David has finally made his long-awaited return to North America after an eight-year absence, and he certainly delivered last night! The energy from the Royal Albert Hall gigs was clearly still present and the band played beautifully, David was absolutely on fire last night, he sounded and played EXCEPTIONAL.
As fans entered the arena, they were greeted to an array of ambient sounds from David’s catalogue with Pink Floyd, with the show starting a little later than expected due to all the events going on in LA last night, Guy Pratt came out and greeted everybody as their “bass player for the evening” and did his PSA on phones and phone lights- which he and the band highly recommend you adhere to!
With high expectations, the setlist mirrored that of the final shows at the Royal Albert Hall, and to everyone’s delight, Romany was in attendance, despite fans’ concerns about her schooling commitments preventing her from coming to the US. Her performance during ‘Between Two Points’ left everyone in my section in awe, it was truly beautiful.
As always, Marc Brickman delivered in the visuals department, utilizing the new venue’s large ‘ring’ screen positioned near the top of the arena with appearances by a black cat and the Luck and Strange figure himself (Gabe Gilmour), complemented by LED displays on every seat during one section (more on that later…) I will say it was quite cool peeking over and seeing him work his magic throughout the night.
One quite notable moment took place during ‘High Hopes.’ The crew brought out at least 20 balloons during David’s slide-guitar solo, there was so many of them they started to make their way up the back of the arena, with even FOH getting in on the action, it was quite hilarious watching everyone go crazy trying to hit them! As David announced the band were taking a short break, the audience were still going at it, and I caught David even saying “There’s too many of them!” as he walked off stage.
A personal highlight for me is the song ‘Scattered’, I think it’s the quintessential David Gilmour solo track, it’s just perfection, if it doesn’t draw every emotion out of you, you aren’t human! Experiencing this live was something otherworldly, and with the amazing visual presentation, it’s hard not to weep in your chair like a baby. It’s just a magnificent piece of rock theater.
Comfortably Numb was amazing tonight, the entire audience, especially in my section cheered as the first note hit and everyone sang along with Guy, it was actually quite emotional. The “BIG” one as David calls it, left the audience melted in their chairs, especially during the final moments where the LED displays fitted to the venue’s seats illuminated, creating an almost 360 wall of light on top of the already stunning light show provided by the stage.
Post show, it was really nice to catch up with Guy Pratt, who has been one of the best supporters of our website for the longest time – love ya man! Great job to all and a fantastic show, and we move on to the Hollywood Bowl on Tuesday!
This would be my second David Gilmour solo show, 40 years apart. Full-circle moments. Both were at new venues: First, Irvine Meadows in 1984, then only 3 years old. This one at Intuit Dome, brand-spanking-new at 2 months. This show also took place exactly two years after the last Floyd-related show I saw, Nick Mason’s Saucerful Of Secrets.
Several events took place simultaneously around Los Angeles on Oct 25. I avoided the freeways and took the streets, a 1-1/2 hour journey. Our parking lot had no attendant (we feared being towed). Ticketless venue entry was a bit of an issue. I didn’t have much time left to walk around and marvel at the technological wonder of the place due to the logistics of just getting there. All this was endured with the thought in mind that this tour may be the last go-round for Gilmour.
All staff I encountered were helpful. I had a great seat in Club Section. “Club” means just that: you had to re-scan your ticket to enter through a club, with full bar and eatery. Seating was comfortable, in the Club Section. My view of the stage was perfect. There appeared to be a steep rake up to the top levels. (The arena is worth checking out online, a true achievement.)
I checked out the action on that giant stage with a monocular scope, saw roadies and Phil Taylor in action, and a new Mr. Screen with no lights. This would be a slightly different visual than us Floydheads were used to. MC Guy Pratt came on and did his most welcome intro on the use of “devices” during the show. The show was paced with Pink Floyd classic stuff real early (wise move), sprinkled in between, and at the end. The new stuff is really excellent. The band played in top form. Gilmour’s vocals were back up to snuff as well, from the bit of a rough start at the beginning of the tour. Sound was incredible, loud yet clear.
After “Time/Breathe (Reprise)”, a couple behind me were really into it. The guy remarked, “He’s part of a dying breed. They don’t make ‘em like that anymore!” That really rang true to me, as the bell tolls. I spoke with them after the show.
As Romany appeared late, I initially thought she was out sick before her delayed intro to “Vita Brevis.” She was quite up to the task on harp, vocal, and percussion. (The two harps were way cool, and in spite of its title, I think that piece is too short.) Romany has good stage presence. (Honestly, I was surprised she would be singing most of the show with the seasoned veterans.)
I was so impressed by the display of talents onstage, with several multi-instrumentalists, including one of the evening’s biggest surprises (found online first, of course), Louise Marshall sitting at a piano to play and sing 2 songs. It was still a rush to see it live. Background vocalists The Webb Sisters also played multiple instruments. Hattie Webb played harp and percussion; Charley Webb on percussion, ukulele on “The Piper’s Call”, acoustic guitar on “Scattered.”
Greg Phillinganes is one of the musicians of whom, when I see him in a lineup, I know I’m in for a musical adventure.
Guy Pratt, of course, on many basses – and he and Greg have great voices. Watching him onstage, it was clear that he was not only the veteran of the group, but also the cheerleader of sorts, for lack of a better word.
Keyboardist Rob Gentry has a quirky presence. He fit the bill, transmitting his new album contributions and the classic stuff, working up his magic onstage.
Second guitarist Ben Worsley was part of the “Spinal Tap” crew – as I personally note here with some reverence – with several guitar changes, also playing lap steel on a few tunes.
Gilmour had possibly the most variety of guitars ever for a tour. He also sported Hendrix’ guitar strap, a gift from Polly Samson.
Drummer Adam Betts is a big guy behind the skins. He hit with power. But watching him through my scope, he had some ‘smooth’, some finesse, and he did Nick’s parts justice.
Lights and staging were off the hook, in Floyd tradition. I read recently the lighting designer was Marc Brickman. No wonder. The overhead array in the lighting matrix created raining effects in color and coordinated patterns. The “light box” or “cage” effect created by the lights ringing the perimeter gave “Sorrow” and “Comfortably Numb” moments of sci-fi visuals. Impressive substitutes for Mr. Screen’s lights. Lots of fog. So much so that by intermission and end of show, it was clear the arena was “bombed” – visually (and sonically) by David Gilmour, band and crew.
Here are a few highlights. “Breathe/Time” in the opening was such a hit of mastery, nostalgia, a bit of spectacle, and groove. Ian Emes’ forever enduring clock animation was in full effect.
We got the rarity “Marooned” this tour, with that otherworldly Whammy guitar solo. Gilmour blazed on the electric Workmate Telecaster solo on “Fat Old Sun”, earning the first of several standing ovations.
The rearrangement of “The Great Gig in The Sky” with Ms. Marshall and the choir of voices was a refreshing update, reminiscent of Roger Waters’ reboot of “Dark Side of The Moon.” “A Boat Lies Waiting” was unexpectedly moving. The performance was on point.
“High Hopes” has grown on me over the years. There were many more balloons than in the Royal Albert Hall photos. The size of the Intuit Dome may have accounted for the extra amount of balloons and smoke (lots of fog!) Speaking of smoke…. The band was totally obscured with fog, color, and strobe at some points during “Sorrow”, a brilliant effect.
Both “A Great Day For Freedom” and “In Any Tongue” were played, neither of which I had ever seen performed live. (Romany did the whistle intro to the latter, a subtle intro to this powerful and sad piece.) These are two of my favorite Floyd/Gilmour tracks, as topical today as when they were written.
Of particular note were new tracks “Scattered”, “Dark and Velvet Nights”, and “Vita Brevis/“Between Two Points.” “Dark and Velvet Nights” artwork by Julie Soboleva on the big screen was striking. This song jammed with a bluesy/R&B groove. Greg attempted to get some audience participation (waving his hand in the air!) Too bad the audience was still not as familiar with the new songs.
Musically and effects-wise, “Scattered” capped off the evening in brooding and monumental fashion. This was the show-stopper, in my humble opinion, but for one extra encore touch.
After seeing the concert, I kinda get the impression the encore “Comfortably Numb” is a bit perfunctory for Gilmour, yet it still ends up as a spectacular finale. The backing vocalists all danced to their own rhythm during the solo, with Romany rocking out, as has become her thing. The mirrorball effect was accompanied by the Intuit Dome in-seat lighting, activated when the front-rig overhead lights hit the ball. Most of the seats in the arena were lit as part of the effect, unique to this venue. If at all possible, this elevated the climactic proceedings.
After the show I stayed for a minute and watched the crew begin to break down that enormous stage. (David acknowledged his crew during the show.) I checked out as much of the venue as I could on the way out, found merch lines now way too long. Throngs packed the down escalators.
Since there is no more Pink Floyd, the solo tours have become the spectacles, aided by advances in technology. As there is always some level of spectacle associated with The Floyd, this show was no exception. If Gilmour is nearing the end of his touring career, he does so on a very high note.
Attending concerts has become a major logistic endeavor. The show is usually the reward for all the effort and headache endured in transit, and this one was an immensely fulfilling experience.
Set 1: 5 A.M., Black Cat, Luck and Strange, Speak To Me/Breathe, Time/Breathe (Reprise), Fat Old Sun, Marooned, A Single Spark, Wish You Were Here, Vita Brevis, Between Two Points, High Hopes
Set 2: Sorrow, The Piper’s Call, A Great Day For Freedom, In Any Tongue, The Great Gig In The Sky, A Boat Lies Waiting, Coming Back To Life, Dark and Velvet Nights, Sings, Scattered
Encore: Comfortably Numb
Capacity: 18,000
Opened in August 2024, the Intuit Dome is an indoor arena in Inglewood, California, south of SoFi Stadium. It is the home venue of the Los Angeles Clippers of the National Basketball Association.
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