• David Gilmour Live at Pompeii cinema screening review

    David Gilmour Live at Pompeii

    This week David Gilmour premiered his new spectacular concert film at over 2500 cinemas across the globe. The show was filmed in the Roman amphitheatre last July. Almost to the day 45 years after Pink Floyd filmed their legendary performance. Here’s my review of the screening of David Gilmour Live at Pompeii.

    I was very fortunate to see David perform three nights in London’s Royal Albert Hall in September 2015. Although I really didn’t care much for the Rattle That Lock album, see my review here, I was in awe over the shows.

    It is no doubt that with this tour, David is now embracing his Pink Floyd legacy to the fullest. You’re taken back to those classic performances and you get a strong feeling of this is where David belong. It needs to be big and bold, with bombs, lasers and beautiful lighting.

    I went with a friend at probably the best cinema in Norway. The projecting and sound system is top of the line and did great justice to the film and performance.

    The short documentary was nice but I hope it will be longer on the DVD/Blue Ray. It puts you in the right mood and it’s always nice to hear David talk, rather enthusiastically, about the album and the tour.

    David Gilmour Live at Pompeii

    There were no surprises but it’s always great to watch closeups of his guitars, amps and pedals. Nice presentation of the band members as well.

    You can’t really beat the setting and venue. Forget the film from ’71. This is something else and I can only begin to imagine what it must have been like to experience this. They’ve done an amazing job capturing the atmosphere of the place and the performance. You get a real sense of being there, of course the big cinema screen helps, and the beauty of the amphitheatre and its surroundings. 



    I won’t go into detail on all the songs but there was a number of highlights. The first being What Do You Want From Me. Awesome version and very close to the one on Pulse. David nailed all the little fills and licks, with what sounded like a Tube Driver set for high gain and mostly the neck pickup.

    Next was A Boat Lies Waiting. This was presented by David as a tribute to Rick and in the documentary he also talks about how much he misses him and that playing in Pompeii brought back all the memories. A beautiful version, with stellar lap steel and vocal performances.

    In Any Tongue really blew me away when I saw them live in 2015 and this version is equally powerful. Not sure I like the chorus part, with the backup singers taking the lead, although I can understand that it’s out of David’s range at this point. Anyway, amazing solo (sounded like a Big Muff with a hint of delay) and it’s great to both hear and see how the band is creating a powerful backing for Gilmour.

    One of These Days was phenomenal and I love how they used the old samples and even added the piano throughout the song as heard on the album version. Pratt sounded awesome although I wish he would drop the slapping and use a pick.

    Sorrow was probably the high point for me, as it was in 2015. The intro is deadly as hell and the band sounded amazing during the solo, which David nailed to the point with what sounded like a Big Muff. A small detail was Chester Kamen’s dotted eight arpeggios throughout the song.

    I must admit that Comfortably Numb is one of those Floyd songs I always skip these days. It’s beaten to death. Still, you can’t beat this end of a show and I still can’t believe that David brought back the old Electric Mistress for this tour. I love that he used it for the verse sections, you can hear that lovely swirl under the vocals, and the solos sounded out of this world. I guess you can always argue whether the actual playing was as good as Pulse or other classic version, but the tone is… I mean, come on!

    What I didn’t like was Great Gig in the Sky. It opens beautifully with the piano and David’s slide but the vocal part is a mess. I can understand that David wanted the backing singers to shine and do their own thing but this sounds more like a talent show than a Floyd/Gilmour performance. Where’s Durga?

    Time and Breathe (reprise) sounds boring and uninspired. Perhaps it’s because I’ve heard those songs so many times but while David’s guitar sounds huge on Pulse, here it sounds thin, harsh and almost without any sustain.

    The UniVibe must be set with a very low intensity setting, which only adds to the harshness, and he also appear to be using a Tube Driver, rather than a Big Muff. This was something I, and many others, commented on during the tour and it doesn’t sound much better here. Why is he using delay on the verse? Sounds messy.

    Run Like Hell was one of the high points when I saw the shows. I loved that they did a version close to the album, which brought back the urgency and power of this song. However, seeing everyone up close with shades and running around smiling all the time makes it all look a bit silly. It was a fun gimmick but they should have dropped it after the first leg of the tour. The firework at the end was awesome though!

    David Gilmour Live at Pompeii

    Understandably, they cut lots of songs from the screening. There was nothing that I really missed and you can get everything on the official releases, but I always enjoy hearing The Blue and I also think that the Money version they did sounded really great.

    It’s always difficult to attend these shows or watch them later without comparing it with the stuff you grew up with. I know Delicate Sound of Thunder and Pulse by heart and every little detail is always in the back of my head. Not to mention all the bootlegs.

    It can ruin the whole experience if you expect David to play the exact version of a solo that you love but on the other hand, I’m often impressed, which I guess must mean that they have exceeded my hopes and expectations.

    David’s voice holds up amazingly well although I assume that they edited some of the more crucial parts from both nights and soundchecks. He plays amazingly well too and overall much better than when I saw him back in 2015.

    He always needs a few months to get into the groove, as we also learned on the 2006 On an Island tour, but you can really sense a renewed energy within the band too, which must be inspiring to everyone.

    As much as I love Phil Manzanera and Jon Carin, who doesn’t, I think that playing with your friends for too long ins’t necessarily what’s best for the performance. They were beginning to sound a bit uninspired and Chester Kamen (guitar) and Chuck Leavell (keyboards) brings a lot to the table. The band sounds super tight and fresh.

    The soundtrack is spectacular. You can clearly hear every detail and nuance and they’ve created a dynamic mix that captures the different moods of each song. David’s guitar sound exactly as I remember it from 2015 and it’s placed quite high in the mix making it cut through nicely.

    I had a great time and I can’t wait to get my hands on the full show! Did you attend the screening? What’s your thoughts? Please comment below!

    See the Rattle That Lock gear guide for a full run down of David’s guitars, amps and pedals used at Pompeii.

56 Responsesso far.

  1. Lorenzo says:

    Didn’t like Sorrow’s intro made on octave. It lost energy IMHO. The rest is super.

  2. guitartango says:

    Just heard the Album on my phone and all I can say is wow, can’t wait for the Blue ray to turn up. The problem with Time and CN is that it is missing Richard, not sure who is singing on CN but it needs to be more “Depressing”.

  3. Marcus Hogan says:

    Hi Bjorn! Big fan of the site! Had the pleasure of not only seeing this concert in the cinema but I also attended the first night on July the 7th last year. Tickets were released on my 19th birthday and being a crazy Floyd obsessive It was a great excuse to finally see Gilmour live (myself and my dad flew from Ireland). Was a bit worried as I had watched the Wroclaw concert online and was let down by Gilmour’s weak voice, messy playing and lack of power/sustain. What a great night the concert was. What you can’t tell from the movie is how much space we had in the amphitheatre. Everyone had space and a great view and the sound quality meant that you could enjoy every single individual musician on the stage! Most songs on the live album are from the second night but the performances on the first night were just as strong (aside from a v messy solo on High Hopes and one awkward missed chord on Run Like Hell). Personally I liked his tone on Time. I thought the harshness of the tone made it sound more aggressive and more like the album version. Backing singers were a great touch throughout and the chemistry with Chuck and Gregg was great. As a sax player myself I thought Mello’s tone was maybe a bit harsh but still great. In Any Tongue worked great live as did the rest of Rattle That Lock. The man should be commended for delivering such a strong performance at 70 years of age. Obviously he’s aged a bit from the last tour but again that was ten years ago! Really was a five star night! Feel free to ask any questions

  4. Carlos says:

    Hello Bjorn and Everyone Else,

    Thank you for the review. I saw David in Toronto last year, and when he played Sorrow, it looked like he was playing octaves without a pick (the intro). When I watched the Pompeii video on Friday night, I noticed the octave finger picking. Is this something new? I do not recall this when I saw Floyd on the Division Bell tour. It sounds different as compared to the original recorded version and the Pulse live recording. Your thoughts. Thanks again for this site.

    Respectfully,

    Carlos

  5. Jeff says:

    Bjorn, I apologize if I’m putting this post in the wrong spot but I didn’t know where else would be appropriate.
    I have a HUGE request for anyone….
    I’m in super need of a backing track for Beauty from RTL with the lap steel removed. There’s a short version on YouTube but I really need the entire song. We are having a big party for my daughter in March, will be doing a video montage of her life up to now and I’ll be playing 5AM, Beauty and And Then over the video. I have 5AM and And Then & they’re perfect! I’ve tried creating one for Beauty on Riffstation, Audacity and Cubase with no luck. I could really use help from someone who knows what they’re doing.
    Many many thanks to anyone that can help me!!!
    Jeff

  6. Émile says:

    So much to say… First, the bad stuff:
    Coming back to Life solos are at some point unarticulated (is it how we say it?). Some phrase of the last Cnumb solo were not well connected to each other, in my opinion.Great gig was interesting but I don’t Know I feel about it.
    Good stuff
    5 am is on point
    Rattle that lock is incredible: He add some nice fill-in and the solos are awesome.
    On any tongue is one of my favorite one: the solo is as powerful as the good old CNumb. There are a lot of emotion in it. And the little phrase from ON THE TURNING AWAY is welcome.

    Money impro part is good too: When I saw Gilmour at Toronto, He did a little dance move between two impro, it was crazy!
    Run like Hell and one of these days are perfectly played as well as High hopes (the solo is better than the 2006 tour IMO)
    Sorrow is incredible (the muff is growling like if it was from Hell)
    Damn, 70 years old and He is still THE Gilmour.
    So much more to say!

  7. PickPink says:

    Personally I’m not a great fan of Gilmour’s post-Waters output, but I was still excited about this show in Pompeii and went to see it in high hopes, pardon the pun. I regretted it soon enough when Great Gig began. I should say that the backing vocals, the saxophonist, and Phil, the keyboard player, were not good choices, at least for older Floyd repertoire. They don’t get this music. Great Gig was terrible, one of the worst, if not the worst, sax solo in Shine On was simply a torture, worst I’ve ever heard, and Phil messed up some vital keyboard parts, most notably Shine On intro, with Minimoog lead played all over the place. It is not played so randomly, it has its timing. I shall note that the more I listened to Phil and Steve, the drummer, the more I understood the importance of Rick Wright’s and Nick Mason’s playing. They were not the most technically gifted players out there, surely, but the pace and dynamics of Floyd, this they got right, better than anyone else could. For years I could not tell what I didn’t like about DiStanislao in particular, and it comes to me he’s simply a boring, static drummer, quite a soft-hitter with a weak, wrong snare tone. Compare his drum sound to Pulse, say. Pulse is huge, Steve’s like indie drummer. On with the show, Time and Run like hell performances were somewhat static and lacked energy they’ve always had previously. The only highlight of the show for me was Comfortably Numb, but it’s always a highlight for me anyway, studio or live, so it can’t really be counted. All in all, for the most part of the gig I could not escape the melancholic feeling of inevitability, or persistence of time, if you like, and thought that it’s most definitely a good time for David to retire his touring activities after this last tour. I think I may be right. If we consider the pace David releases solo albums with and goes on tour, by the time he wants to do it next, he will be 80 years old already, minimum. Not the best time to tour the world, probably. No need to make it older than it is currently. So I did not like the band, the show production was better, and it’s definitely good Comfortably Numb is late in the set, ending it, so I left the cinema not entirely upset. I understand this sums up as rather negative review, but these are my honest feelings about the show and I’m afraid I can’t sweeten them a bit. Thanks for reading.

    • Bjorn says:

      I’ve deleted a couple of replies. Keep it civil guys… on both sides. Everyone is entitled to their own opinion and everyone is entiteled to disagree but do so with a healthy discussion and proper arguements. Shine on! – Bjorn

    • Mark Lugg says:

      I’ve gotta say, I don’t understand the hate for the Great Gig in the Sky. I mean, no, it doesn’t even compare to the original, but I think it’s a pretty cool take, personally.

  8. Lui Sutil says:

    This concert is si bad is painful! He could have done something cool with him goig back to Pompeii, instead he stayed wih the boring set list of the rattle that lock tour… very dissapointing concert. Very bad visuals, painfully bad… and I saw him at a different location but his tone did not sound newrly as good live…. still, all Gilmour fans will watch this… “Remember that Night” is a thousand times better than this one… it’s so , so bad…

  9. Claudio says:

    I was there .. the most amazing experience of my life!!

  10. I haven’t seen David live, but he sounds like a great show. A real performer that loves what he does. He seems to have an attitude of gratitude to his fans, which is awesome. Thanks for sharing your review, I’m really excited to see him live.

  11. crimson says:

    I saw David live this tour (not pompeij) – and I have seen the pompeij cinema film.
    I know it is hard to really remember the live sound during the concert – but as far as i remember: the sound of his guitar, his vocals and the band is very different from what we heard during the live shows. They really must have done a lot of overdubs.

    • Bjorn says:

      I disagree. To me, everything sounded surprisingly close to actually being there. There are no overdubs but they did use bits and pieces from both nights and sound checks to fix mistakes.

      • kodar67 says:

        I agree with Bjorn, I was in Pompeii and there is definitely no any overdubs in film. My only objection is that Wish you were here lost some of the crispiness in the film.

  12. Jean-François says:

    it’s all a matter of taste, but I liked very much “great gig..” with three harmonized voices at the beginning and the finale by male vocalist. I also liked “Time’s solo which was closer to the orginal version than the pulse or DSOT ones, which I don’t very like. One of the highlight for me was “Whish you were here”, because I guess that David sung it for Richard (even if I know of course that it was written by Roger for Syd). I also liked very much the fingerpicking on the goldtop on “5am”. “Sorrow” and “What do you want from me” are not really my fav songs. I can’t wait for the album too, can’t wait to hear “Money” or bonus stuff on the deluxe box ! I wrote 2 articles (one for the announcment the week before, and one for the review the day after), but it’s in french. I got nice pictures from the soundcheck with the Esquire and the stompboxes behind him. I wonder : he’s got stomboxes on the floor, but also on a rack ? are they spares, or are they working ? the lights are on on it.

    http://culturebox.francetvinfo.fr/musique/rock/david-gilmour-en-concert-a-pompei-au-cinema-le-13-septembre-avant-l-album-live-261949

    http://culturebox.francetvinfo.fr/musique/rock/david-gilmour-a-pompei-la-magie-opere-toujours-262477

  13. asimauve says:

    A few hours into it I realized that the pace was a bit fast. It made me realize how awesome the On an Island tour was

  14. Jeff says:

    Hey Bjorn,

    I thought the mix overall was fantastic and should make for a great live album. Like you, I didn’t much care for this version of A Great Gig in the Sky. It did sound kind of all over the place. Highlights for me were Rattle that Lock (I do like this past album), What Do You Want From Me, High Hopes, One of These Days, Shine One, which sounded absolutely fantastic, Sorrow & Run Like Hell. As far as the glasses go, it could be the top they where them simply because it’s hard to see with all of those flashing lights going off all at once.

    I too am looking forward to The Blue & Fat Old Sun.

    One question on High Hopes. Notice that he played it on the blonde Fender which has alaways been tuned in the past in Open G, and was here for Great Gig and A Boat Lies Waiting, Yet High Hopes is in Open E and has always been played on the red Jedson. Was David using some sort of auto-tune machine/software/MIDI?

    Thanks for the great read as always!
    Jeff

    • Bjorn says:

      I need to watch the footage again to be 100% but I’m pretty sure he used the red Jedson for High Hopes. He did in 2015 when I saw him and on the other 2015-16 footage I’ve seen. The red Jedson was used on One of These Days in any case as you can see on this official clip.

      • Jeff says:

        It was definitely the blonde Fender just as he played in Wroclaw to end the 1st set. See the clip at 1 hr 5 min in.

        https://m.ok.ru/video/89778424384

        And yes One Of These Days was the red Jedson but it opened the 2nd set so was obviously changed at intermission.

        When I saw him in Chicago he played the red Jedson for High Hopes but for A Boat Lies Waiting as well, which was played on the blonde Fender in Wroclaw and Pompeii straight after A Great Gig, as always.

        He must be using some kind of auto tune.

        • Bjorn says:

          OK, thanks for pointing that out. I guess for reasons unknown he swapped the lap steels around. In any case, it would have been no problem for his tehc Phil Taylor to change the tuning.

  15. Josetxu says:

    I attended to the screening last week here in Spain (the nearest we, the spanish fans, would be to a David’s gig in our country :'( ) . Sound was wonderful and the show was great. I didn’t like time, the intro was fantastic and then, when the songs started was like the energy dropped to 50%. I can’t believe anybody has said nothing about Shine on guitar tone, the best IMHO I’ve heard ever and, with What do you want…, propably the best strat’s neck pickup tones I’ve EVER heard. Do you think there’s a chance he has changed the black strat’s neck pickup for the signature one (Fat 50’s)? It sounded fatter than ever.

    • Bjorn says:

      Haven’t seen anything that suggests that he’s replaced the original pickup. It’s pretty much what you get with a Hiwatt, Tube Driver and lots of compression.

      • Stevie says:

        I seem to remeber David talking about maybe changing the neck pickup in his black strat around about the time the Fender suignature model was released – It was during interview footage when they were discussing the pickups they’d chosen for the signature model and how much David liked the neck pickup they’d decided on. It was , however, an off hand comment, I’d suspect only David and Phil know if it was ever actually done.

        • Bjorn says:

          As far as I know, it was never done. At least they haven’t talked about it. David did say that he “might replace it” in that interview so who knows…

  16. Maurício Júlio de Oliveira says:

    I absolutely agree with you, Bjorn.

  17. Luca Gentilin says:

    Hi, I saw the film here in Italy and it was fantastic. I really had more or less the same impressions of Biorn, Sorrow absolutely out of this world with the final solo for me best ever … and also I didn’t like so much The Great Gig In The Sky, the singers are absolutely technically great of course, but … I don’t know … maybe is like as sayd by Biorn, sound like reality show … I saw David 2 times in this tour, both at the Roman Arena in Verona, the first in September 2015 and the second in July of 2016. The first show was probably the less brilliant of all I see in my life ( I saw David also in ’88 and ’94 and 2006 ), both as vocal and guitar playing he was not at 100% … The second one in 2016 was absolutely the best show of David that I saw in my life !!! Great voice and super, super guitar playing, with very long and inspire solos, and also the sound of guitar was adjusted, more thick and hot. Probably he need some time to play with the band to arrive at the peak … Anyway viva Biorn and viva David !!! Ciao

  18. james pace says:

    Nice review! I felt it went by fast. I wanted another 30 minutes, but perhaps the other tracks won’t be as strong(?). The vocals were great across all tracks – I despise the Great Gig in the Sky screaming (Im sorry, it stinks). Guitars were great and the band sounded strong all tracks. I specifically feel this drummer goes through the motions though and should add more to the songs in the transitions – one hit on a tom or something more won’t make David mad I am sure (although that isn’t a Pompeii show critique as much as it is for all his performances supporting David).

  19. Dimitris Kovaios says:

    Unfortunately, the greek audience were not lucky, so that night was the closest to watching David Gilmour live.
    It was inspiring, emotional…I also noticed such details, but I put them aside, in order to enjoy the show! The audio and video quality added to the magic!
    Lifetime experience…

  20. Matt says:

    I saw it last night. Basically agree with everything you said. For some reason the last 3 songs of the show, the audio was ahead of the video by about a whole second, which completely ruined it. The theatre gave us a free movie pass, but no real explanation. Very strange.

    In Any Tongue absolutely blew me away. The Saxophone on SOYCD was out of this world good. It was great to see everyone in the band with an extra big smile when David seemed to be extending some of the solos.

    Overall I was very happy with it. I relish every chance I get to see him play. I took my 13 yr old son. The Floyd legacy is easily alive and well with the next generation as well.

    Matt in Cincinnati

  21. Cameron says:

    I might be the only one who actually really enjoyed this version of Great Gig in the Sky. It’s a beautiful song, but I have no particular attachment to the original, maybe that’s what it is. I agree on most other stuff though, his new backing band breathe new life into songs that have been played every night for decades now, and his playing is leaps and bounds above where it was when I saw him (although he’d certainly gotten his groove back once I saw him). I’ve been chasing his intro tone for Sorrow since I saw him!

  22. Matthias says:

    Hi Bjorn,
    I saw the concert screening on Wednesday. I spent a great time. I’ve seen David a few times during his 2015/2016 tour too. I found him inspired and joyful during this tour and I personnaly find this has been among his best tone since a long time.
    Funnily enough, although I apreciated the whole show, I also though he excelled with In any Tongue, Sorrow and to some extent Comfortably Numb. The solo of Sorrow was out of this world.
    I really hope we’ll be lucky enough to see him again touring in the near futur.
    Other than that, great job Bjorn for your last solo album. Love it.
    Cheers,
    Matthias

  23. Gabe Aguirre says:

    Hey bjorn, long time no see! I thought he was indeed way warmer than the 2015 Albert hall shows, and hearing the nuance of his effects was fun. I agree with most of the points, except for one of these days. I was disappointed with the lack of keyboards, maybe it was the sound system in the theatre but in my view that song is an interplay between two almost equally loud parts, the guitar and the organ, but it was virtually out of the mix.

    I knew you were going to like What Do You Want From Me, he was truly having fun and extending the hell out of those solos. However on Sorrow, he was struggling to get the feedback that is usually present, in fact I don’t think he achieved feedback until the very end, being boosted and louder. Makes me really wish I saw pulse, the arena must have been absolutely shaking with sound. Also, I dont think he’s using an octave up for the intro, you can clearly see him finger picking and playing octaves on the neck, at least it seemed.

    Overall it was a musical experience I’ve never had, I was skeptical of theatrical music but for
    David it makes perfect sense. Anyway he’s
    talking about an album already, maybe I’ll catch you outside a show again. Cheers.

  24. Oleg says:

    Cheers Bjorn! Great review! Wasn’t very impressed with youtube teasers and didn’t go to cinema to not ruin an impression from actual performance. Now I’m more excited.
    I completely agree with you about Great Gig in the Sky – saw it three times in 2016 and it was always like a singer contest without any connection to original melodies. Strangely enough, the audience seemed absolutely satisfied and applauded to every singer. Wish they retained Us and Them in the set list instead. Anyway, amazing show.
    BTW I was really hoping to see you in Pompeii too))

  25. Jerome says:

    Awesome dude! I went to the theater and saw it myself as well! Never thought I’d like any tone better than gdansk, but he did it again. It’s the most “fendery” sound I’ve heard from him in a while. The tube driver sounded excellent in what do you want fro me. On the muff driven songs, you think he was using the pc-2a with the muffs on the solos? Curious to know your thoughts. The muff sounds were so detailed, and the pickups really shined through them. The only thing I didn’t like was I personally think the wet dry mix on the delays. I personally like at least a little more wetness on the delay to soak into the overall sound. A tad more and I would have been in heaven. Overall though, loved it!

    • Bjorn says:

      I haven’t managed to figure out all the pedal setups yet but as I discussed in the tone guide for Rattle That Lock, he seems to be using a lot more compression these days. He has commented that it allows for a cleaner tone, yet more sustain, and he doesn’t have to work as hard with the picking. I can imagine that at this point, his fingers aren’t as fast as they used to be. I guess it’s a matter of taste too. The tones are overall fairly dry and personally I like them with more delay. Having said that, less delay makes them cut through more and it fits the sound of the band and overall mix too.

      • Jerome says:

        Well we definitely think the same. More wetness in the delay would have been fantastic. As for his leads on the rams head and civil war muffs, I’m leaning on the fact that he is using one of those compressors to shape the muff sound. It sounded so good that I kind of forgot it was a muff (meaning it sounded more natural than I’m used to) So my gut tells me compression. Anyways, thanks for replying! Hope all is well

  26. Rob Mika says:

    Hi Bjorn

    Fantastic summary / review of the show! I watched it in California (USA) in a nice theater and also really appreciated the great sound as well as outstanding cinematography. It was particularly nice to hear the cinema audience applauding the performances along with movie. I saw David at the Hollywood Bowl in 2016 and I can say this performance was every bit as good if not better. I also thought Great Gig went a bit overboard and for some reason seemed super bright sounding to my ears; Hard to listen in some parts. Overall, like you, I thought David’s Tone was incredible. Sorrow also was a high point for me, although I missed hearing some of the deep bass that I recall from the Hollywood Bowl show. Really looking forward to the blu ray. Thanks again for your review!
    Rob

  27. wan says:

    Hi Björn, amazing sound too in the cinema where I saw the show, I could hear all the backing vocals, all the details… It really exceeded all my expectations and I must admit I have been really moved. The filming was also great, you could feel the atmosphere of the summer night. Amazingly “Echoes” was left apart…
    Anyway, thank you for this article…

  28. Paul Duggan says:

    I went and loved it. My thoughts are scarily similar to yours, maybe because I’ve been educated by your website and tastes for years now?!

    Totally agree with your thoughts on Great Gig and Time. I always look forward to Time and was really disappointed with the rhythm tones. It was just wrong. Also I never get tired of hearing The Blue and Coming Back To Life. I was sorry that they got edited.
    Overall it was a terrific experience and I’ll go to this kind of event again.

  29. Nicolas Deleury says:

    Hi Bjiorn,
    I agree with your review of the screening. I had of course listened to the bootlegs of Pompeii that I loved.
    I only regret a few points, first of all, all the pieces are linked together and we never see the interactions of David with the public, as when he speaks of Echoes or when he introduces the band, or even when he says goodbye while there are two pieces left !! ;-)
    I really miss songs like Fat Old Sun, On an island, Faces of Stone or even Coming Back to life that sounded really good.
    I was also a little disappointed by the performance for the Great Gig in the Sky and the saxophone solo of Shine on …
    I don’t know if you saw it, but overall, I clearly preferred the live of Wroclaw! …
    I can’t wait to take the DVD because the screenong seemed to me a little too formatted and too unnatural.
    Otherwise always a pleasure to chat with fans in the audience!
    Cheers!!!

  30. TDR says:

    I assumed the sunglasses were necessary because of the intensity of the lasers during Run Like Hell, not a gimmick. The theater where we saw the film warned that that sequence could cause seizures in some viewers.

    Thanks for posting your thoughts, Bjorn — I’ve been wondering what you’d have to say since the movie ended!

  31. Bjørnar says:

    Hi Bjørn!

    Nice review!

    I was there in Pompeii the first evening. And it was fantastic! Not the best I’ve heard of him, but the atmosphere, the venue and a great performance in this historic event was amazing!!

    I felt that much of the performances in the screening must have been from the second night, they where much better than what we heard in Pompeii on the first night!

    Sorrow, In Any tongue and Cmf numb was in a different league!

    But I must admit that Sorrow is lacking that special mojo from pulse! It got better during the tour, but Steve plays a dull drum version even tho’ Guy is inviting him to take part in som cool pulse details…

    In Any tongue is fantastic!! The screening version was very good!
    But for me the best version I’ve come across is the one from the 3.rd night in L.A. It has a great musicality to it and punch!

    And I must comment on Comfortably Numb…
    I totaly dissagree that it’s beaten to death!
    For me it’s always a highlight! Maybe not always the best performance you’ve ever heard, but it’s always fun to see what he comes up with. But he almost always manage to get the feel of it, and that is very few players that manage on that song. He’s got a touch and feel to it that’s amazing.
    Who’s beating it to death? Certainly not Gilmour him self. He nails it, but not to death!
    So if someone is beating something, to death, we can all decide if we join in on the beating or maybe treat it with more respect. Lack of appreciation or being ungreatful of something does not mean the thing is a bad thing. But it often comes down to attitude or being spoiled. And PF and Gilmour have spoiled us all with some of the best music ever. And Cmf Numb is a big contribution to why many of us got into guitar playing! So we realy shouldn’t bite the hand that’s feeding us! It’s not very charming…

    I saw an interview with Guy Prat from 2008 I think. And he says he “propably played CN 300 times with David, and still, going into that second solo the hair gets up in the back of his neck. There’s something about those fingers”

    Couldn’t agreed more!

    So if any one is trying to beat CN to death: stop it! It doesn’t deserve it!

    So Return to Pompeii! Can’t wait to get my hold of the full package!

    It’s a fantastic memory to have been there. So it’s a gift they have documented the memory with a live feeds for me! :-) :-)

    Keep up the good work Bjørn! Realy appreciate it! :-l

  32. John Nebus says:

    Saw it… Loved it… Incredible.
    Everything Bjorn said is dead on.

  33. bmerch says:

    Hi Bjorn. Thanks for your review. Yup, I saw it and thought it was great. Highlights for me were probably Run Like Hell and Sorrow, but so much of it was very very good. To be honest, I enjoyed the Pink Floyd tracks more than the Rattle That Lock ones, but having said that, the RTL album has definitely grown on me much more than I expected, and I really enjoyed most of the live versions in this screening. I know you mentioned the glasses and smiling, but I really appreciated the genuine looks and smiles the band members gave one another throughout the night – it was so obvious that they were having a great time! I would’ve loved to have been there.

    I’ll definitely be getting the DVD or Blu Ray. Do you think when that comes out you’ll be doing a separate gear guide for that show, even though David’s gear is pretty close to the RTL tour?

    I’ll add that I enjoyed seeing David play a Les Paul and tele! As much as I love the start, I love to see it mixed up.

    Basically, I liked how this show was a mixture of old and new. I’m a die-hard fan of the old much more than the new, but this screening went a long way towards deepening my appreciation for the new! I should add that I love Comfortably Numb, but I don’t think this was my favourite rendition (not that it was bad though!). So I think I’m with you on that one.

    Anyway, again, before I ramble on, thanks for sharing your thoughts. And as always, thanks so much for this wonderful and helpful site. It continues to be an inspiration and place of awesome information.

    Cya,
    Bern

  34. Claus Hillerup says:

    One more thing… I brought my 14 year old son to see the screening…. And he loved it….

  35. Claus Hillerup says:

    of course I saw the screening, and I agree with you very much except for your comment on “what do you want from me”… never been a favourite of mine, nor has “the division bell”, but it on the other hand was impressing.

    Yeah… sorrow was a killer! and The Great Gig was a mess, at least the first part… I felt the singers had their moments later in the song….

    Well… I hope we have David around for many years to come…. But he is getting old, you can tell from his eyes and body shape… We have lost many great musicians the last couple of years…

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