration evokes a heartwarming second of generational connection, harking back to Phil Lesh’s performances together with his son Grahame through the years. Following this, the set closes with “Excessive Hopes” from The Division Bell, a selection that feels barely subdued given its somber tone relative to the track’s title. Nonetheless, Gilmour’s hovering guitar solo units the stage for an thrilling second act.
The second set begins with a formidable show of lasers accompanying “Sorrow” from 1987’s Momentary Lapse of Purpose, embodying the grand Pink Floyd stadium expertise for a brand new era. The sonic richness is palpable as Gilmour unleashes an electrifying solo. Romany as soon as extra impresses on “The Piper’s Name,” harmonizing together with her father in a story of a piper and fixer who trades souls for favors, with a robust blues-inflected outro that resonates with readability.
One of many night’s highlights arrives with “The Nice Gig within the Sky,” a timeless Darkish Facet monitor penned by Rick Wright, radiating an unapologetic defiance towards the worry of loss of life. This efficiency contains a constellation of proficient feminine vocalists, together with Romany, whose collective abilities elevate the track to extraordinary heights. The emotional depth transitions thematically into “A Boat Lies Ready,” a heartfelt tribute Gilmour and Samson crafted for Wright on their 2015 album Rattle That Lock.
Gilmour introduces “Coming Again to Life” from The Division Bell as a deeply private track crafted for his spouse, Polly. The monitor blends reflective melancholy with a triumphant, uplifting spirit celebrating love’s redemptive energy. The brand new album’s “Darkish and Velvet Nights” follows seamlessly, showcasing fascinating lyrics, as Gilmour opens with a haunting line, “I didn’t suppose that this might be, all that unto loss of life can we, ‘Til you managed the lock and magicked the important thing, after an evening of onerous ingesting and ecstasy…”
Because the second set approaches its conclusion with “Scattered,” the theme of ageing and mortality is poignantly explored by means of lyrics reflecting the passage of time. The track’s introspective qualities resonate deeply, with Gilmour’s expressive guitar solo conjuring echoes of “Comfortably Numb,” which serves as a sign of what’s to observe in tonight’s electrifying encore.
As laser lights dazzle the gang, Gilmour launches into the long-lasting “Comfortably Numb” from 1979’s The Wall. This seminal monitor stays a cultural touchstone, chatting with generations in regards to the numbness of life amidst chaos. For a lot of, components of their youth had been spent experiencing the surreal narrative of The Wall—a ceremony of passage for individuals who ingested its messages beneath varied influences. Gilmour’s electrifying guitar solo, illuminated by the lights, creates an unforgettable second that may linger lengthy after the live performance has ended.
Whereas the present is nothing in need of spectacular, followers who attended the Bowl in 2016 could discover the absence of The Wall’s “Run Like Hell.” Although not as elementary as another classics, its absence is notable, particularly given the extraordinary psychedelic lightshow that accompanied it up to now. Gilmour has talked about that he has develop into much less comfy with sure songs, stating to Mojo journal earlier this yr, “There are songs from the previous that I now not really feel comfy singing. I really like ‘Run Like Hell,’ however the violent imagery now resonates otherwise with me.”
His sentiments are definitely relatable, significantly in a world the place alarming political climates evoke reminiscences of previous struggles towards authoritarianism. Maybe a deeper understanding of artwork’s position in influencing society might be gleaned from Pink Floyd’s personal warnings towards oppression and chaos.
