The Endless River, whilst considered by many to be a worthy addition to the Pink Floyd repertoire, wasn’t quite the return many naively had their hopes up for. With no album tour and time ticking on, it looks like the closest we’re going to get is either the Roger Waters The Wall tour, that saw one of Floyd’s founding members take his theatrical concept to the arenas and stadiums, or David Gilmour’s four-day stint at The Royal Albert Hall in support of his number one album Rattle That Lock.
The production had most of what you’d expect to see at a Pink Floyd show, but condensed into a smaller package. The Pulse circular screen, the elaborate image heavy short films, the plethora of astounding light arrangements were all there. Of course, the bells and whistles from a full Pink Floyd show were missing, but everything they could’ve fit into the hall they did.
Gilmour’s new track ‘Faces of Stone’ struck a sentimental chord, accompanied by a beautiful sketched animation following the story of an American military soldier in the Middle East and the jazz rendition of ‘The Girl In The Yellow Dress’ and it’s flirting saxophone play demonstrated some diversity.
Although once he hit with tracks like ‘Money’ and ‘Us and Them’ it became considerably harder to get as excited when he weaved in his solo material. Even ‘High Hopes’ from the polarizing Division Bell hit hard, regardless of how many Waters-era Floyd purists got up to go to the toilet during the song.
Gilmour’s nuanced guitar play holds up to legend, connecting with each note as well as he ever has and his massive array of delicately created tones at the Royal Albert Hall really was a treat. With an encore consisting of ‘Run Like Hell’ and ‘Comfortably Numb’ and lasers that sprawl across the hall as Gilmour transcends through those solos, it’s hard to not feel like you’re at a Pink Floyd show with maybe just a tad more humility.
Rob Sayers @