Concert Review: David Gilmour – Madison Square Garden, November 8
As David Gilmour pointed out to me in our interview — and as he no doubt did in every other interview he held to promote Luck and Strange – it has been some 30 years since Pink Floyd toured. In the years since – and even before – he has decidedly moved away from the Waters-focused body of work that Pink Floyd created. Gilmour has himself released three studio solo albums in the new century, as well as two live albums. If one considers only his solo albums and post-Waters Pink Floyd output, he has more than enough solid material upon which to build a set list.
And it’s thinking along those lines that clearly influenced the song selection for Gilmour’s celebrated (albeit limited-engagement) 2024 tour. Aside from some all-but-required nods to “old” Pink Floyd, the set focused on material that Gilmour wrote and/or had a major hand in writing. And the concert was fresher and more compelling thanks to that set of choices. Concertgoers even got to hear “Fat Old Sun,” the first (or one of the first) song Gilmour ever wrote.
Gilmour was in fine form at MSG, to all appearances quite happy to be there playing and singing. A top-notch band provided excellent support, with mainstay Guy Pratt a key part of the mix. And as the evening progressed, Gilmour demonstrated his warm and easygoing demeanor by happily ceding the spotlight to his fellow musicians. As sterling as Gilmour’s performance was, he happily stepped aside as the female vocal section took center stage (and piano) for a sublime reading of selected tunes (including, inevitably but wonderfully, “The Great Gig in the Sky” from The Dark Side of the Moon).
Special mention must go to Romany Gilmour, the guitarist’s youthful daughter. A superb and expressive vocalist, she was a welcome augment to the vocal section. And her spotlight numbers (most notably a stirring reading of “Between Two Points”) came quite close to overshadowing dear old dad. But Gilmour’s searing and emotion-laden guitar outro on the song provided perfect balance.
As a bonus, the crowd was well behaved, the lights and lasers were excellent (and admirably dialed back spectacle-wise as compared with Floyd tours), and the sound mix was flawless. Gilmour promises more new music, and soon; no word if more tours will follow. But if the Luck and Strange tour ends up being the man’s final run of concert dates, he will have gone out in the best way possible, showcasing his best and most recent achievements without coasting on a wave of nostalgia.
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day for several years). The more than 5000 interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- some 40 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: 30 Great Concept Albums is available now. Read even more about him here.