Review: David Gilmour shines on at the end of a beautifully haunting three-night stand at the Hollywood Bowl

As a lifelong rock connoisseur who grew up with Pink Floyd’s groundbreaking tunes playing in the background, attending David Gilmour’s show at the Hollywood Bowl was like stepping into a dream I never wanted to wake from. The way his melodies weaved their magical spell over the audience was nothing short of mesmerizing.

Despite boasting an extensive musical and cultural heritage that’s hard to measure, musician David Gilmour, known for his guitar and vocal skills, could effortlessly bask in the glory of his well-deserved accomplishments, especially at 78 years old, when some of his British contemporaries like ELO’s Jeff Lynne are wrapping up their final tours of greatest hits. However, Gilmour, who became a member of Pink Floyd, pioneers of psych-progressive rock, just two years after the band’s formation in 1965, demonstrated his continued energy and relevance during his fourth show in Los Angeles and the culmination of a three-night run at the Hollywood Bowl.

If you’ve tuned into an FM rock station over the past fifty years, chances are you’ve internalized at least a handful of Pink Floyd songs without even realizing it. The albums “Dark Side of the Moon” (1973) and “The Wall” (1979), with global sales exceeding 80 million copies combined, have left an indelible mark on music lovers worldwide. Pink Floyd’s thought-provoking lyrics, combined with their trippy, often intense and poignant visuals, complement their unique sound to create an experience that is as captivating as the band itself.

The performance encompassed a 20-track selection lasting over two hours (including an interval), showcasing numerous Pink Floyd classics such as “The Great Gig in the Sky,” “Breathe (In the Air),” and a flawlessly delivered encore of “Comfortably Numb.” Even casual fans were satisfied, though it’s known that die-hard Gilmour admirers lean towards fanaticism. The distinctive sound and solos, particularly the evocative psych-blues of “Comfortably Numb,” are iconic.

Pink Floyd’s last extended tour ended in 1994; their solitary reunion concert in 2005 (at Live8) marked their final live appearance. The longstanding disagreements and tensions between guitarist David Gilmour and bassist, vocalist, and songwriter Roger Waters, rooted in personal, creative, and legal issues, are unlikely to resolve anytime soon.

Instead of Gilmour, the performance was exceptionally well-balanced, blending Pink Floyd classics with his solo work spanning five studio albums since 1978. Tracks from his upcoming 2024 “Luck and Strange LP” effortlessly melded with older tunes, largely due to a top-notch band featuring a trio of female vocalists/multi-instrumentalists who breathed new life into “The Great Gig in the Sky,” making it heavenly. The concert kicked off with two fresh compositions, including the title track with its subtle and reflective vibe, before diving into hits from “Dark Side of the Moon” and “Fat Old Sun” from the 1970’s “Atom Heart Mother.” A beautiful peal of bells introduced “High Hopes,” a song from 1994’s “The Division Bell” (the second Pink Floyd album without Waters), where Gilmour’s heartfelt, soothing vocal performance and enchanting guitar melodies intertwined beautifully.

Although some songs in the performance possessed a gentle and soothing tone, there were no dull or slow moments throughout the show itself. During the emotional rendition of “Wish You Were Here,” played beautifully with two acoustic guitars, you could hear the silence like the quiet before a storm. This track has garnered over 760 million streams and undeniably holds a prominent place in Pink Floyd’s extensive catalog. However, some might argue that the inclusion of “There’s No Way Out of Here,” a beloved song from David Gilmour’s 1978 solo album, would have made the evening even more captivating.

Starting from the 1990s, Polly Sampson, Gilmour’s frequent collaborator in lyrics, has been his wife. Her ability to portray sensitivity and contemporary issues often creates a poignant reality without being overly heavy. This is particularly true in the powerful “A Single Spark,” where Gilmour sings, “In these days of unpredictable times, I seek answers from the empty skies / Who will maintain order, who to praise with Hosannas?” The same sentiment is reflected in “In Any Tongue,” a critique of global war culture. The song’s moving animation and Gilmour’s skillful use of his tremolo bar create an atmosphere that is both ghostly and haunting. The family’s artistic talent extends to daughter Romany Gilmour, whose young, pure voice and demeanor carry a mature weight, as shown in the new song “Between Two Points.” Another standout track from the new album is “Dark and Velvet Nights,” which features big-screen animation by Julia Soboleva, a mixed-media artist from Latvia. Her unique outsider art style gives the visuals a rough, fresh, and almost mystical voodoo quality.

As I found myself in the heart of chilly Los Angeles on Halloween night, following the city’s electrifying baseball victory and amidst the tense anticipation of election day, Gilmour and Co. offered a captivating respite. Their performance was nothing short of a beautifully haunting evening, their music serving as a soothing balm to the tumultuous world outside. In every note, there was a poignant reminder of shared humanity, making their presence all the more welcome and memorable.

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2024-11-01 19:31