David Gilmour – Between Two Points Review

Artists in the twilight of their career – no matter their previous success – have the benefit of being able to use their name to sell the album. It means they can do what they like in the spirit of artistic endeavour or self-fulfilment. For David Gilmour and his interpretation of Between Two Points with daughter Romany, it is the perfect blur. The Montgolfier Brothers are unlikely inspirations for the Pink Floyd guitarist but what a benefit it is to hear him lay down some moving grooves in the instrumental structure of this one. Gilmour takes a step back from vocal duties and allows his daughter, who would be hailed as a triumphant, soft-spoken indie artist if it were not for her ties to fame already, to take the lead. What a trade-off it is, and it is by far the most satisfying Gilmour solo piece. 

That bar is a rather easy one to vault given About Face and an unimaginative debut. But they were decades ago, and Gilmour has grown and learned since then. Romany’s voice compliments this cover tremendously. It is the sole point of Between Two Points. Little else matters. Mad to think so considering Gilmour is one of our greatest living guitar assets, but there you go. He sounds comfortable in receding into a more static, minimal background for the wider benefit of his work, something he failed to do from time to time in his Pink Floyd-led days. A gorgeous song because Gilmour is not overworking himself to stretch into every corner. His guitar work here is plain. Necessary for bolstering Romany but a unique turn away from what listeners may expect of Gilmour. He continues to take risks.  

Ignore the radio edit. Disgusting words such as that should be reserved for people without the capability to drive along to songs longer than four minutes. It strips Between Two Points bare. The song is already a heartbreaking admission of trust in strangers and how confidence is key in those situations. Wonderful writing on the part of The Montgolfier Brothers, whose original writings are as moving now as they were on the first release. Enjoyable covers are as prominent now as they were decades before, but few strike through with the tender, quaint melancholy Romany captures here. Again, though, she provides this brilliance through the lacklustre methods Gilmour has on his guitar. He has not lost his nerve, just interest in this case. Percussion and maudlin tones from plucked strings are his bag for Between Two Points. 

It works. It makes sense. But ultimately it removes the star of the album. Credit for Gilmour stepping aside to make way for beautiful instrumental progress. A bold move he should be applauded for – if he can pull off an instrumental worth hearing at the same time. He does not manage such a blend and while Between Two Points is a beautiful call to arms for those who find themselves walked over and represented by the words of others; it feels a smidge ironic Gilmour relies on his daughter to speak for him. This is a song about having your voice heard, to carrying yourself above the crashing noise. Gilmour does not do this for himself, and the conflict raging through this one is, ultimately, what it will be remembered for. A shame since Romany here is in exceptional vocal form.