But NOBODY – and I mean NOBODY – is worth $250. That’s obscene.

Just to see Roxy Music’s (underrated but brilliant) Phil Manzanera guesting on guitar & vocals was enough for me, of course! In fact, I went with dear friend & legendary/veteran producer John Punter (Roxy Music, Bryan Ferry, Procul Harum, T-Rex, The Hollies, Savoy Brown, Nazareth, Japan etc.) & we were behaving like teen boys, gleefully elbowing each other & grinning the entire night, both amazed & impressed at how seamless, integral yet complementary Phil’s playing was to David’s, both on the new & vintage material. Phil truly has enormous ability & showmanship in an understated manner, and gracefully replicated alternate layers of guitar parts originally played by David, which naturally 48 trk recording allows for, often using an identical axe to DGs. Really something to eye very carefully & appreciate. You then realize why Phil was chosen to co-produce the album, with another 70s studio wunderkind, Chris Thomas. His resume is in the history books as well (Floyd, Roxy, Pretenders, Townshend, Pistols etc). Now, when one hears "El Manzo" playing on the seminal Floyd tracks live…well!!! It’s absolutely divine!!!!! (Echoes live was worth the price of admisssion!!!) At that point I could almost imagine a Floyd/Roxy tour!!! The atmospherics are actually quite similar from that classic era when you compare, say Meddle to For Your Pleasure). Little factoid: I found out afterwards that Phil actually scored/wrote the opening instrumental that ushers David onstage. Another example of how they truly vibe on & off stage.

It’s also worth noting that I used to think Roger Waters was integral in recreating Floyd on stage. I no longer believe that. And certainly not after last night. Especially when you hear both Richard Wright & David singing both vocals from Comfortably Numb, the stunning show closer. I now believe those mega shows over the last 20 years since the Wall ( which by the way I saw at Nassau Coliseum 1980 and still maintain to this day is the single most grand rock spectacle I have ever witnessed) with the exception of the The Wall & all gigs before left many with a bad taste in the mouth from a current perspective. Let’s face it, this kind of ethereal repertoire is best enjoyed if not at home on a great stereo or with headphones, then certainly in a theatre setting as Nick emphasized; the memory, the legacy of those latter day grandiose (perfunctory) special effects, inflated sound & large crowds I think has ultimately left real music fans with a bad taste and always hoping for a better opportunity to see it in a comfortably (numb) intimate setting. The real fans who have tickets for this extremely short tour already know why or soon will!

BTW, during intermission, almost on cue, I spotted The Wall’s producer & regular Lefsetz contributor, living legend Bob Ezrin chatting in the aisle (anonymous/faceless to the general populace there I’m sure). I’m proud to say I’ve known Bob (been a fan) since the 70s & his days at Nimbus 9 & he’s always been a real gentleman…we met while he was recording the debut Kings record, which was oddly Bob’s subsequent studio production following The Wall…and strangely, I’ve just remembered that I’ve made a habit of running into him at each of the Floyd gigs I’ve attended over the last 26 years since & including the Wall in NYC. Weird. Floydian kizmet, I suppose…

ps The new album is better appreciated live, as performed start to finish in the first set; I was delighted to hear Where We Start in that setting…a Gilmour gem & my personal favourite from the album.

pss The other (genuine Floyd relic) star of the evening, was the incredible saxophone of Dick Parry….what a treat to have him, yet another original there on that stage!!

It was one of the few times in my career that I watched a show and said to myself, "How lucky am I….? I get to see this show 6 more times!"

I took my 16 year old daughter and her boyfriend…they are Floyd fans,but were still stunned at not only the level of musicianship, but also the lighting, by Marc Brickman, and the sound.

It was as good as a rock show gets.

I told her seeing David now is like seeing Muhammed Ali or Baryshnikov in their prime….an artist at the top of their game.

It was a special night,indeed.

As was last night in Toronto.

I don’t know if your plans changed,Bob,but if you can make the show in L.A. it IS "one for the ages".

great show

two things i heard outside

"whos got tickets?"
"who needs doses?"

two jerkoffs behind me talked through the first 30 mins ’till i tore them a new asshole

production was full on floyd production very cool

INTERMISSION

Open set 2 with Shine On You Crazy Diamond. I was stupefied it was just breathtaking. The finale with Parry on that sax solo looking Imprisoned in unbelievable pinpoint laser lighting. WHEW. Everyone on their feet.. Then my girlfriend (no Floyd knowledge whatsoever) Asks "Well, how come everyone is sitting down now that "Shine On" is over……??? Great question. Because at a sold out Radio City Show about 6 people cared about "Uh wots the Deal" from the Obscured by clouds soundtrack… The crowd, still sitting next hears "The Division Bell"

David Gilmour is a great artist and has earned the right To do whatever he wants. For me, and I can only speak just for me, with the body of work he gets to choose from he could have made a couple of more dynamic selections. If I never heard "Wots the deal" again, It’d be ok. But Echoes was absolutely 100% transcendent!!!