David Gilmour – Live in Gdansk Review

Be it a glass player or an orchestra, David Gilmour is often keen to incorporate a new instrumental layer to his live performances. It’s more about finding a new and satisfying tone for classic songs than anything else. His twenty-two-song set featured on Live in Gdansk is a chance to hear Pink Floyd hits and searing solo works backed by an incredible philharmonic orchestra. Few artists have as many great openers to choose from as Gilmour does. Live in Gdansk selects the thumping, beating heart of Speak to Me as a segue into Breathe and it works a treat. This is a worthy live album, and for those who want more after listening to The Luck and Strange Concerts, you would be hard-pressed to find a better official release. Bootlegs are plentiful, but the flourish of in-studio production is what brings out the depth of those instrumental powerhouses. Part of the charm to Live in Gdansk is hearing worthy alternates to those classic Pink Floyd tracks. Some of the work here is, arguably, better.  

Almost certainly better when experienced as a whole project rather than fragmented and added to playlists, Live in Gdansk is a magnificent experience. Gilmour has maintained an excellent vocal range, a voice as strong now as it was on the original Pink Floyd recordings. That helps massively, especially for those who want reinterpreted instrumental efforts with the same vocal clarity as the originals. You can hear that on Time and the reprise of Breathe to follow. Instrumental innovations are the clear point of interest to these Gilmour live albums. Pink Floyd classics overhauled with the skills of a veteran and solo releases like On an Island slotted in too. Those Gilmour solo efforts match up to the quality of those Wish You Were Here and The Dark Side of the Moon classics not because of the artist behind them but because of the on-stage innovations. Roaring guitar solos and delicate moments to dig that little bit deeper into the lyrical choices. 

More than anything, Live in Gdansk highlights Gilmour’s longevity as one of the all-time great instrumentalists. Take a Breath, while not an essential of his discography, is given an exceptional overhaul. It adds to the moodiness of the show, managing that midpoint transition brilliantly. All of it is thanks to the instrumental spirit of these live versions, and they keep those solo breaks alive. Musicians must work harder still to avoid the pitfalls of nostalgia. Gilmour making an extended period of Live in Gdansk a highlight of his solo efforts is a bold but necessary move. It keeps his at-the-time contemporary releases in the same conversation as his greatest hits with Pink Floyd. It’s one thing to add a few lesser-known pieces from your discography, another entirely to add an entire album. On an Island is certainly the best of Gilmour in the studio by himself, and there are some magnificent overhauls here, particularly for Where We Start.  

Definitive editions of his best solo album remain on Live in Gdansk. As for the Pink Floyd material, it’s strong work all around. Nothing less should be expected. Gilmour sounds as though he’s retreating into the comforts of instrumental improvisation on songs like Shine on You Crazy Diamond, but it works. A stripped-back rendition of Shine on You Crazy Diamond was an inevitability, but Gilmour manages it well. He keeps the heart of the song alive with this quieter, contemplative rendition. Few would have expected Gilmour to add new layers of exceptional guitar work to his classics, let alone his contemporary works, but it’s the thrill of seeing where he can take a song which makes him such an interesting live performer. Live in Gdansk highlights that brilliantly, bringing out the best in his instrumental quality and yet making sure even passive fans can recognise the hits.