Concert Review – Paul McCartney live at Hollywood Casino Amphitheatre

At a spry and still-boyish 75, Sir Paul McCartney brought his career-spanning One on One tour to Tinley Park, IL for two shows this summer (and first-ever visit to the area). Of course, Beatle devotees could have easily filled a concert venue three times the size of Hollywood Casino Amphitheatre, so it was a curious choice, though McCartney has been in the habit of visiting new places in recent years. A born showman, music and performing are in his DNA. This becomes abundantly clear when watching him perform. He obviously still loves what he does and basks in the interaction with his audience. And though he’s joked about one day being wheeled onstage to croak out yet another rendition of “Yesterday,” it is almost certain McCartney will keep playing for fans as long as he is physically able to.

Again, one can recite all of McCartney’s superhuman accomplishments ad nauseam. Along with Prince, he is perhaps the most musically gifted pop artist of all time. Had he been nothing more than the pretty pin-up idol who played all those amazing basslines on Beatle records, his legend would still rest assured. The fact that he was also a mutli-instrumentalist with a voice that could sing ballads and rockers with ease, as well as being one-half of the greatest songwriting partnership of all time is surreal. He’s been almost too good his entire career. He spoiled his audience with his genius at an incredibly young age and must now carry that weight (of expectation) a long time.

Even this he does with supreme grace. During the second of the two Tinley shows, McCartney opened with “A Hard Day’s Night”. A blinding spotlight caused him to miss his microphone stand, so he quickly stopped the show and, lifelong pro that he is, immediately charmed the audience with the offhand quip, “Hey, it’s live!” and started the show again. So we got to hear the iconic opening chord twice, which can only be a good thing. Once Paul’s voice kicked in, it was Beatlemania all over again for those in attendance.

McCartney followed up with a rocking “Junior’s Farm” from peak-era Wings, and then another early Beatles favorite, “Can’t Buy Me Love” and “Jet” from the classic Band on the Run album. All were delivered with great energy and the sound mix was excellent throughout. He also threw in an obscure (but well known among DJ’s) solo track “Temporary Secretary” from 1980’s synth-heavy McCartney II. Again, McCartney had to stop the show as the sequencer sample that starts the song was off-rhythm. And again McCartney joked that this was how the audience knew for sure that the band was really playing live. Having seen McCartney many times since he returned to regular touring in 1989, the early flubs added a refreshing spontaneity to what is normally a tightly-scripted and highly-polished show.

While McCartney has indeed lost part of his legendary upper register with age (as have virtually all rock veterans still on the touring circuit), he still delivered vocal moments that brought the house down. At one point near the end of “1985,” he nailed the signature belt and got rapturous cheers. Having shown up at the venue before the gates opened, I was able to hear his pre-show sound check of about 9 or 10 songs not in the regular set. All of them sounded great and his voice was still strong and commanding. For other songs in the set, the sound mix and great vocal harmonies, particularly from drummer Abe Laboriel Jr., made up the difference.

For all of his storybook achievements, McCartney still carries himself as a working musician. Touring with the same band he has since 2001, he works much, much harder than he has to. He hustles and sweats. As a living Beatle, McCartney could do the Dylan thing and come onstage, stoic and aloof, and go through the motions of a self-serving set list without any audience engagement. Most people would still go home happy knowing they got to see him and the iconic Höfner bass. Instead, McCartney takes you on a journey through music history with stories about Jimi Hendrix and Eric Clapton, the impetus for certain songs, as well as loving tributes to Linda McCartney, Beatles producer George Martin, George Harrison and John Lennon. He also swaps back and forth between bass, electric and acoustic guitar, piano and ukulele (as a great tribute to Harrison on “Something”). It was an impressive display of his unmatched talent.

For an epic three-hour show, the pace flew by. There was an easy blend of moods and tones, from classic rockers to stately piano ballads and a nice acoustic interlude where McCartney played with casual flair as if in your living room or at the local coffee house. After the acoustic set, which included Beatle classics “And I Love Her,” “Blackbird,” and Quarrymen charmer “In Spite of All the Danger,” McCartney and company went back into full-band mode for the final third of the show that played like a jukebox loaded with the greatest of greatest hits: “Eleanor Rigby,” “Band on the Run,” “Let it Be,” pyrotechnic showstopper “Live and Let Die,” and audience sing along “Hey Jude”. The man’s back catalog  simply cannot be beat.

As if the set list was not generous enough, McCartney came back for an encore that played like a full show in itself: “Yesterday,” “Sgt. Pepper’s Lonely Hearts Club Band (Reprise),” “Hi Hi Hi,” “Get Back,” and the majestic Abbey Road finale “Golden Slumbers/Carry That Weight/The End” which climaxed with a blistering three-way guitar dual between McCartney, Rusty Anderson, and Brain Ray and perhaps McCartney’s greatest couplet, “And in the end, the love you take/Is equal to the love you make”.  As the final A chord reverberated from his sunburst Les Paul, the medley’s conclusion pretty much summed up the unflagging energy and optimism he’s radiated throughout his storybook career.

As the key custodian of the Beatles legacy, Paul McCartney gives his audience far more than they can reasonably expect from him at 75. His onstage energy and generosity of spirit continue to shine brightly. Of the four Beatles, he was always the most outgoing and eager to please, characteristics that have often made him an easy target for critics and certain rock purists. But there has never been an easy way to deny his staggering talent. Someone with his level of popularity will always polarize the public. The true legacy lies in the songs; anthems of peace, hope, compassion and love. Listen to what the man said.

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DEJA VU – Roger Waters live at United Center

If I had been God

With my staff and my rod

If I had been given the nod

I believe I could have

Done a better job

– Roger Waters

 

Roger Waters is not a subtle man. That shouldn’t surprise anyone familiar with Pink Floyd albums The Wall and The Final Cut or solo efforts like Amused to Death. While his obsessions drove most of the grand concepts and theatrics the Floyd are so renowned for, they also led to the band’s dissolution. Waters’ vision is so singular and forceful, it alienated fellow Floyd members and upset the band dynamic that gave birth to more organic-sounding albums like The Dark Side of the Moon and Wish You Were Here.  While Waters had already established dominance in the Floyd hierarchy by 1973, it was with the 1977 release of Animals where listeners were exposed to  the overtly political and eviscerating approach that would dominate his work to this day.

Four years after completing his last record-setting world tour (a revival of 1979’s The Wall), Waters is back on the road with another politically-charged and angry show. Though the tour is in support of his latest album, Is This the Life We Really Want?, the themes, motifs and iconography all hark back to Animals. The world’s leaders may be different than in 1977, but the corrosive sociopolitical issues remain the same. All the great injustices of the world that have driven most of Waters’ best work still exist, as does his passionate need to rant about them. And one can make the Floydian/Orwellian argument that society is still made up of “Dogs”, “Pigs”, and “Sheep”.

At 73, Waters retains his ability to both entertain and provoke. His flair for putting on an epic, theatrical and fully immersive experience colors every facet of his live show. While not as awe-inspiring as his last run of Wall concerts, the new Us + Them arena tour is nearly as creative and captivating with some truly big moments. Waters and his team also deserve major credit for dreaming up an entirely different presentation with innovations never before seen, especially during the second half of the presentation (yes, Waters actually has an old-school intermission midway through the show).

Opening with Dark Side favorite “Speak to Me/Breathe,” the show eases you in, seducing you with a groove and melody as familiar now as a child’s lullaby. Gone this time around is the legendary, circular “Mr. Screen” familiar to all Floyd fanatics. While missed, Waters again deserves kudos for going in a different visual direction on this tour. Having started the show on a gentle note, Waters and his backing band followed up with the head-banging throb of “One of These Days”. The pulse is still mesmerizing, as are the searing slide parts. It was a great one-two punch to start the show with. From there, the Floyd favorites continued with the still-majestic “Time,” “Breathe (Reprise),” “The Great Gig in the Sky” (featured vocals from lookalike Lucius singers Jess Wolfe and Holly Laessig), and the menacing-as-ever “Welcome to the Machine”. The songs all sounded magnificent, benefitting as usual from the superior surround-sound first pioneered by Pink Floyd in the ‘70s. As an audience member, you truly feel like you are inside the sound and not just having it blasted at you.

As part of a well-thought out set list, Waters then segued into three new songs that shared much of the same sonic palette as what came before. Starting with “Déjà Vu,” which sounds like a sequel to “Wish You Were Here,” Waters finally articulates his God complex with a vocal delivery straight out of The Final Cut. In “Picture That” and “The Last Refugee,” he expresses clear rage at the current political climate, a thread that would continue well into the second half of the show. The new songs all cleverly share strong musical threads with peak-era Floyd, thanks in large part to the production tricks of Nigel Godrich (best known for his work with Radiohead, themselves Floyd devotees). Along with the rest of Is This the Life We Really Want?, these songs make a fitting addition to Waters’ songwriting legacy.

The first half of the show closed with “Wish You Were Here” (as with Gilmour’s last tour, much earlier in the set than one would expect) along with Wall standards “The Happiest Days of Our Lives” and “Another Brick in the Wall” (parts 2 and 3). For the latter, once again Waters brought out a dozen or so youth from a local inner city school to substitute for the bratty English school kids on the album. While a consistent crowd-pleasing moment, their awkward dance choreography is one of the few missteps in the show, veering a little too heavily towards schmaltz.

With that, Waters and co. took a 15 minute intermission. What followed in the second half was to be more confrontational, yet also more visually arresting. Through a very clever set design, several interconnected screens that operated as scrolls dropped down from the top of the arena to magically transform into the iconic Battersea Power Station, bringing the cover of Animals to life, working smoke stacks and all. Always an imposing and oppressive symbol of the Industrial era, Battersea is the central image of the entire Us + Them tour. Having revisited the entirety of both Dark Side and The Wall on his solo tours, his current run is a pseudo-40th anniversary tour of Animals where, once again, what’s old is new. To further drive that point home, the second set began with “Dogs,” complete with a creepy mid-point tea party where the band wore animal masks as if part of some twisted English ball of yore. This was followed by outright, relentless Trump-bashing during “Pigs,” where Waters resorted to some juvenile and over-the-top imagery to symbolize his “resistance” to the current leader of the free world. Again, it was as unsubtle and heavy-handed as one could get while potentially alienating half of his audience, but Waters is one of very few artists breathing rarefied air. He doesn’t have to care if he bruises certain sensibilities in the crowd. You don’t like it? Leave, but don’t forget to buy the t-shirt on your way out.

From there, it was back to Dark Side material with the classic-rock radio staple “Money” and “Us and Them,” songs from 1973 that still powerfully resonate in the present. He slipped in one final new song “Smell the Roses” that easily could have fit on any mid-70s Floyd album, before closing the second half with a stunning version of “Brain Damage/Eclipse” where Waters and his lighting team vividly brought the prismatic Dark Side cover to life. It was an ingenious and brilliant effect to behold.

Waters and his great backing band returned for an encore that started with acoustic-based versions of both “Vera” and “Bring the Boys Back Home” that were really affecting, particularly the latter, removed from The Wall’s more bombastic touches. Finally, the show closed with “Comfortably Numb,” which was to be expected save for the appearance (on the Sunday show) of hometown legend Eddie Vedder to sing the Gilmour vocal parts. It was a genuine surprise that further elevated both the song and the United Center audience. After singing his parts, Vedder strapped on Waters’ trademark black acoustic guitar to help the band bring the song and show home. Sharing as they do a similar artistic and political temperament, the pairing was not as odd as one might think. The affection between the two rock titans was heartfelt, as was the moment itself.

Though he’s been on an amazing touring run since coming back to live performance in 1999, Waters has stated that this may be his final go-around. Sad as it may be to hear (as we only have so many legends of his stature left), Waters has absolutely nothing left to prove. He conquered the world as a young man with Pink Floyd and though he had a rocky start, has since triumphed as a solo artist. His was the more challenging path than Gilmour’s, initially relying less on the Floyd brand for survival. But as the wonderfully retro Is This the Life We Really Want? and Us + Them tour make clear, Waters still has a lot to say and the same poetic and conceptual gifts that have captivated rock fans across generations. The lunatic is still on the grass.

The Two Americas – U2 live at Soldier Field

How long must we sing this song? – U2

Thirty years after conquering the world with their fifth studio album The Joshua Tree, U2 are resurrecting the much-beloved late ‘80s rock landmark for another run of stadium shows. While on the surface the concept smacks of a nostalgia-fueled cash grab, the themes U2 first  grappled with in 1987 (particularly of an America divided by infinite potential and its seedy, self-destructive underbelly – hence Joshua’s working title The Two Americas) are perhaps even more resonant in 2017. Never a band to dwell on the past, U2 have re-contextualized the material while staying true to most of the iconic imagery and song arrangements, the end result being a tour of old songs with new things to say.

Another bonus for U2 in revisiting The Joshua Tree live is that they are much more polished stadium performers now, utilizing state-of-the-art visual and sonic elements that didn’t exist in 1987. On that first go around, the band struggled with crude technology along with graduating from an arena band to a multiplatinum monster playing the largest venues possible. The scale was overwhelming for a group built on the idea of inclusion and intimacy with its audience (the ethos imprinted in its very name -You Too). The massive success, including landing on the cover of Time magazine, was tempered by frustration on the road as they came to grips with how to play to audiences of that size.

Fast-forward thirty years and U2 remain one of the top two stadium acts in the world along with the Rolling Stones. The challenges presented by The Joshua Tree and its world-beating success were effectively slayed by the band in 1991 with their second masterpiece Achtung Baby and its accompanying ZooTV tour. A multimedia sensory assault with a humanitarian underpinning (and hailed as “the Sgt. Pepper’s of rock tours” by Robert Hilburn of the Lost Angeles Times), ZooTV set the template for the rest of U2’s stadium presentations including this year’s Joshua Tree victory lap.

As Roger Waters did with his own rebuilding of The Wall in 2010-2013, U2 have managed to strike the right balance between staying true to the original, slightly scaled-back presentation with tastefully updated visuals. At Soldier Field in Chicago, the B stage that was first introduced during their ZooTV run set the mood for an effective opening salvo. Coming to the stage alone, the always-solid Larry Mullen Jr. hammered out the iconic snare opening to “Sunday Bloody Sunday,” as the rest of the band filed out one-by-one to heroic fanfare. The Edge’s signature chime enveloped the stadium air as Bono belted the opening cries. Once Adam Clayton’s bass dropped in during the second verse, the band locked in and established a sonic power that would not let up during most of what followed. There was also no mistaking the new subtext in the song’s opening lines “I can’t believe the news today, I can’t close my eyes and make it go away”. U2 would spend the rest of the night making connections between the sins of the past and the present.

The band followed up with “New Year’s Day,” live rarity “A Sort of Homecoming,” and requisite singalong “Pride”. Having effectively started the evening playing a pseudo club show in the middle of a stadium setting, goodwill was established long before they got to the main course. When they finally did, it was a largely-faithful re-creation of The Joshua Tree, including (thankfully) the original track sequencing. As the classic atmospheric opening to “Where the Streets Have No Name” slowly built and the band moved to the larger stage, the screen backdrop came to life and bathed the audience in incandescent red. Once the Edge’s still chill-inducing arpeggios rang out, the concert everyone came to see began proper. It was classic U2.

Luckily for audiences, The Joshua Tree has one of the greatest triple-track openings in rock history.  After “Streets” came “I Still Haven’t Found What I’m Looking For” and “With or Without You”. In fact, throw in “Bullet the Blue Sky” and “Running to Stand Still” and you have one of the best sides of vinyl ever. The range of dynamics and emotions in these songs still retain most of their power. Side two, while not as outright impactful, still creates a range of moods that linger, especially the slow-burning “Exit”. They are the deeper cuts in the catalog that even Bono joked the band needed to reacquaint themselves with. It was also the trickier of the two sides to present live (the re-imagined and mellower “Red Hill Mining Town” being perhaps the only key disappointment of the current Joshua set). Had it not been for the context of this tour, the running order of these songs would definitely have been changed by U2. No band would ever close a stadium show with a song as low-key and melancholic as “Mothers of the Disappeared”. It’s the primary challenge of the live versus recorded presentation of The Joshua Tree, but to have rearranged the track sequencing would’ve also stripped much of the potency of the whole concept (and betrayed most audience expectations). Part of the greatness of albums like The Joshua Tree (or Dark Side of the Moon, Nevermind, etc.) is the specific way the songs play off of each other within the context of the greater whole. While rearranging the Joshua set for live dynamics was considered during rehearsals, thankfully it never came to pass.

This brings us to a few of the potentially polarizing factors of this show. First of all, there’s Bono. Certain rock and roll front men, particularly those not tethered to an instrument, tend to be larger-than-life showboats. It’s a large part of what it takes to work a stadium crowd. Bono was a stadium performer while still working the club scene in U2’s formative days. He’s over-earnest, hammy and bombastic, but with an undeniable charisma that keeps you fixated. Like Jagger, his persona is one that now verges on unintentional self-parody at times. But the sincerity of his delivery ultimately wins you over (or not). As for his vocals (another love or hate it signature), for the most part he sounded strong. While his upper-register belting is not as commanding as his late-80s to early-90s peak, he hit his key moments. There were also subtle factors like the sound mix, lowered keys on certain songs, as well as the Edge’s own strong harmonies that helped bolster things on the vocal side. For the most part, no one in that massive Soldier Field audience had cause for complaint. The songs sounded good-to-great, both on the instrumental and vocal front.

The second and potentially more alienating factor was the undeniable political subtext that ran throughout the entire show. U2 have never shied away from taking a stand on current events. Between references to the recent terrorist attacks in Manchester and London to the polarizing political climate in the States, this was definitely a show reflective of Trump’s America (as the original was of Reagan’s). While not as outright antagonistic as Waters’s current Us & Them tour, 2017’s The Joshua Tree has plenty to say about the corrosive effect of ideological division and the abuse of power. Bono most certainly had his soapbox moments during the show, so depending on how tolerant you are of politics and sloganeering mixed with your entertainment, you either found it engaging or tedious. Again, nobody at Sunday’s show looked too bothered by it all, but it did skirt with heavy-handedness at times. Though their intention is more humanitarian than political, it was sometimes a bit much.

Once they finished the Joshua set, the band came back for a few encores (is it even fair to call them encores anymore when they are clearly built into every set?), mostly a condensed run-through of greatest hits including “Beautiful Day,” a crowd-pumping “Elevation,” and “One”. And in an effective piece of theatrical symmetry, the band closed the show on the B stage with the new “The Little Things That Give You Away”. It was a well-planned bookend that shifted the focus away from spectacle and back to the four band members and its fans. It also pointed the way past nostalgia to U2’s imminent future.

Overall, the tour will prove to be another in a long list of triumphs for U2. The audience clearly got what it came for, but in the process was also challenged a bit. This wasn’t just a feel-good rock show. It made you think, whether you wanted to or not. The show also felt oddly intimate considering the capacity audience of over 60,000 at Soldier Field. The inclusion and unity that U2 have always preached was brought to life. In essence, U2 is really the world’s most successful Christian rock band and one does get the sense of a travelling revival on display at their shows with Bono, the evangelist with the Christ complex, preaching from the largest pulpit possible. Thankfully, they have great songs for the faithful masses to sing along with, anthems that are now as much a part of the fabric of America as the dualities that first planted the seeds of The Joshua Tree.

Gilmour Shines On at United Center

So I am sitting down to write this a few days after David Gilmour’s final show in Chicago, following a weeklong stint that included one show at Roosevelt University’s Auditorium Theatre sandwiched by two larger-scale shows at the United Center. The U.S. tour, his first in 10 years, is a fairly exclusive affair encompassing only three cities (L.A., Chicago, and New York) before heading back to Europe. And at 70 years old, there’s no telling when or even if he’ll be back. Other than the early Floyd years, Gilmour has never been much of a road warrior. Since taking the helm of Pink Floyd in 1986 following the legal departure of founding member Roger Waters, he’s manned exactly two (albeit massive) world tours under the Floyd banner, the first from 1987-1990 and the second in 1994. He’s done very limited U.S. touring on his own, the last time in support of 2006’s On An Island – a show I was foolish enough to miss, despite being a full-on Floyd freak (if you know the band as Sigma 6, the Architectural Abdabs and the Meggadeaths, you are far beyond the realm of casual fan). So to say that I was grateful to get one more opportunity to see one of my favorite musicians of all time (and favorite guitarist bar none) is an understatement.

In a way, the delayed gratification worked in my favor. Gilmour is currently touring in support of 2015’s Rattle That Lock, a much stronger solo album than his last in my opinion, which makes the introduction of new material in a show heavy on classic rock standards much more palatable. Newer songs like the Leonard Cohen-influenced “Faces of Stone” and “In Any Tongue” held their own much better than the On An Island material last time around. The overall setlist was stronger than 2006 as well, with a brisker pacing of the solo and Floyd material. While no longer doing the epic “Echoes” (most likely due to the loss of close musical partner Richard Wright in 2008, whose sonic signature is all over that song), we got the reappearance of “Us and Them,” the stinging blues of “What Do You Want from Me,” the thundering “Sorrow,” and Wall classic “Run Like Hell”.  He also brought back Mr. Screen, the Vari-Lite-rigged circular projection surface made famous on all of the classic Floyd tours of the ‘70s and ‘80s (but missing in 2006’s solo outing). The venues are bigger this time around as well, with more arenas than theaters playing host and this is music custom-made for large, panoramic spaces.

The pre-show itself was the first sonic treat of the evening for Floyd obsessives, as familiar sound effects pulsed through the P.A. (a plane flying overhead, helicopter sounds, the backwards-guitar seagull wails from “Echoes” and spoken-word snippets from Dark Side of the Moon to name a few).  This provided the first clue as to the first-rate sound engineering that would take place all evening, the best concert sound I’ve heard since, ironically enough, Roger Waters’s solo version of The Wall a few years back. Pink Floyd’s concert sound is just as legendary in the industry as their visual effects, and Friday’s show at United was all-enveloping. You felt the music deep in your bones; it was that loud, dynamic, and three-dimensional.

The show itself opened proper with the instrumental “5 AM” off the new album, Gilmour’s signature elegiac guitar tone instantly recognizable as it cut through the gentle, cinematic backing. One note in and the audience instantly erupted in rapture and would pretty much remain that way throughout the entire performance (to the point where Gilmour himself would make reference to the crowd’s enthusiasm several times during the evening). This understated opening soon gave way to the bouncy “Rattle That Lock,” inspired by Milton’s Paradise Lost. Along with “Today,” the song’s production harkened back to a late-‘80s funk-lite feel. The sound was punchy and huge, with Gilmour’s strong vocals cutting through the mix. He sounded confident and in command from the start. The rest of the first set breezed by in a near-perfect blend of new and old: “Faces of Stone” led to a surprisingly early appearance of “Wish You Were Here,” a ballsy gambit that actually worked. The lush harmonies of the Wright tribute “A Boat Lies Waiting” (especially fitting with Wright’s daughter, son, and grandson in attendance) sounded enormous and rich, shimmering like the surface of a lake. This was followed by the ultra-serene “The Blue,” which obviously didn’t have the intended effect on the two “gentlemen” sitting near me who nearly broke out in a fight. Grown men. At a David Gilmour concert. Perhaps someone wasn’t sharing the herbal “enhancements” that substituted for oxygen at this show? Who knows, but the foolhardy twosome nearly got themselves bounced by a whole phalanx of United Center security. Ah, good times…

After a one-two punch of “Money” and “Us and Them,” the first set closed with the foreboding “High Hopes” off 1994’s The Division Bell. Accompanied by iconic Storm Thorgerson video, Gilmour played both nylon guitar and pedal steel with exquisite taste and ease. The band then took a fifteen minute intermission before resuming the show with the Syd Barrett-era “Astronomy Domine,” the psychedelic lighting and projections harkening back to 1967’s London underground. The nod to Floyd-founder Barrett continued with classic requiem “Shine On You Crazy Diamond,” the introductory guitar figure generating some of the biggest cheers of the night. This classic Floyd staple and Gilmour showcase was played alongside more vintage Thorgerson footage. After watching it on the Pulse video and DVD for so many years, it was a real treat to see this footage projected live. It has aged beautifully. Other highlights of the second set included the pastoral “Fat Old Sun,” the aforementioned “Sorrow” and the visual/sonic attack of “Run Like Hell”. Whether comforting or menacing, Gilmour’s guitar tone was impeccable throughout. All of the signature hallmarks were there in abundance: the refined bends, sustained and delayed notes, all gleaming like liquid glass.

The show closed with an encore of “Time,” “Breathe (Reprise),” and of course “Comfortably Numb”.  After playing this song and all-time classic guitar solo so many times, one could forgive Gilmour for struggling to find the requisite power and feeling anymore, yet he delivered. Perhaps it was the energy of the crowd at United Center spurring him on, but it felt as sublime and transcendent as you would hope for, the vivid lasershow a mere backdrop for the real magic happening onstage. Credit must be given to his backing band and singers, many of whom are veterans of previous Floyd and solo tours. They injected fresh life into these classic warhorses, custodians of some of the most beloved staples in rock history. It also helps that Gilmour now tours at his own pace and terms. Financially, he’s never had to tour again past the ’87-’90 trek, but like McCartney he does so because pure musicianship courses through his veins. He can now cherry pick his live appearances and it shows. This is not a working musician slogging it out on a 100 + date tour. This is a relaxed veteran at peace with himself and his legacy. His current state-of-grace is a blessing to his audience and if this turns out to be a final victory lap, it will be a more than worthy one.

 

SET LIST:

First half: 5am, Rattle That Lock, Faces Of Stone, Wish You Were Here, What Do You Want From Me, A Boat Lies Waiting, The Blue, Money, Us And Them, In Any Tongue, High Hopes.

Second half: Astronomy Domine, 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(rep), Comfortably Numb