David Gilmour Talks New LP ‘Luck and Strange’ and Upcoming Tour Plans

In January 2007, following the conclusion of the “On an Island” tour, David Gilmour, along with members of his band, including Pink Floyd keyboardist Richard Wright, gathered in a barn on his UK property to experiment with new song ideas. “I hadn’t thought this all the way through,” Gilmour recalls. “It was freezing in there. But we spent 15 minutes working on this tiny, little riff I wrote on the guitar. They all joined in one by one.”

This initial riff, a mere memory over the past 17 years, was captured in one of the last sessions with Wright before his death from lung cancer in 2008. Revisiting old tapes while creating new material, Gilmour, aided by his wife and lyricist Polly Samson and producer Charlie Andrew, transformed the riff into the title track of his upcoming LP, “Luck and Strange,” set to release on September 6.

“That song started developing a depth that I’d forgotten about,” Gilmour says. “The playing on it is unmistakably Richard. He was a true, lovely, creative person, and people like that are hard to find.”

With Wright’s death and Gilmour’s estrangement from Roger Waters, the future of Pink Floyd remains uncertain. Gilmour, unlike Nick Mason who plays pre-Dark Side of the Moon era music with his band, only looks forward, focusing on new work and personal projects.

From his home studio in southern England, Gilmour spoke via Zoom about creating “Luck and Strange,” recording with his daughter Romany, and planning an upcoming tour that will reluctantly include some Seventies Floyd songs. He also touched upon the ongoing discord with Waters, the potential sale of Pink Floyd’s catalog, and his disinterest in a biopic.

Reflecting on the COVID-19 lockdown and its impact, Gilmour explained how it helped focus his mind. At the height of the pandemic, Gilmour hosted family webcasts, initially to promote Polly’s novel, but they soon became a creative outlet for music with his family, including his daughter Romany. “We were trapped. That’s why we called it the Von Trapped Experience,” Gilmour jokes, referring to “The Sound of Music.”

As lockdown restrictions eased, Gilmour’s focus shifted towards a new record. He and Polly spent time in a small house in North London, working intensely on new material. They thoroughly dedicated themselves to their respective crafts until they felt ready to assemble a team and book studio time.

The album addresses themes of aging and mortality, reflecting discussions and thoughts during lockdown. Gilmour credits Polly as an insightful writer who captures these sentiments effectively.

To produce the record, Gilmour brought in Charlie Andrew—a younger producer from a different musical background. “He’s an ace researcher,” Gilmour notes. Polly searched online and found Andrew’s work, which stood out. Andrew’s approach introduced fresh perspectives, pushing Gilmour and ensuring a thrilling recording experience.

In addition to fresh faces, veteran drummer Steve Gadd also contributed to the album. The collaboration between Gadd, younger musicians like Adam Betts, Tom Herbert, and Rob Gentry, and Andrew brought a new dynamic to Gilmour’s music.

The album features “Between Two Points,” a cover of a song that had become a family road-trip favorite. Gilmour’s daughter Romany took a lead vocal role, delivering an impressive first-take performance.

Other tracks, like “Luck and Strange,” incorporate themes relevant to Gilmour’s generation. “We thought we were moving into a golden age,” Gilmour muses about his generation’s optimism and subsequent disillusionment.

Gilmour’s upcoming tour promises some Seventies Floyd songs, despite his initial reluctance. He aims to balance nostalgia with fresh interpretations, involving musicians from his recent recordings, including longtime collaborator Guy Pratt and new additions like the Webb sisters, who toured with Leonard Cohen.

The tour setlist remains a work in progress, but Gilmour acknowledges the enduring popularity of tracks like “Comfortably Numb” and will likely include them. However, songs like “Money” may not feature.

On his fractured relationship with Waters, Gilmour remains reticent but emphasizes its diminished relevance. The ongoing catalog sale discussions are seen as a way to escape the complexities and disputes that managing it entails.

Reflecting on his legacy, Gilmour dismisses thoughts of a Pink Floyd biopic and exhibits a measured approach towards potential memoirs.

Finally, Gilmour concludes with an expression of gratitude for his enduring partnership with Polly, celebrating their upcoming 30th wedding anniversary and the continued collaboration that has spanned over three decades.

Source: Rolling Stone