Capacity: 16,000

Concert starts: 8pm

Address of venue: 2301 N. Highland Ave, Hollywood, CA 90068. MAP

Website: www.hollywoodbowl.com

COMMENTS

David's 2016 tour of North America starts with this concert at the historic Hollywood Bowl in Los Angeles, California. For many years, the Floyd have been associated with this venue, performing here as a group and also solo shows, and the design of the stage area was inspiration for the Floyd's 1994 set design.

Tickets went on sale Friday 12pm PST through this link: Ticketmaster.com although please be aware that demand is incredibly high so you might need to be patient and keep retrying, as they seem to be adding tickets for sale progressively. We also understand that there are a limited number of VIP packages available for this venue.

As an additional incentive, purchasers of tickets online who are resident in North America will be emailed a code, redeemable on the CD of David's new album, Rattle That Lock. This is subject to terms and conditions, which should be available to you from the ticketing website. Our thanks to Ed Lopez-Reyes for the ticket scan to the right.

WARNING - SPOILERS AHEAD!

Do not read on if you don't want surprises to be spoilt, regarding what the band played!

The first night of the North American tour kicked off in front of 16,000 in this natural amphitheatre, a mainstay of Hollywood for decades. The setlist used thus far on the Rattle That Lock tour was unchanged for last night’s show, although as a special treat David Crosby was along to sing A Boat Lies Waiting, On An Island, and Comfortably Numb.

Full use was made of the venue’s unique appearance and layout (itself inspiration for the 1994 Division Bell tour staging, with Mark Brickman going to huge effort to make it a spectacle for eyes as well as ears. Some 30 projectors were used, projecting onto the sides of the Bowl, and these were joined by a large firework display after the show.

We'd love to know in more detail how the concert went. Did you go? Let us know what YOU thought!

CONCERT REVIEW by BD's Ed Lopez-Reyes
PICTURES by Marie Lopez-Reyes

A very bluesy and relaxed roll-out in North America that included incredible performances of Today, Sorrow, and Run Like Hell give a new hue to David Gilmour's Rattle That Lock Tour

Concerts exude different vibes in different settings: the cultural environment's impact on the artist and fan response during the performance itself may be factors. Whatever it is, David Gilmour's first performance at the Hollywood Bowl on Thursday night was one of the bluesiest-sounding ever and, while that may be a nuance only some of his most devout fans (and guitar players) may notice, it provides a good frame of reference for the mood that is likely to follow the rest of his North American tour.

The show, which kicked off the Hollywood Bowl's 2016 season (and whose audience included local musical celebrities: Robbie Wyckoff, of Roger Waters' band, and former Pink Floyd studio and touring member Scott Page among them), boasted this tour's most standard set but was performed with a dimension and depth that summoned Gilmour's American influences most. The solos soared beyond their established and well-known constructions and his interaction with the rest of the band had a more organic flavor.

Even though the audience was treated to the same set it would have heard last September at the Royal Albert Hall (and most other venues) the band's execution projected a more free-flowing gumption and dispensed of any self-consciousness, inhibitions, or focus on perfection – the result being one of the richest and most exquisite opportunities to hear the band and its members play as they might far from the pressures of an audience full of expectations. Whether the band itself perceived the performance that way is a different question – but whatever the magic, if the band can carry this spirit all the way to the last North American tour date at Madison Square Garden next month, fans will not be disappointed.

As the show unfolded, those in attendance were treated to an experience that – as far as this tour goes – most closely resembled Pink Floyd's 1994 tour: the Hollywood Bowl's dome shaped stage, drenched in projections and lighting effects throughout the show, underscored the reason many fans were there: this was about as 1994 as the Rattle That Lock tour could get.

A larger bulk of songs retained intense audience interest than in most shows: Wish You Were Here, The Blue, Money, Us and Them, In Any Tongue, High Hopes, Astronomy Domine, Shine On You Crazy Diamond, Fat Old Sun, Coming Back to Life, On An Island, Today, Sorrow, and Run Like Hell kept everyone fully engaged. The audience was treated to guest performances by David Crosby on material from On An Island but it was his guest appearance on Comfortably Numb that surprised most: his delivery was reminiscent of Van Morrison's interpretation of the song during Roger Waters' 1990 The Wall- Live in Berlin performance.

The track Today still comes across as the most confident performance off the Rattle That Lock album – a very persuasive delivery that should entice Pink Floyd fans to look at Gilmour's most recent solo work with great enthusiasm. But the two tracks that stood out most on Thursday night were Sorrow and Run Like Hell:

Thursday's show included what may have been one of the finest performances of Sorrow, not just in comparison to those on previous nights of the Rattle That Lock Tour but also compared to those on The Division Bell Tour and to the 2004 performance of the song at Wembley Arena's The Strat Pack concert (one of its finest presentations ever).

The song has a unique Los Angeles history: according to Wikipedia, "the guitar intro was recorded inside the Los Angeles Memorial Sports Arena", just a few miles away from the Hollywood Bowl, in 1986 "and piped through Pink Floyd's large sound system, yielding an extremely deep, cavernous sound". (Guitar enthusiasts may appreciate knowing it was done with a Steinberger GL headless guitar). Interestingly, Gilmour breathed an entirely new life into this song during Thursday's performance – even as the same arena in which the song's iconic introduction was recorded 30 years ago is prepared for demolition following its last concert (by Bruce Springsteen) just a few days ago. It is doubtful Gilmour is aware of any of this but it is a remarkable and nostalgic coincidence that should resonate with Angelenos and fans of A Momentary Lapse of Reason.

It is hard to determine with precision what made the song matchless on Thursday night but Gilmour seemed particularly focused with each note and cognisant of the need for space between those notes, even as the rest of the band accentuated bits and pieces that get lost in the studio version and in other live performances.

Run Like Hell, which always seems to get people on their feet, was particularly compelling because it brought back memories of 1994's The Division Bell Tour full circle: not only was the performance of the song impeccable but the fireworks at the end were enough for longtime fans to turn to new fans and say "that's what a Pink Floyd show was like back in 1994".

Without a doubt, David Gilmour and the band found a type of comfort at the Hollywood Bowl that few bands get to experience at most venues. Although David Gilmour had not been on that stage since 1972 it fit just like a glove and proved to be a fantastic vessel for a set that has been well-practiced and delivered elsewhere but which was also due for a more natural flow. Whatever conjured the band's blues influences tonight provided a new punch to the set, giving a clear signal that Chicago, Toronto, and New York City have a lot to look forward to.

Additional photos by Marie Lopez of the 2016 Rattle That Lock Tour shows in Los Angeles will be posted at facebook.com/marielopezphotography following the show at the Los Angeles Forum on March 27th.

CONCERT (and REHEARSAL) REVIEW and PICTURES by BD CONTRIBUTOR, Kirk Noah

I was lucky enough to be hanging around on the front steps of the entrance to the Hollywood Bowl on Wednesday evening, 23rd March with two of my oldest friends and strongest concert going comrades. We had never been to the Hollywood Bowl let alone LA. But somehow all had managed to circumnavigate work and family obligations to meet up for concerts we had all been dreaming of since our early days of inception into live Floyd via the Pulse video (on VHS mind you). Nearly 20 years to that special time we were all primed to finally see David live. We all love and appreciate Roger, Rick and Nick but when it comes to seeing what really made live Floyd we all know it's David.

So there we were, having walked up from the Holiday Inn we were lucky enough to have secured a mere 100 or so yards from the Bowl. Marveling at the beautiful park like setting of the Hollywood Bowl and just hanging about on the front steps just like we were 18 again, birdsong in the lush trees over our heads, a beautiful warm spring evening just after twilight passing around the old stories and anticipating seeing what we knew would most likely be as close to seeing Pink Floyd we would come again in our lifetimes, remembering watching Pulse for the first time on my friend Andy's tiny dorm room TV in college and still being transfixed by the most incredible stage show and live music we had ever seen, what songs would he play? Echoes? Cymbaline? Grantchester Meadows? Mudmen?

When I looked up over my shoulder and noticed flickering lights from up near the amphitheater.

We instantly crept closer to try and find a better vantage point nearby expecting security to halt us at any moment and ask for papers. We rounded a slight bend and suddenly realized we were looking at the top of Mr. Screen aglow with multi colored lights and flashing in rapid succession.

We watched for a while as if in a dream seeing something we weren't sure was really before us. Yet it was. We hazarded several more steps still awaiting that official "Halt! Who goes there!?!?" It never came though and we just continued moving towards the source of those technicolored flashes.

To our amazement we found ourselves right outside the amphitheater and the only bodies we had seen paid us no notice and went on about their business.

We entered the amphitheater at Terrace level, the same level we had box seating awaiting us the following night and walked out to witness Mr. Screen in his full glory nearly obscured by Floydian fog machines and a bask in purple lights. Undoubtably being fine tuned and calibrated undoubtedly by Marc Brickman himself. The same man responsible largely for the stage effects that had entranced us on Pulse so many years back. The amphitheatre and stage were totally empty save from some movement within the lighting effects and soundboard area and the occasional security guard, none with eyes to see us.

It was so strange to see the Floyd stage before us, completely basked in lights and video yet silent. And so reminiscent of the Division Bell stage, as that stage was indeed modeled after the Hollywood Bowl. We settled in our seats and watched for almost two hours as Mr. Screen and Mr. Brickman put on a magnificent silent show for us. Watching the incredible animation for Rattle That Lock with the birds slowly flocking outward from center stage broadcast on each inner screen of the domed stage, the clocks from Time rolling by in slow motion, winding down to a standstill, reversing, then rolling on into the relentless future again, the green lasers we expected to be used for Sorrow based on Pulse beamed up into the trees at the top of the amphitheater spread out in fascinating formations and oscillated like waves in the trees. I felt a little like those lucky teens of lore who the crew supposedly allowed to sit in the shadows and watch the band perform during the Live At Pompeii sessions of yesteryear. I barely dared to breathe or make a sound less I awaken from the wonderful dream I had stumbled into.

Finally Jake took the initiative and began playing selections from Rattle That Lock, On An Island and the Floyd catalog on his phone. It was amazing how no matter what visual effects we were witnessing at the time, the music always synced up with and seemed to be programmed for. It was a perfect moment of many perfect moments over that 3 day stretch of time. Such is life at times.

It was such an otherworldly beginning to what will live in my mind forever as one of the greatest times of my life. The opening concert itself the following night contained some of the greatest versions I've ever heard of several songs I have heard in multiple formats for years, be them studio, live, bootlegged... The Blue, Coming Back To Life, High Hopes, Sorrow and FAT OLD SUN - David's solos seemed to go on for days, I felt like it lasted 12 minutes. But the concerts themselves are covered so well here by others I'll leave this review to our wonderful sneak peak...

CONCERT REVIEW and PICTURES by BD CONTRIBUTOR, John Rivera

I have been a Floydian fan since my teenage years and even was privileged enough to see The Wall performed in Los Angeles in 1980. I even saw David Gilmour perform in 1984 for the About Face tour. We missed the 2006 On An Island tour but when I heard David was releasing Rattle That Lock I knew he would be touring and I had to go.

The tour was announced for just three US cities, Hollywood, Chicago and New York. I knew I had to go.

I bought tickets for the first show, heard he added another show at the Bowl, bought tickets for that show and then bought tickets for the last show at the LA Forum as well.

We arrived at the Hollywood Bowl, saw the marquee that showed the shows were "Sold Out", smiling to myself knowing we would attend the next night as well.

Arriving at our middle section seats, I noticed we had full view of the stage and Mr Screen. I knew the sound would be next to perfect. The lights were formed into a make shift pyramid into the night sky. Wow!

The show started with three songs from Rattle That Lock. I noticed that the outer edges of the Bowl were used as a screen as well as Mr Screen. During Rattle That Lock everyone saw the crows projected flying out from the center of the stage. I knew we were in for a treat. After the third song from the last album, David went into Wish You Were Here.

The night continued with solo tunes from On An Island and Rattle That Lock as well as songs David performed with Pink Floyd. The visuals were excellent as one would expect from a Floyd type show.

Money was performed with coins projected falling from the outer edges of the bowl into the center of the stage. WOW! Us and Them was played after Money and it was great to see the old film used in the 70's for those songs.

Astronomy Domine was accentuated by lava designs projected all over the bowl. Far Out!!

Mr Screen projected David and the band throughout the show. And when Run Like Hell was played, the entire band was seen wearing sunglasses and it showed they were having a great time. During the ending of Run Like Hell fireworks were shot into the sky from the top of the bowl. Fantastic!!!

For the encore David and band treated the audience to Time and of course Comfortably Numb.

While the intro for Time played, the clocks made an appearance on Mr Screen and on were also projected on the outer part of the bowl.

Comfortably Numb was the last song played and the lasers accentuated the song and the end of the show. David Crosby even made a guest appearance.

To say the least, this 70 year old guy can still play a guitar and he seems to be enjoying it by the of the smile on his face throughout the show.

In all was this trip worth it?? YES. Would I do it again? Absofreakin'lutely YES.

CONCERT REVIEW by BD CONTRIBUTOR, Arthur Bristol

From the earliest days of Pink Floyd playing at nightclubs, years before David Gilmour joined the fold, there’s been a commitment to spontaneous musical performances illuminated by dazzling visual displays. 50 years later, this commitment continues, and David’s “Rattle That Lock” tour is no exception. At this stage, it requires an enormous crew to guide each facet, but the result is a consistent outpouring of satisfying moments and magnificent surprises.

It was a glorious spring evening, without a cloud to be seen. My wife Jane and I had seats in the crowd, a third of the way up the hill, just slightly left of center. As we found our seats, we met an elated young man from Bangladesh with a warm heart and a lifelong appreciation of the Floyd. Before we arrived, he waited alone in these rows of bleachers expecting a multitude of 17,500 Gilmour fans. We got acquainted with our new friend, shared our Floyd histories, and breathed-in the atmosphere of this open air venue, amidst the trees below a canopy of sky at dusk. Our friend explained that his entire life occurred with a backdrop of Floyd. The “Pulse” and “The Delicate Sound of Thunder” DVD’s are amongst his most prized possessions. Listening to his heart, he ventured alone on his first trip to the United States, a 22 hour flight, to be at his very first rock show.

All Floyd and post-Floyd solo concerts are occasions marked with pristine sound from excellent speakers and state-of-the-art electronics. Like the “On An Island” show of 2006 at Gibson Amphitheatre, stereophonic amplification was employed at the Bowl, rather than quadraphonic. 45 minutes before the show, the event unfurled with spotless snippets of sound effects. The sound of thunder was authentic, yet soothing, since there was no threat of rain. (Perhaps this qualifies as delicate?) Sorties of invisible airplanes flew dangerously close the crowd, again with no threat, but hauntingly believable. The initial “ping” of the song “Echoes” was quite appetizing, harkening back to the Roman amphitheater of Pompeii where “Echoes” and “One Of These Days” were memorialized on film. This one musical note, conjured the spectre of Richard Wright. Introductory keyboard passages from “Time” were laid bare, stripped of the other instrumentation, revealing their brief contemplative chimes. These sounds were a gentle tribute the expert mixing-desk engineers responsible for mixes at Floyd and Post-Floyd concerts. The absence of pre-concert music was relaxing and centering.

As time marched forward, people continued to filter into the main aisles and climb the stairs, and we met our other neighbors: a California woman with her husband who transplanted from Argentina in 1989. Their son had a seat somewhere off to our right. I left my wife in good company, and began my quest to buy beer. I walked down the stairs and turned on the main aisle where I passed young ushers at their assigned posts with lost faces. Perhaps they were fighting the throws of cold turkey, fantasizing about using their smart phones.

While waiting in the queue for beer, I met an irritated yet friendly couple from San Diego that missed their bus from the Universal Hilton. They had been forced to brave the eternity of driving in Hollywood traffic. Due to a further misstep, they overshot the Bowl parking lot, resulting in an eternity of start/stop shifting to circle back for parking. Although, they were waiting for beer at the Hollywood Bowl before a Gilmour concert, mentally and emotionally, they were still stuck in traffic. I failed miserably to alter their consciousness through compassion and redirection. Finally, I stepped aside, trusting Gilmour to console them and erase the harsh circumstances of their pilgrimage. I found my way back to my wife and friends with my hands full. The suds were delicious and the show began precisely at 8:00pm. The first song of the evening was “5 A.M.” from “Rattle That Lock” which allowed Gilmour and his musicians to emerge mysteriously, dressed in black. The Floyd flavored “5 A.M.” was followed by the title track “Rattle That Lock.” David’s voice sounded great above perfectly mixed instruments and deliberate blues of his Strat. Mr. Screen, the circular lighting apparatus and video screen from Floyd’s yesteryears, featured the video of “Rattle That Lock.” At the end of each chorus, video projections of giant birds flew outward from Mr. Screen, escaping from hell upward and outward across the Bowl band shell. The artwork moved majestically. In my estimation, the song “Rattle” flows naturally from David’s musical experiences with Bryan Ferry and Phil Manzanera of Roxy Music.

“Faces Of Stone” brought us more delicious Stratocaster solos, bridging the musical gap from the “The Division Bell” to the present with circus-like woodwind phrases reminiscent of “Poles Apart.” Beginning with elegantly spaced piano notes before adding lively acoustic guitar strumming, the song was ultimately imbued with David’s melodious singing which cause the crowd to swoon, on a more profound scale than the beer suds earlier. Even though the bowl is a non-smoking venue, it smelled like people were smoking pot nearby. Perhaps they were attempting to turn their faces to stone while helping David’s smoke machines generate theatrical smoke. The machines began pumping clouds at the sides of the stage shortly before the band emerged, although it wasn’t yet clear why.

After “Faces Of Stone,” the radio started dialing in the station for “Wish You Were Here.” The crowd was delighted beyond belief. I surprised by the departure from the new album, but “Wish You Were Here” is a worthy departure! The sound and the atmosphere exuded pure elation. The twelve-string guitar began the background, and David played his famous lead acoustic guitar intro. Mr. Screen projected David with his guitar continuously for the entire song, and the crowd sang along, in bliss and in awe. David improvised new solos in the middle section and the finale as a special experience for this night and this particular group of devotees.

For our next magical moment, Gilmour welcomed David Crosby to the stage. Crosby lent his voice to, “A Boat Lies Waiting.” As the music began, a recording of Richard Wright’s voice said, “It’s like going into the sea. It’s like nothing.” This is a perfect song to follow on the heels of “The Endless River” album of 2014. Richard was an avid sailing and yachting enthusiast, and his early demise from cancer in 2008 leaves a vacuum in the Floyd legacy. This new song from Gilmour and Polly Samson reminds us that we too are following Richard in our own boats, finding our way to that same sea. As Richard once sang, “Sail on across the sea. Sail on. There’s no other place I’d rather be.”

Between songs, David spoke briefly about how nice it was to be playing at the beautiful Hollywood Bowl, noting he hadn’t played there for some time, most recently in 1972. I had often fantasized about being at that 1972 show, but this “Rattle That Lock” show set this unrest at ease.

After “A Boat Lies Waiting,” we were treated to “The Blue” with the full band singing, “Waves roll, lift us in blue.” When the guitar solo kicked-in, it was obvious why so much theatrical smoke was needed. Powerful blue lights were directed at the theatrical smoke, so it was no longer invisible. Suddenly, there was a giant blue cloud in the Hollywood Bowl, thanks to the visual display crew. It was a luminous vapor, yet you could see-through to the stage. Even Mr. Screen was shining blue. Richard Wright’s legacy was apparent in this blueness. Wish you were here indeed.

So far during the show, David had proved that note-for-note guitar solos were not his aim. He can think on his feet and invent phrases on the spot over complex chord changes, favoring spontaneity over mechanical rehash. Following the general trajectory of his original solos in the studio, he stepped out anew to infuse fresh interpretations and invent a once-only event. This was most apparent in the evening’s magnificent rendition of the stellar song, “Money,” which followed, “The Blue.” The bass guitar began poignantly, with each frequency perfectly balanced, matching Roger Waters’ original intent, and the song sounded perfect. “Money” stands alone as an exemplary classic rock hit. Yet, it’s funny what the best sound system and a few thousand watts of electricity can do. (Don’t try this at home kids, unless daddy is loaded and an uncompromising audiophile.) Mr. Screen played footage of coins falling, turntables spinning, the Concorde jet flying, a helicopter view of skyscrapers, and other pertinent images. Images of coins even spilled over the Bowl band shell. David dished up his brilliant lead guitar, and our sax player wailed. It was perfect!

What should follow “Money” except maybe “Us and Them”? Wow! The introductory sax solo was forlorn in a touching way, and I realized: this was my first Gilmour show without Dick Parry on sax. Tonight’s sax player was projected live on Mr. Screen during his solos. He wasn’t trying to be Dick Parry, and he brought his own spontaneity to his performance. It was delightful. During the big loud sax solo in the middle of “Us,” bright white lights illuminated the theatrical smoke for a white cloud and an emotionally charged musical climax. At the end of this sax solo, during the middle of the song, the Bowl erupted in applause. A close-up on Mr. Screen revealed David’s smile beaming with pride at our sax player for his achievement while commending him with, “Good job.”

The first set ended with the beautiful guitar work of “In Any Tongue” and “High Hopes” while Mr. Screen played the official videos. David announced a short break, exactly 15 minutes due to a tight curfew. Our friend from Bangladesh asked for our thoughts. My wife said, “That was amazing!” I told him I was still covered in goosebumps, and my eye sockets were rather moist. I was in a Gilmour induced state of shock. He hugged my wife and hugged me, proclaiming, “This is the greatest day of my life. The only day better than this will be the day when I get married.”

Syd Barrett’s Floyd classic from 1967, “Astronomy Domine” opened the second set. This was the very first song the Floyd played live for me, way back in 1994. I noticed, with Richard Wright missing, there were no founding members of Floyd on stage. Nevertheless, Gilmour and his band were wired into youthful energy and colorful ink blots danced on Mr. Screen. Soon the colorful ink display was moving all over the Bowl band shell, recalling a bygone era and the birth of the Floyd. David played a weathered Telecaster, and it was a great sounding guitar. No doubt, this guitar holds meaningful place in David’s family of instruments, perhaps even abused by Syd himself.

David went back to the black Strat for the Floyd masterpiece “Shine On You Crazy Diamond” while the familiar video from “The Division Bell” tour of 1994 played on Mr. Screen for the Bowl. Far from the pop format of three and a half minute songs, David, Roger and Richard wrote a timeless gem that bears infinite replays. For years, my wife and I watched “Shine” on the “Pulse,” “In The Flesh” and “Knebworth” DVD’s as a bedtime story. No matter what kind of day we had, we completed the evening embracing greatness before we turned out the lights. For this exquisite remembrance for Syd, the cloud in the Bowl was illuminated in a buoyant lavender. Each visual nuance was nicely chosen, and lavender was the perfect color for “Shine.”

Mr. Screen gave us radiant orange light for the best rendition of “Fat Old Sun” ever. How can every song sound better than you ever remembered? “Fat” was immaculate. David strummed his acoustic guitar and sang, while his band supported him in elegant perfection. When it came time for David’s lead guitar, the weathered Telecaster reappeared. David soloed continually, pausing occasionally for the chord progression to speak on its own, before jumping-in again for another Telecaster elocution. This wasn’t your Atom Heart Mother’s fat old sun. No way. This was “Fat” as it was intended to be: full, robust, proud, and free.

Soon, David was killing the past as he headed straight into the shining sun, as he has been known to do. Needless to say, we were treated to a resurrection of, “Coming Back To Life” from the Division Bell. To be born anew, shining with buoyant textures: what more could any song want? The crowd was unprepared for this one, but quickly regained composure to ride the rhythm with the band. Given the three day proximity of Easter, the song had a special lustre on this Maundy Thursday, just one evening past the full moon.

The next timeless classic was the spellbinding title track “On An Island.” David Crosby returned to sing along while silhouettes of children playing on swings animated the surface of the Bowl. Phil Manzanera proudly displayed his sunburst Gibson ES-335, which featured nicely as he traded solos with David. They both discovered new melodic pathways while retaining a connection to the solos we all know and love.

David assured us that the lyrics to “The Girl In The Yellow Dress” were written by Polly. It’s a sultry, jazzy number, and volume level dropped accordingly. Mr. Screen played the official video, and the band “…filled the groove.” Someone a few rows back decided this was a good opportunity to talk about a construction job. My blood pressure rose a few notches, until I reminded myself that Floyd practically invented the art of “spoken word over musical performances.” Such a cool tune to decompress and hang out by.

“Today” followed, bridging a musical connection to David’s eponymous 1978 solo release. It reminds us to release our recent past, bidding us to embrace life in equanimity. This is quite possibly my favorite Polly Samson lyric so far, wed so nicely to an adventurous sweeping melody from Gilmour, along with a richly textured instrumental arrangement. Rock was meant to venture into the Lydian mode, and that Telecaster sounds fantastic. What a gift.

After the optimism of “Today,” the next song was “Sorrow.” This made everyone happy, embracing David’s otherworldly guitar. I loved this rendition. During the ensemble section, David’s group soared. While the words lack specificity, they could easily refer to war, humanity’s constant obsession, and mankind’s greatest failure. Many of the people near me belted the words along with David. The mood was victorious. I asked myself, what have I done to make me worthy of this experience, or rather, what do I need to do now?

As the applause for “Sorrow” dwindled, David mounted his Telecaster for another ride. He began scratching at the strings with echoes as Mr. Screen’s lighting apparatus shot colors all around. David extended his intro on “Run Like Hell” and while he continued, the shooting colors were triggered by his guitar pick. I thought to myself, “Wow, a Gilmour concert with no lasers...” The full band kicked-in for the descending pedal-point guitar chord passages over the pulsating bass guitar and bass drum. So, when the singers commanded us to, “Run, run, run, run…” the entire crowd joined in and continued to sing along throughout. The synthesizer solo, as originally played by Richard Wright, has always been my favorite part, and tonight was no exception. To my surprise, a tunnel of green lasers pierced the theatrical smoke above our heads in a mesmerizing glow. No one saw it coming, and it was a barnstormer. That was some excellent planning to withhold the laser. Crikey! And that wasn’t all, the concluding chord passages supported a full phalanx of fireworks shooting up to explode and fizzle above the Bowl. Nice climax!

Our new friend from Bangladesh asked, “So that’s it? We go home now?” I explained that the band would return, because we were a ferocious crowd and we demanded it. He was confused by this, but more Gilmour was a promising future, so his cheering resumed.

A tight curfew brought the band back quickly for a sumptuous “Time” and “Breathe (Reprise)” performance, after which, the stage went dark. I checked the time at 10:50 pm and wondered whether ten minutes would be enough time for “Comfortably Numb”? During this dark moment, I thought I heard the bass prepping for “One Of These Days.” Now that would be a coup! Nobody was expecting “One Of These Days.” In fact, many people came to this concert specifically for “Comfortably Numb.” I didn’t care. I was ready for the giant, angry, rubbery plastic warthogs wiggling wildly. Of course, that’s no proper way to end a concert. But it would remove the threat of overtime. No such luck: the needs of the many outweigh the needs of the few (except in a capitalistic society or other forms of dictatorship). Common sense prevailed for the finale, and “Comfortably Numb” began with David Crosby singing the verses. (Crosby appears to be profoundly wise with his long-flowing white hair and large white moustache.) I checked the time again as the band gathered at the front of the stage for their final bow. It was 10:59.

Everyone was delighted with this ending and it was time to squeeze 17,500 people through a bottleneck to their respective cars and busses. While this is a bit of a harsh contrast, we were still floating on a Gilmour cloud on the endless river. The river was moving quite slowly at these straits with considerable overcrowding, but this served as a symbol of corporate success, and we were afloat near the rapids of the California freeways.

CONCERT PICTURES by BD CONTRIBUTOR, Randy

YOUR HELP NEEDED! We want to cover David's concerts the best we can, to share the experience with everyone, especially those who won't be able to attend the shows. We'd love to see ANY pictures, tickets scans, reviews, newspaper reports, and anything else you come across for this show - we look forward to hearing from you!