Madison Square Garden New York, NY Photos by Sam Simon
I was blessed with a music loving older brother who brought home a copy of The Wall when I was nine years old. That began a lifelong love of Pink Floyd, and subsequently the music of the band’s guitar player, David Gilmour. I remember going to the record store in Connecticut on the day that his second solo album, About Face, was released and that same brother secured tickets for us to see the show in New Haven, CT in spring of 1984.
Fast forward forty years, and my son and I secured tickets to the first of five sold out nights at Madison Square Garden in the city that never sleeps, New York. We drove the four hours down from our central New England home, into the city, and through some of the most dangerous traffic I’ve experienced in years. We easily got through the line and into the mecca of live music.
The show began with two quick instrumental vignettes (5 A.M. and Black Cat) that served to warm the stage and sound system. The show felt that it truly began with the namesake of the new album, Luck and Strange. The band consists of Gilmour on guitar and vocals, of course- and is ably anchored by Guy Pratt on bass. Pratt is well known to fans from his time touring with Pink Floyd starting in 1987. The band is ably fleshed out by Greg Phillinganes and Rob Gentry on Keyboards, Adam Betts on Drums, Ben Worsley on Guitar, with Louise Marshall, Romany Gilmour and the Webb Sisters on Vocals.
Gilmour rewarded the audience with a medley of classic Floyd next with a Dark Side of the Moon suite including Speak to Me, Breathe (In the Air), Time, and Breathe (Reprise.) The video screen showcased classic Floyd videos from prior tours and the band performed the songs flawlessly. Gilmour hit every note and tone with perfection, demonstrating that his mastery of his instrument and this material has not slipped in the least.
A tasty treat was up next in the form of Fat Old Sun from the Atom Heart Mother album. This song is one that Gilmour has been featuring in prior solo tours and was amazing, allowing the master to stretch out on guitar and showcase his musical point of view. The first set continued with a mix of solo material and both obscure Floyd (Marooned) and classic (Wish You Were Here.) A highlight was Between Two Points, The Montgolfier Brothers cover from the Luck and Strange album that features Romany Gilmour on vocals. Accompanying her famous father on this run, Romany Gilmour possesses a hauntingly beautiful voice that is perfectly showcased in this song. This was her first appearance on stage and she joined the vocal section for the remainder of the show. She was able to deftly deliver with a brightness that illustrates her own talent and ability without distracting from the brilliance of the main attraction. This is a hard balance to achieve for any performer and the joy that the younger Gilmour possesses is palpable but unassuming.
The first set closed with High Hopes from Division Bell. Large balloons were released to accompany the video playing behind the stage and were lazily batted around the capacity audience. The song, video and balloons illustrated the entire vibe of the show- purposeful and paced musical exploration. Pace has always been a strength for Gilmour and the patience that he and the band exhibit onstage is a wonder.
Set break afforded an opportunity to meet the people around us. This is one of the great joys of concert attendance and I met the nice couple from Allentown a few seats down from me. Directly next to me was a man from Istanbul who flew in to see this show, and take a few more days in the US. On my other side were what appeared to be a father son from Montreal. This four city tour required fans come to wherever Gilmour was to appear, and with a limit of Rome, London, Los Angeles, and New York fans took the opportunity.
Set two opened with Sorrow from the album A Momentary Lapse of Reason which was followed by the Piper’s Call from the latest album. Mid set was punctuated by the band gathering into the center of the stage around a piano where Louise Marshall played and led the vocal section in a fascinating re-imagination of Dark Side of the Moon’s Great Gig in the Sky. Instead of a lengthy vocal solo, much of the song was rearranged in four parts vocal harmony. Each individual singer was showcased but all within a more choral landscape that was both creative and reverential. The result was truly special and likely unique to this particular tour.
That performance set the audience’s ear for the next selection, A Boat Lies Waiting which took advantage of similar tones and vocals. The rest of the set was mostly solo material and showcased Gilmours skills and point of view well. The band is a pyramid atop which sits the master, every player perfectly supporting his vision and sound.
At times the show was visually stunning, but oftentimes the focus was more completely on the music. There were cool laser sequences, but used sparingly. There was a pretty large screen backdrop where the videos played but oftentimes it was a tableau for color that was being controlled by what appeared to be a ‘painter’ of sorts who was working on a screen at the sound board location. But this was not the spectacle of Pink Floyd, the entire show was far more focused on a sonic experience than a visual one. The visuals weren’t neglected by any stretch but the focus was squarely on the man and his craft.
For decades classic rock musicians have been doing ‘final tours.’ Some of these are repeated or never ending runs, money grabs meant more as marketing strategies than any realistic signal of the end of the line for any particular band or artist. How many final tours have there been of the Rolling Stones or the Who? Foreigner continues to add dates to their final tour.
Some other artists seem to be taking a different path- one that showcases the length and breadth of their catalog, respectfully showcasing their place in rock and roll history. I found this to be true of the Peter Gabriel tour in 2023, and of course the final run by seminal rock band Rush was a love affair between the band and their fans and one whose finality has not been seriously questioned. Gilmour has given no indication that he is done, and has stated that more albums should be expected.
In a scene defined by technique, speed, and a dance pace that a general public typically requires, David Gilmour stands in opposition. He has never been one to chase a beat, to attempt to wow with agility. He is, rather, a master of tone and sound. His career and the show on this night spin a universe of wonder. No less dazzling, the resultant sonic journey is all the more sweet due to the patience and purposefulness with which it is delivered. Gilmour wrings every single tonal nuance out of his guitar and performance. His skill vocally and on guitar is without compromise in the face of time.
Set two closed somewhat abruptly and the mandatory exit from the stage was completed. Every single person in the Garden knew he was coming back, and knew what he would perform when he did. The wait was mercifully short and the band retook the stage. Without any pomp the band masterfully unfurled Comfortably Numb, executing one of the most classic rock songs of all time to perfection.
Gilmour is a master, using electricity, wood and thin metal strings to create his art. His fingers bend the strings with minute perfection, with care. He not only is able to access notes between notes, but micro notes beyond classification. Not only has he mined and discovered these notes, he has befriended them, recruiting them to broadcast a sonic beauty that no other player on the planet can voice as well. On this night, Gilmour showed us the light.
Set 1:
5 A.M.
Black Cat
Luck and Strange
Speak to Me
(Pink Floyd song)
Breathe (In the Air)
(Pink Floyd song)
Time
(Pink Floyd song)
Breathe (Reprise)
(Pink Floyd song)
Fat Old Sun
(Pink Floyd song)
Marooned
(Pink Floyd song)
A Single Spark
Wish You Were Here
(Pink Floyd song)
Vita Brevis
Between Two Points
(The Montgolfier Brothers cover)
High Hopes
(Pink Floyd song)
Set 2:
Sorrow
(Pink Floyd song)
The Piper’s Call
A Great Day for Freedom
(Pink Floyd song)
In Any Tongue
The Great Gig in the Sky
(Pink Floyd song)
A Boat Lies Waiting
Coming Back to Life
(Pink Floyd song) (Dedicated to Polly Samson)
Dark and Velvet Nights
Sings
Scattered
Encore:
Comfortably Numb
(Pink Floyd song)
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