GREAT GIGS FROM THIS GUY

With a new live album imminent, and the critical and commercial success of Luck And Strange under his belt, David Gilmour talks with Daryl Easlea, who last interviewed him for Record Collector 23 years ago. So much has happened since then. Reflecting on his new live film and album – Live At Circus Maximus, Rome/The Luck And Strange Concerts – Gilmour assesses where he's at in his 80th year, and, energised by his 2024 tour, reflects on some other landmark performances in his career.

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David Gilmour has grown old with tremendous grace. Finally freed from the politics of his old group, Pink Floyd, that he led for 28 of their 50 years, his solo career has been invigorated by each successive release, culminating in the critical and commercial success of Luck And Strange, issued in September 2024.

Record Collector finds Gilmour in fine form, talking to us in his Hampstead home, celebrating the announcement of the Blu-ray/LP set, Live At Circus Maximus/The Luck And Strange Concerts. Behind him, on his mantelpiece, sits the prestigious Nordoff & Robbins Silver Clef Award he had been accoladed at London’s Grosvenor House hotel the night before this interview. It takes pride of place between his Music Week No 1 trophy for Luck And Strange and his Grammy for Marooned [the only Grammy Pink Floyd ever won: Best Rock Instrumental Performance at the 37th annual event in 1995 -- Ed]. It’s clear he is very touched by the tribute.

“It was very sweet,” he says. “Very nice to have - fantastic to have that sort of warmth and respect in a room full of your peers, musicians and people in the industry.”

He might be feeling delicate following the antics of the night before, where Soul II Soul, Rick Astley and Idles won other gongs, yet Gilmour is up for a spirited look back at further breakthrough live performances in his career, even if he does tease, “You're a little optimistic if you think I can remember any of them.”

He obviously doesn’t need the work, which makes all his solo releases, and him talking to the press, a labour of love.

“I’m not an obsessive worker,” he says, “until I get obsessive and start working.”