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‘Beauty and bedazzlement’: David Gilmour and band at Pompeii’s amphitheatre last week.

David Gilmour review – Pompeii rocks again

Pompeii, Italy Forty-five years on from Pink Floyd’s famous gig there, David Gilmour returns to the ancient amphitheatre

I t has been some while since the amphitheatre at Pompeii hosted any kind of audience – AD79, in fact, when Mount Vesuvius erupted and buried the ancient city five metres deep in tephra , only to lie undisturbed until the 18th century. But on Thursday evening, as the grass stood yellowing in the heavy July heat, it prepared to receive the crowds once more; not this time for some gladiatorial combat, execution or venatio , but for a concert by the English rock musician David Gilmour.

Notably, it was also a return for Gilmour himself, who last played this venue (if one can call such majestic surroundings a venue) in 1971, during his days with Pink Floyd. No audience was permitted then, and instead the show was filmed and released as a documentary , Pink Floyd: Live at Pompeii , the following year. And so, long before it begins, tonight’s concert has the ring of something momentous – for the place, and the player, of course, as well as those who will be here to witness it, flying from all over the world to mill outside the gates and wait all the long afternoon.

For this run of shows, part of the Rattle That Lock world tour, Gilmour has largely spurned the vast arenas of the modern rock tour and opted instead for a run of heritage sites – Circus Maximus in Rome, a chateau in Chantilly, amphitheatres in Verona and Nîmes and five nights at the Royal Albert Hall in London this September. His reasoning is that he is less interested in the size of a performance than the desire for audiences to leave the show with a sense of unforgettable occasion. Of these venues, Pompeii is the smallest – a mere 3,000 capacity compared with 17,000 in Rome.

Hosting a modern rock concert at a Unesco world heritage site and the oldest surviving Roman amphitheatre in the world is, it transpires, something of a logistical operation. For starters, the terrain is precarious – by Wednesday evening a member of the lighting crew had already broken his arm falling down a hole. Then there is the issue of toilets – tonight there are but 22 portable loos, fermenting gently in the warm air. And there is the matter of the pyrotechnics – with hours to go before the show, permission for fireworks still eludes the organiser. Once permission is finally, cautiously, granted, a group of red-suited firemen gather on the summa cavea (the higher tiers), wearily unravelling a hose. Mount Vesuvius looks on in the distance, as if she might just join in for the hell of it.

For all the air of history tonight, there is a sense of modernity too: largely in Gilmour’s recent recasting of his band. Though Guy Pratt remains on bass and Steve DiStanislao on drums, they are joined by Chuck Leavell (the Rolling Stones’ keyboard player since 1981), and Michael Jackson’s musical director, Greg Phillinganes , on keys; Chester Kamen on guitar and João Mello on saxophone; and Bryan Chambers, Louise Clare Marshall and Lucita Jules on backing vocals.

At nine o’clock, the sky a soft peach, the amphitheatre filled with the billow of smoke machines and the warm burr of chatter from the audience, lights suddenly splay out across the cavea and the opening notes of 5am fill the air.

Much of the opening set, which runs for a little over an hour, strikes a quietly momentous tone. At times, there is something spectral about it; the audience standing more in reverence than roaring fury until the unexpected performance of Pink Floyd’s Great Gig in the Sky – a song Gilmour has never played solo – causes an emotional surge to ripple across the crowd and carry on through Wish You Were Here, Money and on to the first section’s culminating track, High Hopes.

A brief interlude follows before the band returns for the second set, opening with One of These Days – the only song tonight to have been played at Pink Floyd’s 1971 performance. Despite Gilmour’s decision not to echo the original Pompeii show, there is still a sense of return and completion, of something coming full circle, there in the giant round screen, and the curve of the building, the sharp crescent of a moon above. And though he does not play bare-chested this time, Gilmour himself seems quite unchanged – his voice, still that beautiful, gravelled thing, his guitar still holding its bluesy depth and sharp wistfulness.

It is hard to stand in this amphitheatre and not to feel that somewhere old ghosts are stirring. Gilmour himself makes mention of them as he plays A Boat Lies Waiting, his 2015 tribute to Rick Wright, and, though it goes unmentioned, Shine on You Crazy Diamond seems to carry more weight tonight – 10 years to the day since Syd Barrett passed away .

It is impossible not to notice the keen emotion across the crowd’s faces, and yet there is a pervading air of politeness – the audience, one senses, somewhat overawed by the locale, and Gilmour offering a charming and quintessential Englishness: “Thank you very much indeed,” he tells the crowd, shortly after Run Like Hell and a burst of golden fireworks shooting into the night. “Thank you. We’ve had a lovely evening.”

Still, this does not dilute the passionate intensity of the occasion – much of which should be attributed to the lighting designer Marc Brickman, who in the course of the most remarkable light show unleashes lasers so bright the band are forced to wear shades, beams of turquoise and green and red that go macrame-ing across the sky during the grand finale of Comfortably Numb. As the lights die and the night rises once more, it is pleasing to recall that in its day this space was known as a spectacula . In tonight’s extravaganza, in all its beauty and bedazzlement, it appears to have earned that name once more.

Pop and rock
The Observer
David Gilmour

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The inside story of Pink Floyd’s classic Live At Pompeii

A maverick filmmaker, a band reaching the peak of their powers, an iconic venue steeped in history, and a singing Afghan Hound: this is the inside story of Pink Floyd’s Live At Pompeii

In 2017, to coincide with the release of the DVD of his return to Pompeii, David Gilmour said about the film of his old band’s performance at the same venue 46 years previously: “I find it rather embarrassing. I’m sure it’s a lot of fun for many people, but not much for me.”

Of course, a great deal of what Gilmour says often comes with an inbuilt wink – at times in the past he has been very affectionate toward the film. It’s an antique and a curio, to be sure, but is it embarrassing as part of the band’s legacy? Let Prog take you on a journey back to four beautiful young men, a sultry, historical amphitheatre, and a young film director, brimming with art and ideas…

Although it was grandly billed as “More Than A Movie! An Explosive Cinema Concert”, Pink Floyd : Live At Pompeii is a small, personal film, which sets Pink Floyd, then at the tail end of their space rock phase, at the very heart of the European art scene. It crowned the era in which the group were scoring ballets, adding soundtracks to foreign art movies and recording in Paris. With a German-Belgian-French-made film set in an arena at the heart of the origins of Europe, Live At Pompeii represents Floyd as part of a continental musical movement, quite distinct from their American contemporaries.

In its own quiet and archaic way, Live At Pompeii expanded the band’s reputation throughout the 70s, in tandem with the success of 1973’s The Dark Side Of The Moon . As the decade progressed, through one-off and late‑night screenings in the UK and the US, it did their touring for them. For new fans, Live At Pompeii (as with their cut‑price sampler, Relics ) catapulted the band back to another era.

The film’s second version, released in 1974, as the Floyd became glacial and removed, showed the band sharing lunch and recording in a moment of seemingly Fabs-type bonhomie. Although today these sequences bear out Gilmour’s view, it was enough for this writer and countless other viewers to be happily taken in.

“It’s just us playing a load of tunes in the amphitheatre with some rather Top Of The Pops -ish shots of us walking around the top of Vesuvius and things like that,” Roger Waters said at the time of the film’s release. “I think Pink Floyd freaks would enjoy it.”

Although shot on 35mm, Live At Pompeii was originally made for television. Like so much in the Floyd’s career, it was a happy accident. It was the vision of UK-born, Paris-residing director Adrian Maben. Maben had not emerged from the Cambridge/London art clique that had surrounded the group. He was young and working for French television. “I was into art films, making portraits of Magritte and art movements,” Maben tells Prog from his residence in Paris. “Art became something new and vibrant.”

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A Parisian youth at an exciting time, Maben had met Jean-Luc Godard and marched with the students in 1968, but despite all this, there was a general mistrust in the capital of rock music. “There were few rock programmes – it was just noise to the people who ran TV, even the intelligent ones.”

It was not the case in neighbouring Belgium. “Belgian TV was more open to the possibilities of making rock films, so I went to Brussels and did a couple of films there with East Of Eden and Family. I learned a lot.”

With these films under his belt, Maben set about ensnaring the group that he really wanted to record. Pink Floyd seemed to marry both his love of art and music perfectly. More to the point, they had piqued his curiosity – he was intrigued by them. “When you listened to their records at the time, it was very strange – you didn’t quite know how they made their sounds.

“I thought it would be very interesting to show how they made their noises, their electronic sounds, and put them all together. I found their music fantastic and different compared to other groups. You had all the little whispers, and the noises, and the shrieking. It was a different world, and that different world was absolutely fascinating.”

Maben phoned the group’s manager, Steve O’Rourke, in early 1971 and set up a meeting with him to discuss his vision, “a marriage of art and the Pink Floyd”. After this initial contact, he heard nothing. He called O’Rourke again and a second meeting was arranged, this time with David Gilmour present. Gilmour was, as Maben says, “very nice and told me they would think about it”. And then, again, nothing.

Then there was a tentative agreement – the group would film later in the year. No location had been decided on for the film. It was only when Maben was touring Italy that summer that he found his spot. He chanced upon Pompeii, the city on the outskirts of Naples that had been destroyed by the eruption of the volcano Vesuvius in AD 79, with up to 11,000 residents buried in ash. The city was first rediscovered in the late 16th century, and soon established itself as a magnet for visitors from around the world.

It was a mishap with Maben’s passport that led to him going back to the once great city’s amphitheatre at night. He thought it would be perfect for the group to play in. Maben was later to say, “It was the silence, it was the night time, it was eerie – this is the place the Pink Floyd have got to be.”

Importantly, unlike recent concert films, it would just be the group performing alone, without an audience, playing to the silence.

Putting a rock band, let alone making a film, in what was to become a World Heritage site just a handful of years later was not straightforward. Again, Maben, an extremely methodical individual, was not going to let red tape stand in his way.

Through one of the film’s producers, Maben knew of someone onside at Naples University: Ugo Carputi, a professor of ancient history. Carputi went to Haroun Tazieff, the Soprintendenza in charge of the site.

“Rock’n’roll in the centre of Pompeii wasn’t exactly their cup of tea,” says Maben. “They were frightened of a huge crowd clambering over monuments, taking away stones. I told him I wanted to do a concert where the only thing we will see is the Floyd themselves, a bit of the crew, zero spectators. That’s what finally clinched it. The Soprintendenza didn’t know who Pink Floyd was, but fortunately Carputi did – he’d heard their music and liked it.”

Carputi could get the amphitheatre closed to the public for six days.

The whole thing was to move away from, as Maben said, “the show and people reacting to the show”. Ever since the footage of the hyperventilating girls experiencing Beatlemania, the audience cutaway shot had become de rigueur in film, with Woodstock and Gimme Shelter featuring their audiences almost in equal measure to the bands. Maben was adamant that it should not be just another concert film, and he was clear that he wanted to capture Pink Floyd differently.

“It was to be an anti- Woodstock ,” Maben continues. “Above all, there should be the notion of silence, and the images [of Pompeii] would speak for themselves with the music. It was something that had to stand on its own: the Floyd and the emptiness of the theatre. Maybe, just maybe, it was like they were playing for the ghosts of the dead. The real miracle is that Live At Pompeii escaped a TV format and became a film with international distribution.”

The film was to be made and financed for TV by the Belgian Radio Télévision Belge Francophone, the German company Bayerischer Rundfunk and the French Office de Radiodiffusion-Télévision Française. However, producer Reiner Moritz suggested that it should be filmed on three cameras using high-quality 35mm film. This contributed to the film’s longevity and success. The main stipulation from the group was that they would not record to playback – it had to be live – and they needed to make the film to full studio quality. Road manager Peter Watts pushed for full multitrack recording and for it to be as good as any studio.

“The one thing the Floyd insisted on was doing a multitrack recording and they were 100 per cent right,” Maben says. “That meant recording in situ, so the recorder came from Paris because we couldn’t get one in Rome.”

Hired from Studio Europa-Sonor, it came with engineer Charles Rauchet, who set it up in a corner and recorded everything. “He was very good, because he accepted that we would stop and start. The Floyd seemed fairly happy about it.”

As a result, the live performances are remarkable for the way the sound bounces off the stone walls. “Peter Watts said the sound had a kind of echo to it, not a dry sound like in a studio. He suggested that the Romans who built the amphitheatre thought not only of the structure but also of the acoustic qualities.”

Filming took place in early October 1971, just after the end of the band’s short European tour and their recording of the BBC’s Sounds Of The Seventies at the Paris Cinema. Maben had booked six days for the shoot. The Avis trucks unloaded the group’s equipment… and then the electricity packed up.

“I’d been to see the Soprintendenza two weeks before and he assured me that the electricity would be no problem as it worked for the whole of the site. When we tested it and the Floyd were arriving, it didn’t work.”

The Floyd arrived from London, and two days passed – which meant they only had three days in which to shoot. Eventually, a cable was run from nearby modern Pompeii to the amphitheatre, meaning the filming could happen.

It wasn’t straightforward either when they went to film the cutaway shots of the group walking amid the sulphurous mud at nearby Boscoreale on the slopes of Vesuvius. That day, the band’s transport became stuck behind the annual Our Lady Of The Rosary procession in Pompeii.

On the eve of shooting, Steve O’Rourke sprang a surprise – he produced a test pressing of the group’s yet-to-be-released album, Meddle , and told Maben that the film was to feature two of its songs – and one of those songs, Echoes , was 23 minutes long.

Maben says: “Steve arrived and said, ‘Here’s what we really want to do.’ I told him that he couldn’t expect me to work on this for the following morning because I’d planned for everything else.”

A deal was struck that the group would do the new numbers and then everything else. All the camera angles and tracking were mapped out the night before shooting. Everything had to be very precise.

Maben was filming with experienced cinematographers – the Hungarian-Italian veteran Gábor Pogány and Belgian Willy Kurant, who had collaborated with Serge Gainsbourg and Orson Welles – and several people he’d already worked with, such as cameraman Jacques Boumendil and script person Marie-Noël Zurstrassen. The film equipment came from Italian studio Cinecittà, to save money on shipping it from Paris. In the end, only three numbers – Echoes , One Of These Days and A Saucerful Of Secrets – were recorded at the amphitheatre.

“It was hard work,” Nick Mason said in his Floyd biography Inside Out , “with no leisurely nights out sampling the local cuisine and wine list, but the atmosphere was enjoyable, with everyone getting on with their jobs.”

Probably most lovingly remembered from the film is Roger Waters whacking his gong during A Saucerful Of Secrets and the tracking shot of the rear of the wall of amps during Echoes . It’s so iconic, and the stencil on the cabinets (‘Pink Floyd. London’), with its lone full stop after ‘Pink Floyd’, is so powerful. When you think of all the money they went on to spend on kit, pyrotechnics, walls and so on, this simple lettering is equally memorable.

The inclusion of Echoes really made the film. And the final pan away, making the band look so small amid all that space, is incredibly haunting, there among all the ghosts.

“The elements that seemed to make it work,” Mason told Hugh Fielder in 2016, “none of which we really thought about during the filming, were the decision to perform live instead of miming, and the rather gritty environment created by the heat and the wind.”

After the final day’s filming on October 7, 1971, the band departed to commence an American tour. But there was still footage needed, so time was allotted from December 13 to complete the film at the Studios de Boulogne near Paris. Waters and Gilmour also suggested that some overdubbing of the Pompeii sound was done at the nearby Europa-Sonor studio, which was where Edith Piaf recorded.

“We spent a whole day working with Charles Rauchet, eating oysters, drinking a few beers, joking and working,” Maben recalls. “It was a wonderful experience that I will never forget. That was filmed with a small black-and-white 16mm Éclair Coutant camera.”

That footage was later to surface in the film’s 2003 Director’s Cut . This could be viewed as rather embarrassing. Waters and Gilmour look as if they have had a private competition to see who could appear more wasted. Waters performs his well-worn obstreperous shtick when asked, “Are you fairly happy about the film?” He replies, after ostentatiously puffing out smoke rings, “What do you mean, happy?” Maben: “Do you feel it’s going in a direction that is interesting?” Waters pauses. “What do you mean, interesting?”

For someone who downplayed drug use, he looks out of his gourd.

The Studios de Boulogne sessions spawned new versions of Careful With That Axe, Eugene and Set The Controls For The Heart Of The Sun . “We had to do some recuts of songs in Paris for continuity, and they tried to convince me that I wouldn’t notice in the final thing,” Gilmour told Rolling Stone.

On Track: seated on the tracking rails are Claude Agostini with his camera assistant, waiting to film Nick Mason after the Echoes Part I introduction. Left-hand side: David Gilmour with cameraman Jacques Boumendil and his Italian assistant.

Rick Wright had had a shave, and the band performed in front of a huge screen showing Transflex projections of them recorded at Pompeii. Although the band and director weren’t keen because of the tight timescale and budget, it had to stay – and it adds tremendously to the film’s charm.

“I think if I’d not told anybody it was done in Paris,” Maben ruefully adds, “I think everybody would have thought the whole thing was done in Pompeii.”

There was a third number recorded in Paris. Floyd are not known as a ‘fun’ band, but Mademoiselle Nobs , the second of Floyd’s canine quadrilogy (after Seamus , and before Dogs and Dogs Of War ), was recorded with Maben’s friend Madonna Bouglione’s Afghan Hound, Nobs. The images of Wright holding the mutt at a microphone while she moaned over Waters and Gilmour’s generic blues is possibly not the group’s greatest achievement, but it’s a wheeze.

The original hour-long cut of Live At Pompeii was premiered at the Edinburgh Film Festival in 1972. Maben only knew this after reading a snippet in the newspaper the following day. The film was to be shown on November 25, 1972 in London. Some 3,000 fans turned up for a screening at the Rainbow Theatre in Finsbury Park, only to be turned away as there was a clause in the lease of the Rank-owned venue that meant it couldn’t do anything that would compete with its cinema chain. On top of that, it couldn’t be shown as it had yet to be properly certified. Waters was asked his opinion of the Rainbow fiasco. He answered: “Rank.”

Maben felt there was still work to do. “In the summer of 1972, I began to suspect that something was missing in the first version of the film. The band played like frozen statues in the amphitheatre, but we knew nothing about their character or how they create and produce their extraordinary sounds. I went fishing with Roger on the River Teme near the Welsh border and asked him if it might be possible to film them recording their next album. Roger replied that he would think about it and ask the other members of the band. A few months later, he rang me in Paris and told me, ‘OK, we’ll do it. Come to London next week with a minimal crew and please, no interference with our work.’”

Adrian Maben with David Gilmour at Pompeii in 1971

Maben arrived with a small crew at Abbey Road on October 16 and remained around Studio 2 for a couple of days before getting “politely thrown out”. “He came to Abbey Road where he filmed us finishing off the recording of The Dark Side Of The Moon ,” Gilmour said in 2017. “It captured a moment in time.”

It was this footage that extended the film to 80 minutes, and became the version that gained a general release in the summer of 1974.

Waters said, “He came to London and shot us… for a couple of days, which has made it much more lively and it’s quite an entertaining film.”

Reviews for this version of Live At Pompeii , however, were mixed: Cash Box magazine said the film went “beyond perfection”, while Melody Maker reckoned it was “a Zappa‑esque musical pastiche”. Billboard weren’t keen – they called it a “floaty film of ancient statues and artefacts, sunstruck shots of the boys cavorting carelessly over the hills, and cheap psychedelic atmosphere stuff that looks left over from the mid-60s mixed-media shows”.

Some of the confusion may have come from how the film was billed – “At Last The Rock Wizards Are Unleashed On Film” and “More Than A Movie!”

“The movie is not particularly explosive and certainly not ‘more than a movie’,” Billboard sniffed. “It is, in fact, rather dull, unimaginative and hokey and does not do justice to the Pink Floyd vision.”

All of this meant nothing to the group’s legions of fans, who quietly set about seeking out and loving the film as it appeared fleetingly in one-off screenings and, that pre-video stamping ground of the rock movie, late-night cinema.

Bang A Gong: Roger Waters’ iconic moment in Live At Pompeii

“It was the American midnight circuit that was the key to understanding the modest success of the film,” Maben says. “Philippe Borak, based in Cincinnati, was the original American film distributor, but it was George Ritter, based in Canada, who was responsible for the film’s cult status. George understood that the students on the campus of North American universities were looking for something different. The operation was referred to as the ‘midnight circuit’ and George sent the heavy 35mm cans of film to as many cinemas as possible in North America. It was a brilliant idea because the other cinemas in the malls were for old people who watched Hollywood blockbusters. Live At Pompeii was not their idea of fun at all.”

In the UK, the film frequently went out on a double bill with Tony Palmer’s short film of Fairport Convention and Matthews’ Southern Comfort live in Maidstone in 1970.

Live At Pompeii marks closure for the European Floyd, before America tried to drag them to its breast. It’s nothing to do with stadiums, cherry bombs, firecrackers or good times – it’s Floyd, alone at the cradle of modern civilisation, making unusual, space-focused music, on the site of one of the greatest natural disasters in history, with the sun and its rays reflected off the walls and their gong. Pompeii itself, and its incredible October light, is in many ways one of the stars of the film. Its majesty, eeriness, sense of broken progress, of a civilisation brought to its knees, suited the Floyd and their audience’s cosmic consciousness.

Dave Gilmour, Nick Mason and Richard Wright in action

And the band’s look was crystallised in that moment: Waters in his black T-shirt with the haircut that eventually every comprehensive schoolboy had in the early 70s; Wright with his shirt off, obscured by a beard; Gilmour looking like someone who had just come to life from an Etruscan fresco in Pompeii; and finally, Mason, captured in his all-time classic look, all tache and curls, looking like David Bedford, the contemporaneous UK Olympic long-distance runner and the initial inspiration for the 118 TV adverts.

What made Live At Pompeii unique for its time was that you saw all the workings of a pop group. The Beatles had attempted to do this with Let It Be , wishing initially to film their rehearsals and culminate in a gig on an ocean liner or at the pyramids, but instead ending with a downbeat show on their office rooftop.

With Live At Pompeii , there’s no artifice. You can see all the wires and a band at work. This is what makes it so intriguing.

“The band at work is exactly what we wanted to get,” Maben says.

The juxtaposition of their barrage of technology in that ancient, empty place never ceases to excite. And although the trucks that drive in the equipment have dated, as have the players, the rest is timeless.

Live At Pompeii is never less than vastly influential, and a capture of beautiful young men finding their feet. But is it, as Gilmour suggests, embarrassing? There is, when anyone is presented with footage of their younger selves, an immediate instinct for one’s toes to curl. Gilmour spoke of himself in 2006 as that “young chap”, saying, “If I hear him speak, like in Live At Pompeii , I do find it excruciating, because he was pretentious and naïve.”

Roger Waters: he’s got wild staring eyes and a strong urge…

Gilmour, of course, is never one to look back that often. He added in 2017: “Doing the actual recording in the amphitheatre back then in Pompeii was great, but we had to turn it into a more interesting document of what was going on. Adrian wanted to make an art film with art and music in a special place. So the idea changed a bit and it felt to him and to us that more stuff was needed.”

“They were curious, I think,” Maben says. “They wanted to explore different avenues visually and on the music side. They did the ballet with Roland Petit. No other rock group that I can think of would have done that at the time.”

Maben was subsequently asked to repeat his formula – Deep Purple at the Taj Mahal or The Moody Blues in the Grand Canyon – but the very fact he didn’t helps the film retain its uniqueness, and that the Floyd never made another conventional performance film in their heyday keeps it pristine. Like the albums it primarily showcased, it still remains a rite of passage for new generations of fans everywhere.

Roger Waters was in favour of the film: “I liked it because it’s just a big home movie.”

Although Rick Wright didn’t say a lot on record about Live At Pompeii , his comments in the Paris segment of the film have gone on to be possibly the most heard of all. “We’re very tolerant with each other, but there are a lot of things unsaid as well.”

These words were to open 2014’s The Endless River , Gilmour’s coda to Pink Floyd, and tribute to Wright.

“I don’t think any of us thought it [ Live At Pompeii ] would be as well‑received and last in people’s minds for as long as it did,” Gilmour said in 2015. “All credit to him [Maben]. It’s his idea and it was great.”

Perhaps Live At Pompeii wasn’t that embarrassing after all.

Food Fight: Floyd get candid in the canteen

Eggs, sausage, chips and beans and a tea

Behind the scenes at Abbey Road on the Director’s Cut of the film.

The second version of Live At Pompeii, with its infamous Abbey Road canteen sequences, has been said to diminish the film’s mystique. Before the days of being coached on how to present to camera, the group appear as an unruly bunch of kids trying to act grown up.

In fact, as the road crew pass around Allen Jones’ art book Figures, the discussions between the group about the glasses of milk and apple pie “without crust” could almost be like the Haribo adverts for sweets which are on UK TV at the time of writing, which replace adult voices with those of children. Here are some of the choice quotes from these fabled exchanges.

Gilmour: “Can I have a glass of milk please?”

Mason: “How do you know this isn’t yours?”

Wright: “Because it hasn’t got peas on it.”

Mason: “Well, this has got ham on it.”

Wright: “Is this your milk, can I drink it, have a sip?”

Mason: “I’d like some pie and not the crust.”

Elsewhere, there is a very 1972 undercurrent of man and machine: Gilmour talks about whether the equipment is controlling them or whether they are being controlled by it, while Waters adds that it’s “a question of using the tools that are available when they’re available. And more and more now there are all kinds of electronic goodies which are available for people like us to use, who can be bothered and we can be bothered.”

On whether these new machines could be responsible solely for their success, Gilmour insists, “It’s all extensions of what’s coming out of our heads,” while Waters says, “It’s like saying, ‘Give a man a Les Paul guitar and he becomes Eric Clapton.’ It’s not true. Give a man an amplifier and a synthesiser and… he doesn’t become us.”

The images of Gilmour and Wright playing are complemented by the timeless image of Waters’ veiny arms twiddling the knobs of his synth, saying, “Can I put this down? It’s just on the… It’s just on the first note?” There’s a delay; the phrase ‘Stay cool’ is said, almost as if a Vesuvius-like eruption could be encountered.

Waters is prescient in saying that rock’n’roll will not be dying any time soon. Mason also suggests that their era may be passing, and that the group represent their fans’ childhood. As this dissolves immediately into Wright playing Us And Them at the grand piano, it’s strangely moving. And then we’re back to that canteen and their fruit pies…

“Now I think about it, the main quality of each member of the band was probably a great sense of humour,” Maben says. “Roger once told me that it enabled them to avoid infighting.”

Original film posters for the film’s UK release

A film is never finished

There have been three versions of the film so far, released in 1972, 1974 and 2003, with another potentially on the way. Adrian Maben explains why.

“In reality, a film is never finished and one’s opinion changes over time. You don’t just put it in six cans or on a hard disc and say, ‘That’s it, let’s move on to something else.’ On the contrary, you try to find a method, and some money, to change the old version into something new that hopefully will be more contemporary.

“It’s like the French painter Pierre Bonnard, who was well known for always wanting to retouch his paintings, even when they were hanging on the walls of the Louvre. He always carried a small paintbox in his pocket and used to tell the irate museum guardians who tried to arrest him that they were his paintings and that he could do whatever he wanted with them. The word ‘Bonnardisme’ even found its way into the dictionary: ‘A discouraging tendency to be overly perfectionist!’”

Live at Pompeii tries to adapt to the extraordinary changes that are being made in cinema techniques today: from the original 35mm film shot in 1971 with a release on VHS cassettes and laser discs to the DVD version released in 2003. Now, of course, everything is on hard discs, with the possibility of releasing a 4K version in the future – and the Japanese are reported to be working on 8K television sets.

As Roger Waters once remarked, “Technology is advancing at an incredible speed and we need to take advantage of the electronic goodies that become available on the market.”

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Daryl Easlea has contributed to Prog since its first edition, and has written cover features on Pink Floyd, Genesis, Kate Bush, Peter Gabriel and Gentle Giant. After 20 years in music retail, when Daryl worked full-time at Record Collector, his broad tastes and knowledge led to him being deemed a ‘generalist.’ DJ, compere, and consultant to record companies, his books explore prog, populist African-American music and pop eccentrics. Currently writing Whatever Happened To Slade?, Daryl broadcasts Easlea Like A Sunday Morning on Ship Full Of Bombs , can be seen on Channel 5 talking about pop and hosts the M Means Music podcast.

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Pink Floyd, still giving me goose bumps 40 years later and about to release a new album.

I have patiently waited 20 years to receive news from afar that we will once again be blessed with the next chapter of music from the eternal Pink Floyd and to say that I feel a fair amount of anticipation and excitement regarding the immanent release of their new album “The Endless River” in October 2014 is an understatement of epic proportions.

Having met at college in 1965 Syd Barrett, Nick Mason, Roger Waters & Richard Wright formed Pink Floyd and thankfully adding into their mix in 1967 the ever present front man David Gilmour (who in my opinion actually is “gods own guitarist”) and whatever your views regarding the politics that led to the eventual split from the band of Roger Waters, the music that both sides have gone on to produce either solo or as Pink Floyd I for one have been left begging and pleading for more.

When my cosmic melodic intervention occurred and I was exposed for the first time to the stirring sounds of Pink Floyd I was hanging out with my best friend, it was a scorching summer day in Sydney in 1974 and I was sitting in the back of her boyfriend’s 308 Sandman Panel Van with a few other mates winding down Mona Vale Road in Sydney’s eastern suburbs on our way to Warriewood Beach. The tail gate was open and the curtains were dancing in the humid air that was wrapping around the van kissing our faces as we looked out staring at the gum trees and native flora going by that was abundant on both sides of the road leading to the beach back then.

As we drove through the summer heat the tape deck proudly displayed on the dashboard came to life and it was in that moment that I heard the first spectacular musical notes of “Dark Side of the Moon” seducing me through the speakers that had been lovingly wired in and hanging in the back of the van. I remember suddenly feeling a realisation that I was being transformed experiencing the initial dose of “Floyd” goose bumps and the ensuing release from the mind numbing ordinary and as I came to life I knew then I would never again return to how I was before tasting those first delicious musical morsels of that album that consequently stayed in the charts for a monumental 741 weeks between 1973 and 1988.

When I saw my beloved Pink Floyd in 1988 at the Sydney Entertainment Centre after lining up at 5am to get tickets weeks before, I had found myself bleary eyed and third in line from the box office window when I secured seats 16 rows back from the stage and on the night in the midst of the other unwavering fans I took my seat nervously awaiting the arrival of the musical gods and goddesses who were about to gift us with one of the most profound live musical experiences I would ever have and one that is still unmatched to this day.

As the lights dimmed the moment had finally arrived and my idols walked onto the stage in all their glorious splendour assuming their positions and composing themselves as if they knew they were about to blow us away. When those first magical notes rang out almost instantaneously the floor began vibrating and as the music made its way up through my body it exploded out of the top of my head when I jumped to my feet as the arena erupted and it was clear we were hearing the unmistakable beginning sounds of “Shine on you Crazy Diamond”.

Not knowing where to look first, I felt myself being transformed as the music washed over me holding me in a place of uncertainty and wondering once again if I would be reborn and delivered by the musical perfection that was blossoming and unfolding like a spring flower bearing its brilliant soul to the world. I made a conscious decision to drink in every single moment that night as I gazed in disbelief at the Dalek like machines rising from the stage shooting their laser beams in time with the music across the audience before disappearing again as the band bathed in the soft mist of the smoke of the psychedelic atmosphere that is the genius of Pink Floyd.

I could happily have left at the end of the first song that night satisfied that I had lived a live music experience that nothing would ever come close to or better in my life time but get better it did with each perfect note that poured out one after the other taking me to a higher plane with every glorious heavenly song that was played but those moments were fleetingly tainted with a heavy feeling in the back of my mind that I would never experience this again and I couldn’t bear the thought of it ending.

And so I have waited for news of their return and whether or not I live to see them in the flesh again in whatever form they have morphed into with the sad passing of the late great Richard Wright in 2008 remains to be seen and in the meantime I have kept the hunger at bay with my records, tapes, CD’s, DVD’s and IPod still getting those goose bumps and soon I will be drinking from the psychedelic sounds of the “Endless River” but until then rock and roll on October!!.

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Pink Floyd don’t really need introducing, do they? The Dark Side of the Moon is the second biggest-selling record in history, they pioneered progressive rock as we know it today, and are unquestionably one of the most influential musical groups in history. We are talking about a band, here, who are so big that one of their tribute acts - The Australian Pink Floyd Show - play arenas themselves. In 1994, they played their final tour dates in support of their final album to date, The Division Bell, which certainly showed no sign of them slowing down commercially; it remained on the UK charts for fifty-one weeks. Ten years after the departure of Roger Waters, though, their creativity was beginning to fizzle out. After ten years of dormancy, they were persuaded to reform - Rogers included - for Live 8, and played a stunning set that opened with ‘Breathe’ and ended on an extended version of ‘Comfortably Numb’. It would prove to be their final ever show, too, with keyboardist Richard Wright passing away in 2008. Later this year, however, they’ll release one last album, The Endless River, based on material from 1994 sessions that were tentatively known as The Big Spliff; there’s always the possibility that Dave Gilmour and Nick Mason will mark its release on stage.

It's very unlikely that they will perform live again but one can be optimistic. I saw them in 1994 and without doubt, it was one of the highlights of the year for me. They played a number of nights at Earls Court in London. Unfortunately, one night some of the seating collapsed and there were possibly some injuries, I wasn't there that night. The line up was obviously (as any fan would know) without Syd Barrett! Also, Roger Waters had already left the band. The visual aspects of the concert including the flying pigs, the aeroplane moving diagonally across the roof of the venue, the circular screen showing various films, some rather manic, were mesmorising, but without doubt it was the music and Dave Gilmour's singing that was the best part of the show.

Fans were well pleased with all the favourites that were included like Money, Comfortably Numb, etc. A truly awesome night of music.

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The Day Pink Floyd Played Their Final Concert With Roger Waters

Roger Waters played his last complete concert with Pink Floyd more than four years before officially parting ways . Waters joined David Gilmour , Richard Wright and Nick Mason on June 17, 1981 at Earls Court in London for the final date of The Wall tour.

But this wasn't the end of any old tour . To promote Pink Floyd's sinister rock opera, the band created a massive stage show that required eight additional musicians and more than 80 crew members. Gerald Scarfe's gruesome animations played on giant projectors, huge balloon characters menaced the audience and (in a moment of sledgehammer symbolism) an enormous wall was erected onstage between the band and its fans.

Because of the all of the unparalleled spectacle of The Wall shows, Pink Floyd eschewed the usual multi-city tour in favor of setting up camp in a few cities in the U.S. and Europe and doing short runs of performances. Between February 1980 and June 1981, the band played 31 of these concerts in Los Angeles, New York, London and Dortmund, West Germany, before returning to London for five more shows.

The story goes that Waters — who conceived and wrote the majority of the songs on The Wall — pushed for the last five London shows in order to film them and then include the footage in a feature film. Waters' original plan was that he would star in The Wall movie, which would incorporate scenes from Pink Floyd concerts. In the end, Waters was replaced as lead actor by another singer, Bob Geldof , which made the concert stuff with Waters incompatible. Regardless, the live footage was determined to be dark, grainy and unsuitable for theatrical presentation.

Alan Parker, who would direct Pink Floyd's The Wall , later described the attempts to film the concert version of The Wall as "five blown opportunities." Meanwhile, guitarist and singer Gilmour would claim that only a handful of songs were appropriately captured by the cameras. "About 20 minutes were shot — for example, 'Hey You,' where the camera was behind the wall focusing on us, then it went up and over the wall onto the audience," Gilmour told Record Collector . "That's a great bit of footage. But only three tracks were filmed."

Even though the impetus for the concerts failed to pan out, the last five gigs still served as a swan song for Floyd's core four — not that it was the most pleasant of experiences. For instance, keyboardist Wright had previously been ushered out of the band by Waters and participated in The Wall shows as a salaried sideman. Ironically, Wright was the only member to make money off the shows. The other guys all took losses on the deal because of the expense of such a spectacle.

Years later, Wright would become a full member of Pink Floyd once again, but only after the exit of Waters. Before he left, Waters made one more Floyd record, 1983's The Final Cut , which many fans consider a Waters solo album in all but name, because of his bandmates' limited involvement.

After releasing an actual solo disc, The Pros and Cons of Hitchhiking , in 1984, Waters tried to disband Pink Floyd, only to discover that the other guys were interested in keeping the group alive. After some ugly litigation, Gilmour, Wright and Mason soldiered on under the Pink Floyd banner. Waters retained the rights to The Wall , which he later performed in concert as a solo artist.

Pink Floyd's most famous lineup got together one more time, though it wasn't for a complete performance. Gilmour, Wright, Mason and Waters gathered for a brief set at the request of Geldof (Waters' replacement in The Wall movie) during 2005's Live 8 benefit concert in London, playing a handful of songs – including one that Pink Floyd last performed with all four members back in June 1981: "Comfortably Numb."

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The Australian Pink Floyd Show Setlist at Sands Bethlehem Event Center, Bethlehem, PA, USA

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Shine On You Crazy Diamond (Parts I-V) ( Pink Floyd cover) Play Video
Time ( Pink Floyd cover) Play Video
Breathe (Reprise) ( Pink Floyd cover) Play Video
On the Turning Away ( Pink Floyd cover) Play Video
Wish You Were Here ( Pink Floyd cover) Play Video
Us and Them ( Pink Floyd cover) Play Video
Any Colour You Like ( Pink Floyd cover) Play Video
Brain Damage ( Pink Floyd cover) Play Video
Eclipse ( Pink Floyd cover) Play Video
The Happiest Days of Our Lives ( Pink Floyd cover) Play Video
Another Brick in the Wall, Part 2 ( Pink Floyd cover) Play Video
Pigs (Three Different Ones) ( Pink Floyd cover) Play Video
Learning to Fly ( Pink Floyd cover) Play Video
The Great Gig in the Sky ( Pink Floyd cover) Play Video
Hey You ( Pink Floyd cover) Play Video
What Do You Want From Me ( Pink Floyd cover) Play Video
Sorrow ( Pink Floyd cover) Play Video
One of These Days ( Pink Floyd cover) Play Video
Comfortably Numb ( Pink Floyd cover) Play Video
Run Like Hell ( Pink Floyd cover) Play Video

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6 activities (last edit by sicko , 28 Jun 2021, 19:44 Etc/UTC )

Songs on Albums

Another Brick in the Wall, Part 2 by Pink Floyd
Any Colour You Like by Pink Floyd
Brain Damage by Pink Floyd
Breathe (Reprise) by Pink Floyd
Comfortably Numb by Pink Floyd
Eclipse by Pink Floyd
Hey You by Pink Floyd
Learning to Fly by Pink Floyd
On the Turning Away by Pink Floyd
One of These Days by Pink Floyd
Pigs (Three Different Ones) by Pink Floyd
Run Like Hell by Pink Floyd
Shine On You Crazy Diamond (Parts I-V) by Pink Floyd
Sorrow by Pink Floyd
The Great Gig in the Sky by Pink Floyd
The Happiest Days of Our Lives by Pink Floyd
Time by Pink Floyd
Us and Them by Pink Floyd
What Do You Want From Me by Pink Floyd
Wish You Were Here by Pink Floyd

The Australian Pink Floyd Show

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Aug 10 2016 Mohegan Sun Arena Uncasville, CT, USA Add time Add time
Aug 11 2016 Goodyear Theater Akron, OH, USA Add time Add time
Aug 12 2016 Musikfest 2016 This Setlist Bethlehem, PA, USA Add time Add time
Aug 13 2016 Palace Theatre Albany, NY, USA Add time Add time
Aug 18 2016 Red Hat Amphitheater Raleigh, NC, USA Add time Add time

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Roger Waters Announces Us + Them Tour Dates for 2017

It's his first tour not themed around a specific Pink Floyd album since the early 2000s.

By Chris Willman

Chris Willman

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Roger Waters performs during Desert Trip

The classic Pink Floyd song “Us and Them” is about the haves versus the have-nots. Ironically or otherwise, Roger Waters may divide fans into just those two categories when tickets go on sale next week for his 2017 Us + Them tour of North American arenas. It’s his first tour not themed around a specific Pink Floyd album since the early 2000s, and follows a few years on the heels of his three-year Wall trek, which went down as the most successful tour by a solo artist in touring history.

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Waters plays the second of two shows at the Desert Trip festival this Sunday, and a credit card presale for next year’s tour goes up the following day, with tickets going on sale to the general public a few days later, on Oct. 21. Us + Them is scheduled to begin May 26 in St. Louis and wrap up next Oct. 28 in Vancouver, covering more than 40 dates in 36 cities. Although no overseas concerts have yet been announced, ultimately, Waters tells Billboard , “we’re gonna do nearly 200 shows all over the world with the new show.”

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Waters’ first set at Desert Trip was heralded by many attendees as the highlight of a three-day jam that had such non-slouches as Paul McCartney and the Rolling Stones for competition. But while it might be tempting to imagine his massive Indio gigs (and a trio of dates in Mexico City that preceded them) as a dry run for the Us + Them tour, he says this fleeting desert stand truly is a one-off, and the tour that begins next May will be substantially if not completely different.

“My plan absolutely is to move on,” Waters tells Billboard . “I’ve got a lot to say, and I’ve got a huge amount of material. I’ve got a whole new record [coming out next year]. Obviously I won’t play the whole new record live, but I will definitely be playing some of the music of it. This Desert Trip thing I accepted given the way the weekend was planned, which was sort of Rolling Stones/Beatles/Pink Floyd, and I thought, well, if I’m being given the mantle of Pink Floyd, it behooves me to take a good, strong, long, loving, nostalgic look at the work that David and Rick and Nick and Syd and I did together between 1967 and 1982. I think it’s a great body of work, and I was just happy to use this weekend to tip my hat to them and to that band. But moving on, we’ve got to save the world, man!” he laughs.

That’s not to say that his vision of moving on means foregoing vintage material in the Us + Them show. The fact that the tour is named after a Floyd song and not one of the new ones is testament to that. The balance between old and new material in next year’s set will be “most likely 80/20, I would think,” Waters says. “You know, if people are going to come see me in arenas or stadiums from Shreveport, Louisiana to Shanghai, China, and if I want them to listen carefully to what I have to say, and I do, I think it is absolutely essential that I give them a lot of songs that they recognize. And the fact is, because, whether it’s new material or from my solo career – from Amused to Death or Radio KAOS or Pros and Cons (of Hitchhiking) – or whether it’s anything from the records that I did in Pink Floyd, there is a general thread running through it. My basic ethos and philosophy hasn’t changed at all over the years. So it doesn’t matter which bits of my career the songs come from. They’re still me telling my truth.”

And what truth will that be? “The new show’s going to be called ‘Us + Them’ because it’s really specifically about the line from this 1973 song ‘Us and Them’ that goes ‘With, without/And who’ll deny that’s what the fighting’s all about.’ Because the main message that I have to propagate, if I can, is embodied in the (concept) that the idea of perpetual war, which has been embraced by the neocons particularly in the United States of America, is an entirely wrong way for the human race to live… There’s a different way of organizing the human race that is better than this way. This way is driven by the greed of the few. There is so much money to be made out of killing people, and incarcerating people as well, that it’s a good model for people who are emotionally dead — like Donald Trump, for instance.”

Waters says that although the upcoming album — due to be his first rock studio album since 1992’s Amused to Death — is still well short of completion, he expects to have it in fans’ hands before the tour begins in May. He’s been working in L.A. with producer Nigel Godrich, of Radiohead collaborating fame.

A near-complete list of dates follows (with shows in San Antonio and Winnipeg set to be announced later). Watch Billboard for a complete Q&A with Waters that will cover how he put together his Desert Trip shows and the even stronger statement about Trump that he wanted to say before he put a check on himself.

Waters’ “Us + Them” 2017 North American dates:

May 26 Kansas City, MO Sprint Center

May 28 Louisville, KY KFC Yum! Center

May 30 St. Louis, MO Scottrade Center

June 1 Tulsa, OK BOK Center

June 3 Denver, CO Pepsi Center

June 7 San Jose, CA SAP Center at San Jose

June 12 Sacramento, CA Golden 1 Center

June 14 Phoenix, AZ Gila River Arena

June 16 Las Vegas, NV T-Mobile Arena

June 20 Los Angeles, CA STAPLES Center

June 21 Los Angeles, CA STAPLES Center

June 24 Seattle, WA Tacoma Dome

July 3 Dallas, TX American Airlines Center

July 6 Houston, TX Toyota Center

July 11 Tampa, FL Amalie Arena

July 13 Miami, FL American Airlines Arena

July 16 Atlanta, GA Infinite Energy Arena

July 18 Greensboro, NC Greensboro Coliseum

July 20 Columbus, OH Nationwide Arena

July 22 Chicago, IL United Center

July 23 Chicago, IL United Center

July 26 St. Paul, MN Xcel Energy Center

August 2 Detroit, MI The Palace of Auburn Hills

August 4 Washington, DC Verizon Center

August 8 Philadelphia, PA Wells Fargo Center

August 9 Philadelphia, PA Wells Fargo Center

Sept. 7 Newark, NJ Prudential Center

Sept. 11 Brooklyn, NY Barclays Center

Sept. 12 Brooklyn, NY Barclays Center

Sept. 15 Uniondale, NY Nassau Coliseum

Sept. 19 Pittsburgh, PA PPG Paints Arena

Sept. 27 Boston, MA TD Garden

Sept. 28 Boston, MA TD Garden

Oct. 2 Toronto, ON Air Canada Centre

Oct. 3 Toronto, ON Air Canada Centre

Oct. 6 Quebec City, QC Videotron Centre

Oct. 10 Ottawa, ON Canadian Tire Centre

Oct. 16 Montreal, QC Bell Centre

Oct. 24 Edmonton, AB Rogers Place

Oct. 28 Vancouver, BC Rogers Arena

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David Gilmour 8 July 2016 – Pompeii Italy

Above images thanks to Kevin Gauci

Above pictures sent in by azza200

Review, video & pictures thanks to ET

It was magical. Something I’ll never forget. The lighting around the edge of the arena worked so well and the flaming torches were a very nice touch. To my ears the sound got louder as the concert went on. The intro and outro of Sorrow sounded immense, the floor was vibrating to David’s guitar.

One thing I did find surprising was the amount of chatter in the crowd during the concert. My wife and I had to move away from one small group of blokes who just wouldn’t shut the fuck up. They were talking at the tops of their voices. They pretty much spoiled The Blue for me. We moved away from them only to have another pissed dick come over and start talking to his mate at full volume during Shine On. Some people I will never understand. You paid 300 quid to see this once in a lifetime event and then you talk through it!??

Thanks to Kink Dloyd

I’m home again and back at work which is very nice (although it’s constantly raining in Denmark, as usual, which is actually nice and fresh )

I’m starting to reflect on my vacation to Italy with my girlfriend and a couple of friends, and especially the concert with David Gilmour on July 8th in the aphitheatre of Pompeii.

It’s getting easier now to understand that it actually happened and that it’s all over now. Had beed waiting for what feels like a year and suddenly it’s in the past like a movie after the last titles has rolled over the tv screen.

We (my girlfriend and I) got into the theatre at about 8:20 P.M. and found a nice spot almost dead centre, and then she asked if I could go and buy a couple of bottles of water, which I then did (because I am such a good boyfriend ) Apparently I had misunderstood a staff member and thought it would be possible to buy water inside the theatre, which sadly was NOT the case. So I had to walk all the way outside and stand in line for about 25 minutes, constantly keeping an eye on my watch. I managed to get back with the water about 5 minutes before the show started, but too late to hear the famous Echoes “PING” (I compensated for that the next day by visiting the excellent Pink Floyd at Pompeii exhibition

1st set: At almost exactly 9:00 P.M. the first notes of 5 A.M. started to fade in and I had troubles realizing that it was beginning, I looked around trying to think to myself that I was there and that it was really happening, but I was in some kind of a trance.

As the concert went on I got more and more relaxed and got in the mood.

David was on top of things, I didn’t notice any flaws. I really enjoyed the new additions the the setlist compared to Pula in 2015 (What Do You Want From Me, The Great Gig In The Sky, Coming Back To Life and of course One Of These Days) Great Gig felt a little rough in the beginning, but the girls and the guy seemed to get it right after a little while, and WOW it was great!!! Really astonishing. The Money solo was really great and so was In Any Tongue (which together with Faces of Stone is still some of my favorites on RTL) Then High Hopes ended the first set in a beautiful way and we had a little break and a stroll around the arena. I thought I spotted Polly on the left side just in front of a big light projector (or was it a camera??) but later when she got down and I told her to thank her husband for such a great show, I realized I was wrong when she responded that David wasn’t her husband but many had asked her because she kinda looked like Polly. Then she thanked me for comparing the two of them because she thinks Polly is beautiful (and she is right) .

During the first set we were standing in front of a couple of Italians who was constantly talking which was quite annoying, I tried to give them “the angry look” a couple of times, but they seemed to not care at all. And a guy yelling “PUT THE FUCKING PHONES DOWN AND ENJOY THE FUCKING SHOW” during the first couple of songs. And yes, there were many with phones, but not as bad as I thought it would be actually. My girlfriend had a problem finding a spot where she could actually see what was going on on the stage because she isn’t very tall, but she wasn’t too annoyed. I had brought my new Panasonic Lumix DMC-TZ80 compact camera with 30x optical zoom and got quite a few very nice crisp close ups of the various band members

2nd set: We had found a new spot closer to the right side and a little closer to the stage, but most importantly, no annoying italian guys constantly chatting, and it was also a better spot for my girlfriend to see the stage The big question all day had been whether or not they would be playing One Of These Days on the second night. We had been sitting outside the theatre the night before at a little sidewalk bar having a few beers and wine, while listening to the concert. We met a very nice bloke and his wife, he is a frequent contributor to the official Gilmour blog, username Amadeo (I’m trying to find him).

I was very relieved and happy when I finally discovered the wind machine on stage, and the first bass notes from Guy confirmed that we were about to be blown away. What a fantastic and powerful performance it was. It was the perfect tribute to the original concert and it ROCKED!! I managed to film most of it with my phone. Minutes before the 2nd set started a security guard (or ninja as we called him) told me to put away my camera. Luckily he didn’t force me to delete anything, although he tried to remove the battery or SD card, but in the end failed to do so and I just put the camera in my pocket and didn’t use it until the very end of the show. A guy next to us, on the other hand, got caught filming and was asked to delete the video, and he was bithcing about it for a while! The rest of the show was a blast! Shine on was beautiful as always, the extended intro was a nice touch and reminded me of the 1994 version. It was nice to finally hear Coming Back to Life live (one of my favorite songs off The Division Bell) and The Girl in the Yellow Dress was nice and relaxing and it’s my gf’s favorite song from the new album, so it was great Today was great as ever, that song has really grown on me! By the time he played Sorrow I was expecting the introduction of the lasers, but it didn’t happen, although the lightning design was spectacular all during the entire show. But I was starting to get worried they wasn’t gonna use them at all that night. But I had seen a brief purple laser beam a little earlier, so I was somehow confused. Sorrow kicked ass btw. and the solo was a blast! The lightning for Run Like Hell was truly magnificent and the pyros at the end blew everybody away!!! WOW! It was unbelievable and can’t be described. Still no lazers though. Time/Breathe reprise was great too (one of my favorites off Dark Side…) Then it finally happened, as the first solo of Comfortably Numb started the arena got filled with green lasers that changed to blue and then multicoloured. I must have looked like an idiot with that grin on my face, but it was perfect and everything I ever hoped it would be, and I was so relieved because I really wanted to see the lasers! I never saw anything like it before And then there was the 2nd solo which was something out of this world. I was in a trance again and couldn’t believe that what was going on around my ears and eyes was reality. I lack words for further describing the experience of attending such a historic concert, so I will stop here.

Now I can’t wait for the official bluray to get a release so I can experience the whole thing all over again And I hope I will be able to spot myself among the audience. I did wave to a camera at one point so there might be a chance haha.

I am so thrilled I have been a part of this.

Review & pics thanks to Lars Normann

That’s just unlucky, there were loads of people filming on their phones and I saw plenty of fancy cameras also being used. I swore blind to myself before the show that I wouldn’t film anything and just take some pics but I ended up filming WYWH for my wife and just had to get the In Any Tongue and CN solos in too. Bit gutted that I didn’t get the amazing pyros and fireworks around the amphitheatre at the end of Run Like Hell though. Wow, just wow. To me, security guards telling people to delete stuff seems to help confirm that a DVD/Blu Ray will emerge eventually so it’s all good really.

I agree that Sorrow was awesome tonight, I felt it through to my bones. David was truly in the zone for that one tonight, he just did his little lean to the right, seemed to not even be aware of the audience throughout and the magic came through.

Thanks stillshiningon

Absolutely great show tonight Mr Gilmour was right up for it having a little dance here n there lots of smiles too after he performed wish you were here. I think he had gotten a little emotional he look like he was almost in tears a few folk said that too the echoes announcements that was a wow moment I didn’t expect that he never mention it Last night great gig and a boat lies waiting great Rick tribute emotions were running high place was electric bit for the most part every was sound I managed to score a set list too a nice bonus

What a fantastic band he’s got too they were brilliant

Thanks to breakthrough

One of These Days, this time with pyro (but to me honest I didn’t notice them yesterday,was too excited :)). Thanks to roaxch

Same set list for first half as last night. GGITS so no Us and Them. Place is fucking rocking. Fucking Italians. If it wasn’t for their food, history, cars, sense of style etc they would have no use on this earth.

Dave got a bit narky tonight with the repeated demand for Echoes

Said “Echoes is a beautiful song, but it is a conversation between two people and Rick is dead so we don’t play it anymore”

Another great show. One lyrical stuff up (magic and nice axles rather than magnets in High Hopes). And better fireworks at the end of RLH than last night

This is going to be a great BluRay

Thanks to wilberforce55

FIRST HALF: 5am, Rattle That Lock, Faces of Stone, What Do You Want From Me, The Blue, The Great Gig In the Sky, A Boat Lies Waiting, Wish You Were Here, Money, In Any Tongue, High Hopes

SECOND HALF:One of These Days, Shine On You Crazy Diamond, Fat Old Sun, Coming Back To Life, On an Island, The Girl In the Yellow Dress, Today, Sorrow, Run Like Hell,

ENCORE: Time, Breathe (Reprise), Comfortably Numb

Yujo Rodrigues with Adrian Maben

Tickets (On sale 22 March)

Capacity: Probably Standing. Probably 2000.

Address: Via Plinio, Pompei NA, Italy

In October 1971, Pink Floyd traveled to Pompeii, Italy for a live performance at the city’s ancient Roman amphitheatre. Only there was no audience in attendance. Production took place over four days during which time director Adrian Maben captured the band performing “Echoes” and “One of These Days” from 1971’s Meddle, along with the title track to A Saucerful of Secrets. After completing the film in Paris later in the year, Pink Floyd released Live at Pompeii to critical acclaim, and years later it remains one of the most popular concert films in rock history. Now, 45 years later, Pink Floyd’s David Gilmour is set to return to Pompeii, but this time he’ll be performing in front of an actual audience.

Construction shots including stage being built thanks to mattazing

Order the Pink Floyd Live At Pompeii DVD from Amazon USA | UK | Canada (Amazon ship worldwide)

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Pink Floyd Tour 2024

Pink Floyd is an English rock band formed in London in 1965. The band is known for their distinctive sound, which combines elements of rock, psychedelic rock, and experimental music. They are also known for their elaborate live shows and sound effects, which often include the use of lasers and other special effects.

Some of Pink Floyd 2024 tour and most popular songs include "Another Brick in the Wall," "Comfortably Numb," "Money," "Shine On You Crazy Diamond," and "Wish You Were Here."

Pink Floyd has released 15 studio albums, including "The Piper at the Gates of Dawn," "A Saucerful of Secrets," "Dark Side of the Moon," "Wish You Were Here," "The Wall," and "The Division Bell." Their album "The Dark Side of the Moon" has been one of the best-selling albums of all time, and has been certified 15 times platinum in the United States.

Throughout their career, Pink Floyd has won numerous awards, including multiple Grammy Awards. They were inducted into the Rock and Roll Hall of Fame in 1996.

Pink Floyd tickets 2024 has played numerous concerts and tours throughout their career, and have performed in front of millions of fans around the world. They have played at some of the most iconic venues and festivals, including the Live 8 concert in 2005, which was held in support of the Make Poverty History campaign.

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Brit Floyd to return to Wilson Center as part of 2024 ‘P-U-L-S-E’ tour

W ILMINGTON, N.C. (WECT) - Pink Floyd tribute Brit Floyd is scheduled to return to the Wilson Center Thursday, July 25, as part of the 2024 P-U-L-S-E World Tour.

According to Cape Fear Community College, the performance, set for 7:30 p.m., will also celebrate the 30th anniversary of Pink Floyd’s The Division Bell album.

“Pink Floyd, an unparalleled pioneer in progressive and psychedelic rock, left an indelible mark on the music industry with their groundbreaking sound and captivating live performances,” the CFCC announcement states. “ The Division Bell , released in 1994, is a testament to their mastery, and three decades later, its enduring impact continues to resonate with fans old and new.

“Brit Floyd P-U-L-S-E is not just a tour; it’s a journey through time, a tribute to the timeless artistry of Pink Floyd. Known for their unwavering dedication to recreating the magic of Pink Floyd’s music, Brit Floyd is the perfect ensemble to honor The Division Bell. Audiences can expect a breathtaking audiovisual experience that pays homage to the original band’s unique music and visual effects blend.”

Tickets will go on sale beginning at 10 a.m. on Wednesday, March 27 for Wilson Center Members. The public will be able to purchase tickets beginning Friday, March 29 at 10 a.m. Those interested may purchase tickets online through the Wilson Center website or by contacting the Ticket Central box office at (910) 362-7999. The box office is open for telephone and in-person sales from 2 to 6 p.m. Monday through Friday.

“P-U-L-S-E will captivate fans with a stunning setlist featuring tracks from The Division Bell and the many beloved classics from Pink Floyd’s extensive discography,” the announcement adds. “Expect to be transported to the heart of Pink Floyd’s universe, complete with a state-of-the-art light show, immersive visuals, and the ethereal sounds that define a generation.”

IMAGES

PINK FLOYD POMPEII 2016
David Gilmour Returns To Pompeii Tonight 45 Years After Iconic Pink
Watch Pink Floyd Concerts Free Online
Comenzarán con "Pulse": Pink Floyd lanzará conciertos inéditos todas
The Australian Pink Floyd Show rescheduled Brighton concert date
The Australian Pink Floyd Show Tour « PLSN

VIDEO

Brit Floyd 8 19 23 The Paramount, Huntington NY
Pink Floyd David Gilmour Pompeii Amphitheatre
In the Prog Seat: Album Study- Pink Floyd 'Obscured By Clouds'
Pink Floyd
School of Rock Rocky River Performance of Pink Floyd
50-летняя история Pink Floyd в Лондоне

COMMENTS

Live at Pompeii
Live at Pompeii is a live album and film by David Gilmour, the guitarist of Pink Floyd.It was recorded at the Amphitheatre of Pompeii.It documents his 2015-16 world tour to promote his album, Rattle That Lock (2015). The concert was directed by Gavin Elder. The album was released on 29 September 2017 and is available on CD, LP, digital download, DVD, BD and deluxe box set containing the CD ...
Pink Floyd Concert & Tour History (Updated for 2024)
Pink Floyd Concert History. Pink Floyd was an English rock band formed in London in 1965. Gaining an early following as one of the first British psychedelic groups, they were distinguished by their extended compositions, sonic experimentation, philosophical lyrics and elaborate live shows. They became a leading band of the progressive rock ...
Pink Floyd Tour Dates
A very melodic David Gilmour at Royal Albert Hall in 2016. David Gilmour's solo career has been very successful given he is the musical front man of Pink Floyd. His emotive guitar playing, and very melodic song writing, ... Pink Floyd Tour Overview The old band, Pink Floyd Live Concert Tour Dates (Pink Floyd at Live 8 Rehearsals) ...
Pink Floyd
24 March 2016 David Gilmour resumed his Rattle That Lock tour at the Hollywood Bowl in Los Angeles, the first of 34 shows that year - including two nights at the Amphitheatre in Pompeii, Italy, where Pink Floyd's Pompeii performance was filmed, and were the first public performances at the ancient site since AD79 when Vesuvius erupted and buried Pompeii and neighbouring Herculaneum.
David Gilmour review
Sun 10 Jul 2016 03.00 EDT Last modified on Thu ... and instead the show was filmed and released as a documentary, Pink Floyd: Live at Pompeii, the following year. And so, long before it begins ...
Pink Floyd Tour Dates 1968-2024
Pink Floyd Tour dates, covering 1968-1994 and up to 2024, are covered on this page. I also cover information about different aspects of the tours including how they evolved, set lists, touring history, the changing faces of personnel across the tours, iconic shows and stage and lighting designs. This is a full list of the major Pink Floyd tours ...
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Pink Floyd, David Gilmour, Nick Mason's Saucerful Of Secrets, and Roger Waters news as it happens, information, exclusive interviews, reviews, pictures, tour news, downloads and more!, Any amendments/additions, please let us know. ... Home Concerts 1965-2024 2016 tour dates/concerts . 2016 tour dates/concerts Any amendments/additions, please ...
The inside story of Pink Floyd's classic Live At Pompeii
Although it was grandly billed as "More Than A Movie! An Explosive Cinema Concert", Pink Floyd: Live At Pompeii is a small, personal film, which sets Pink Floyd, then at the tail end of their space rock phase, at the very heart of the European art scene. It crowned the era in which the group were scoring ballets, adding soundtracks to foreign art movies and recording in Paris.
Pink Floyd Tour Dates & Concert History
Pink Floyd, still giving me goose bumps 40 years later and about to release a new album. I have patiently waited 20 years to receive news from afar that we will once again be blessed with the next chapter of music from the eternal Pink Floyd and to say that I feel a fair amount of anticipation and excitement regarding the immanent release of their new album "The Endless River" in October ...
David Gilmour 25 June 2016
2015 - 2016 Rattle That Lock Tour. Tour Rooms Main. 2015 Tour. SEPTEMBER 5th - Brighton Centre, England 12th - Arena Pula, Croatia 14th - Arena Di Verona, Italy 15th - Ippodromo Del Visarno, Italy 17th - Theatre Antique D'orange, France 19th - Koenig-pilsener-arena, Germany 23rd - Royal Albert Hall, England 24th - Royal Albert Hall, England
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Roger Waters joined the other members of Pink Floyd on June 17, 1981 for their last full show together. ... 2016. Peter Still, Getty Images ... Pink Floyd eschewed the usual multi-city tour in ...
Rattle That Lock Tour
Rattle That Lock Tour. (2015-2016) The Rattle That Lock Tour was a concert tour by English singer and musician David Gilmour to support his fourth solo studio album, Rattle That Lock. The tour became a commercial success, grossing $47 million and selling 288,997 tickets in 16 shows in the 2015 total. It was the 76th highest grossing of the ...
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CD —. Deluxe Edition, Limited Edition, Numbered, Unofficial Release. The Darker Side Of Rising Sun (Japan 1972 Chronicles) Pink Floyd. Released. 2014 — Europe. CD. View credits, reviews, tracks and shop for the 2016 CD release of "The Method Of Absence - The 1975 US Tour" on Discogs.
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Posted on 22/08/2016 by Col T. Roger Waters 2016 Tour Dates. Wed 28 September Foro Sol Mexico. Thur 29 September Foro Sol Mexico. Sun 09 Oct 2016 Indio, CA Coachella. Sun 16 Oct 2016 Indio, CA Coachella. Sat 22 Oct 2016 Shoreline Amphitheater Mountain View, California. Sun 23 Oct 2016 Shoreline Amphitheater Mountain View, California.
David Gilmour
David Gilmour will be performing two shows at Pompeii on Thursday 7th and Friday 8th July 2016. Rolling Stone had originally reported that David will probably play at the site's Roman Amphitheatre, rather than the Large Theatre where the documentary "Pink Floyd: Live at Pompeii" was made. However, it's since been clarified that David ...
Pink Floyd Tickets, 2024 Concert Tour Dates
Rating: 5 out of 5. by Anonymous on 5/2/10United States - Macungie. Pink floyd is the best band in the world period....david gilmour is THE BEST guitarist ever imaginable!! Buy Pink Floyd tickets from the official Ticketmaster.com site. Find Pink Floyd tour schedule, concert details, reviews and photos.
The Australian Pink Floyd Show Setlist at Musikfest 2016
The Australian Pink Floyd Show Gig Timeline. Aug 10 2016. Mohegan Sun Arena Uncasville, CT, USA. Add time. Aug 11 2016. Goodyear Theater Akron, OH, USA. Add time. Aug 12 2016. Musikfest 2016 This Setlist Bethlehem, PA, USA.
David Gilmour Tickets, 2024 Concert Tour Dates
A lifetime for myself and David too. by WildKim on 9/25/16United Center - Chicago. Attending this concert with my husband, being entertained by David Gilmour and his crew's talent, was a spiritual experience for me. We had last seen Pink Floyd in Louisville and Lexington, Kentucky, then Indianapolis, Indiana, in 1987 for their Momentary Lapse ...
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.pinkfloyd.com : 30 minutes : This is one of the four main cookies set by the Google Analytics service which enables website owners to track visitor behaviour and measure site performance.
David Gilmour's 2016 Concert & Tour History
The songs that David Gilmour performs live vary, but here's the latest setlist that we have from the September 30, 2016 concert at Royal Albert Hall in London, England, United Kingdom: David Gilmour tours & concert list along with photos, videos, and setlists of their live performances.
David Gilmour 8 July 2016
David Gilmour 8 July 2016 - Pompeii Italy. RESPONSE TO THIS SHOW HAS BEEN FANTASTIC. WE HAVE MORE THAN ENOUGH MATERIAL - THANK YOU! Above images thanks to Kevin Gauci. In brief, it was a bittersweet experience and definitely not one of my favorite DG/PF related concerts. I went to Pompeii in 2010 and entering the empty amphitheater was a ...
Pink Floyd 2024 Tour
Pink Floyd. Tour & Tickets. This website is operated by a ticket broker. Ticket prices are set by third-party sellers and may be above or below face value. We are not affiliated with Pink Floyd. Get Tickets! Pink Floyd Tour 2024 - Live in Concerts. Get Pink Floyd Tickets for best prices. Find all Pink Floyd tour dates & concert schedule.
Brit Floyd to return to Wilson Center as part of 2024 'P-U-L-S-E' tour
WILMINGTON, N.C. (WECT) - Pink Floyd tribute Brit Floyd is scheduled to return to the Wilson Center Thursday, July 25, as part of the 2024 P-U-L-S-E World Tour. According to Cape Fear Community ...