WEBVTT - David Gilmour 0:00:15.476 --> 0:00:15.956 Pushkin. 0:00:20.156 --> 0:00:22.436 It's no exaggeration when I say David Gilmour is one 0:00:22.476 --> 0:00:26.076 of the most influential guitarists in rock history. Since joining 0:00:26.076 --> 0:00:28.916 Pink Floyd in nineteen sixty seven, his songwriting, vocals and 0:00:28.956 --> 0:00:32.676 distinctive guitar approach have helped shaped classic albums like Metal 0:00:33.116 --> 0:00:36.276 Which You would Hear, Animals in a Momentary Lapse of Reason, 0:00:36.436 --> 0:00:40.116 amongst many others. In nineteen seventy eight he began releasing 0:00:40.156 --> 0:00:42.476 solo work, and over the past four decades has recorded 0:00:42.516 --> 0:00:45.756 five solo albums, his last few albums starting with On 0:00:45.796 --> 0:00:47.796 An Island in two thousand and six, on Too Ritter 0:00:47.796 --> 0:00:50.716 Out Locke in twenty fifteen, All Feel of a Piece, 0:00:50.876 --> 0:00:53.956 including his latest twenty twenty four's Luck and Strange, which 0:00:53.996 --> 0:00:56.156 is also his third album to reach number one on 0:00:56.196 --> 0:00:59.956 the UK album's charter. As usual, his latest album features 0:01:00.036 --> 0:01:03.196 lyrics by his wife and longtime collaborator, Polly Sampson, but 0:01:03.316 --> 0:01:07.116 this time also features substantial contributions from his children. One 0:01:07.196 --> 0:01:10.916 of those collaborations with Roman and Gilmore is Astounding and 0:01:10.996 --> 0:01:13.596 it was jaw dropping in live performance, which you can 0:01:13.676 --> 0:01:15.676 now see for yourself with the release of the live 0:01:15.796 --> 0:01:19.196 concert David Gilmour at the Circus Maximus and listening. With 0:01:19.236 --> 0:01:21.756 the release of the Luck and Strange concerts now available 0:01:21.796 --> 0:01:24.836 wherever you get your music. On today's episode, I was 0:01:24.916 --> 0:01:27.596 offered thirty minutes or so on Zoom with David Gilmore 0:01:27.796 --> 0:01:29.356 and how could you say no to a quick chat 0:01:29.436 --> 0:01:32.276 with the Hero. I spoke with Gilmour about writing songs 0:01:32.316 --> 0:01:34.676 with Polly, the experience of mastering his latest album on 0:01:34.756 --> 0:01:37.276 a houseboat, and why he can never truly recreate a 0:01:37.316 --> 0:01:42.716 guitar solo even when playing it. No for no, this 0:01:43.036 --> 0:01:52.516 is broken record, real musicians, real conversations. Here's my conversation 0:01:52.716 --> 0:01:57.196 with David Gilmore. I justin great to meet you. Say, 0:01:57.756 --> 0:02:00.476 are you coming from your studio on the riverboat or 0:02:01.036 --> 0:02:04.156 from home one of my vast collection of studios. 0:02:04.556 --> 0:02:07.676 This is just a little room in the house, got it. 0:02:08.476 --> 0:02:10.956 When I spoke with Townsend, I was from a river 0:02:11.036 --> 0:02:13.236 boat or from a boat of some sort as well, 0:02:13.316 --> 0:02:14.356 and so I wasn't sure. 0:02:14.596 --> 0:02:16.476 He was on a boat. Was he He was on 0:02:16.556 --> 0:02:19.036 a boat. His studio boats just down the river from 0:02:19.076 --> 0:02:21.556 my studio boat. Have you checked it out? 0:02:22.076 --> 0:02:26.076 Yeah, I've been in it several many times over. Yeah, 0:02:26.116 --> 0:02:28.756 I haven't been there for a long time. It's got 0:02:28.876 --> 0:02:31.996 to be a little precarious. No recording on a boat 0:02:32.476 --> 0:02:33.836 or less than you would imagine. 0:02:34.356 --> 0:02:36.796 Less than you would imagine. It all works pretty well. 0:02:36.836 --> 0:02:41.036 I mean mine is sort of moored very securely. It's 0:02:41.076 --> 0:02:43.796 got a big poster at each end, and if the 0:02:43.916 --> 0:02:47.036 river level goes up, it just slides up and down 0:02:47.076 --> 0:02:50.116 the post perfectly. And the other great thing, of course, 0:02:51.676 --> 0:02:53.996 the thing that you get on a boat is that 0:02:54.156 --> 0:02:58.556 the road that's just nearby, there's no rumble. All that 0:02:58.796 --> 0:03:03.876 traffic noise if you're floating doesn't happen. It doesn't reverberate 0:03:03.956 --> 0:03:06.036 over it to you. It doesn't go through the ground, 0:03:06.196 --> 0:03:09.316 you know, like in most buildings, there's always a bit 0:03:09.356 --> 0:03:10.676 of rumble from something. 0:03:11.596 --> 0:03:15.836 Was it you got the boat and became inspired to 0:03:17.036 --> 0:03:19.236 create on it, or was it just was it a 0:03:19.316 --> 0:03:21.756 novel idea you had and thought, okay, let me buy 0:03:21.796 --> 0:03:22.756 a boat and convert it. 0:03:22.876 --> 0:03:25.036 What was the How did it come to be? I 0:03:25.156 --> 0:03:28.876 was driving down the road, being driven in fact, and 0:03:29.116 --> 0:03:32.236 I won't tell you why, and I just saw this 0:03:32.516 --> 0:03:36.356 metal and glass thing over a wall, and I got 0:03:36.796 --> 0:03:39.196 everyone's driving me to pull over, and we looked down 0:03:39.276 --> 0:03:42.596 there and we saw this beautiful boat moored up against 0:03:42.676 --> 0:03:48.636 the bank and I thought, that's gorgeous, lovely, And literally 0:03:48.796 --> 0:03:52.196 the next week I was in the dentist's waiting room 0:03:52.956 --> 0:03:56.116 and picked up a magazine and there it was for 0:03:56.276 --> 0:04:00.596 sale in that magazine. And that was in nineteen eighty six, 0:04:01.036 --> 0:04:04.436 eighty six, okay, And I rang up and said can 0:04:04.476 --> 0:04:06.436 I see it? And I put in an offer the 0:04:06.516 --> 0:04:11.316 same day. That's pretty furtuitous, And initially I didn't even 0:04:12.196 --> 0:04:14.236 know that I was going to make it into a studio. 0:04:15.516 --> 0:04:18.796 What of the new album Looking Strange was done on there? 0:04:19.796 --> 0:04:24.916 The mixing. It's got a very big, lovely control room 0:04:25.396 --> 0:04:28.596 and we did the mixing on there, and we set 0:04:28.716 --> 0:04:32.996 up a Dolby Atmos mix room in another room at 0:04:33.036 --> 0:04:34.436 the other end of the boat, so we could be 0:04:34.556 --> 0:04:39.116 running two things at once. So all the mixing pretty 0:04:39.196 --> 0:04:41.956 much and all the Dolby Atmos mixes were done in there, 0:04:43.076 --> 0:04:46.956 and the other things we went off to various recording studios. 0:04:47.716 --> 0:04:51.996 I have a studio myself in Brighton which works very well, 0:04:52.156 --> 0:04:56.076 and we did some in another studio in Brighton called Salvation, 0:04:56.996 --> 0:04:59.116 and we also did a lot of the stuff the 0:04:59.196 --> 0:05:03.436 basic tracks with Steve Gadd and the other guys at 0:05:03.916 --> 0:05:07.996 Mark Knopflith Studio in British Grog in London. Incredible. 0:05:08.476 --> 0:05:11.076 I saw one the shows at the Hollywood Bowl last 0:05:11.156 --> 0:05:16.156 October and it exceeded expecting. I had not seen you 0:05:16.316 --> 0:05:20.116 in the past. Somehow it deluded me, and it was amazing, 0:05:20.276 --> 0:05:26.196 and your band was phenomenal, like a brilliant and I 0:05:26.236 --> 0:05:28.076 didn't know Phil. I didn't know Phil, and Gaines was 0:05:28.196 --> 0:05:28.716 playing with you. 0:05:28.836 --> 0:05:31.436 That was like a joy to see. And well, I've 0:05:31.516 --> 0:05:35.796 known I've known Greg since the sort of middle till 0:05:35.836 --> 0:05:38.836 late eighties when he was out on the road with 0:05:38.916 --> 0:05:40.836 Michael Jackson and I was up on the road with 0:05:40.916 --> 0:05:44.676 Pink Floyd and we got quite friendly, and I've always 0:05:44.756 --> 0:05:48.036 wanted to find a time where he could join up 0:05:48.116 --> 0:05:51.756 with my band, which he did actually in two thy 0:05:52.076 --> 0:05:55.836 sixteen for a whole leg of the last leg of 0:05:55.956 --> 0:05:59.356 my tw twenty fifteen sixteen to and I got him 0:05:59.396 --> 0:06:00.156 back in this time. 0:06:01.716 --> 0:06:04.436 A lot of people tend to not meet up with 0:06:04.676 --> 0:06:07.476 other musicians because they're on the road or you know, 0:06:07.596 --> 0:06:10.876 friendships sort of saying some sort of stasis because you're 0:06:10.876 --> 0:06:12.476 out on the rst. So how did you how did 0:06:12.516 --> 0:06:16.996 that Pink Floyd Michael Jackson wound up in concentric circles. 0:06:17.356 --> 0:06:22.276 Well. Strangely enough, in nineteen eighty seven, Michael Jackson's tour 0:06:22.396 --> 0:06:26.636 and ar tour was sort of following each other around, 0:06:26.916 --> 0:06:30.236 you know, and we'd be you know, He'd be in 0:06:30.316 --> 0:06:32.436 one city and we'd be in the same city three 0:06:32.516 --> 0:06:35.236 days later, and they had a day or two oft 0:06:35.276 --> 0:06:39.036 in between, so would just bump into people who were, 0:06:39.116 --> 0:06:42.596 you know, and and I I think I first met 0:06:42.716 --> 0:06:47.476 up with Greg in Paris when Michael and Pint Floyd 0:06:47.556 --> 0:06:49.916 were all playing there within two or three days with 0:06:49.996 --> 0:06:53.356 each other, and we just met up. What did you 0:06:53.436 --> 0:06:57.316 make of their show? Brilliant show? But I saw that. 0:06:57.516 --> 0:06:59.916 I mean I didn't see that show at that time, 0:07:00.436 --> 0:07:02.796 and I saw it in the States I think probably 0:07:02.916 --> 0:07:05.836 the next year or a few months later, when we 0:07:05.996 --> 0:07:09.756 met up again and Greg invited us to one those shows. 0:07:09.796 --> 0:07:12.476 So we legend Michael Jackson. 0:07:13.076 --> 0:07:16.756 Did Greg and Richard Bright have any sort of connection? 0:07:16.916 --> 0:07:18.756 Both pretty incredible players. 0:07:19.516 --> 0:07:22.596 I don't think. I don't think I really properly met 0:07:22.676 --> 0:07:23.916 I'm not sure to be honest. 0:07:24.396 --> 0:07:26.876 Okay, well, I brought that. I brought up that because 0:07:27.636 --> 0:07:30.956 we're talking about looking strange. You know, you have Steve 0:07:31.116 --> 0:07:34.716 Gadd on the record and so many other also incredible 0:07:34.716 --> 0:07:38.996 players on the record. How do you decide who could 0:07:39.036 --> 0:07:43.476 fit for any particular song when you're going to record something. 0:07:44.556 --> 0:07:48.156 Well, we started off we'd booked five days I think, 0:07:48.276 --> 0:07:52.476 with Steve Gadd, who's the best, you know, the absolute 0:07:52.556 --> 0:07:56.996 best drummer in the world. And I'd never worked with 0:07:57.076 --> 0:07:59.836 him before. I'd met him a few times, but I 0:08:00.876 --> 0:08:04.396 always wanted to, and I managed to get five days 0:08:04.436 --> 0:08:06.596 of his time, and he flew over to London, and 0:08:07.636 --> 0:08:11.156 and I had booked for the studio, and I got 0:08:11.156 --> 0:08:15.236 the other guys in there, and we had some songs 0:08:15.276 --> 0:08:19.036 we wanted to try, and we spent a very intense 0:08:19.116 --> 0:08:24.116 week working on putting down those songs with Steve, with 0:08:24.556 --> 0:08:30.636 Rob Gentry on keys and Guy Pratt playing the bass, 0:08:30.796 --> 0:08:33.556 and yeah, what what songs did you do in those 0:08:33.956 --> 0:08:44.076 those in those five days we did sings and Piper's Call, Darkened, 0:08:44.116 --> 0:08:50.276 Velvet Nights, Scattered, what else? I mean, most of the 0:08:50.396 --> 0:08:53.956 songs actually we got the basic tracks down. One or 0:08:53.996 --> 0:08:59.396 two more we did a single Spark and one other 0:08:59.796 --> 0:09:04.276 with Adam Betts on drums and Tom Herbert on bass, 0:09:05.436 --> 0:09:10.716 and can't I remember now tried to remember all the 0:09:11.156 --> 0:09:14.516 all the songs and the moments that final we had 0:09:14.596 --> 0:09:15.956 and putting those tracks down. 0:09:16.996 --> 0:09:19.596 Was it that session or was it any particular session 0:09:19.636 --> 0:09:23.196 if not that one that sort of clarified what you 0:09:23.356 --> 0:09:26.796 were doing or clarified that in fact, you were actually 0:09:27.196 --> 0:09:29.196 had something that could become an album. 0:09:30.156 --> 0:09:32.116 And we were going in there. We knew we could 0:09:32.156 --> 0:09:34.556 hang out an album. We knew where we were going. 0:09:35.156 --> 0:09:41.476 We had Charlie Andrew as a producer, co producing with me, 0:09:42.236 --> 0:09:45.276 and an engineer that he brought to the project called 0:09:45.316 --> 0:09:51.836 Matt Glasby, who was just brilliant, brilliant and knew things 0:09:51.876 --> 0:09:55.636 about pro tools and the recording process that I didn't 0:09:55.676 --> 0:09:59.676 even imagine were possible. Yeah, and so yeah, Charlie Andrew 0:09:59.796 --> 0:10:04.476 was pushing us forward and telling us how he saw 0:10:04.836 --> 0:10:08.876 the way things might be and between us, Yeah, we 0:10:09.236 --> 0:10:11.276 a lot done very quickly at that point. 0:10:12.276 --> 0:10:14.596 You know, at this point you've gone in the studio, 0:10:14.716 --> 0:10:17.516 made a lot of records. What does working with the 0:10:17.556 --> 0:10:21.556 producer bring to a project that would in otherwise? 0:10:22.756 --> 0:10:27.956 You know, you want someone there to help and to 0:10:28.156 --> 0:10:33.076 push and to agree when it's something to agree with 0:10:33.196 --> 0:10:35.916 and disagree when it's something to disagree with, which is 0:10:36.596 --> 0:10:41.356 just as important, and to push the whole process forwards 0:10:42.116 --> 0:10:45.316 and frankly take a lot of the weight off, you know, 0:10:46.036 --> 0:10:50.116 the side of the process which is producing, which I 0:10:50.236 --> 0:10:53.916 have done myself as well. But it's exhausting. I mean, 0:10:53.956 --> 0:10:57.876 it's still quite exhausting when there's a producer there because 0:10:57.876 --> 0:11:01.556 you but he is going to address things from a 0:11:01.916 --> 0:11:04.316 slightly different angle, and he's going to make you think 0:11:04.356 --> 0:11:07.796 about things and rethink about things, and he's going to 0:11:08.796 --> 0:11:11.956 he's a snappy's fingers. I say, let's go, let's go. 0:11:12.236 --> 0:11:15.556 You know, is it hard because this is your first 0:11:15.596 --> 0:11:18.916 record with with Charlie, you've done a couple or two 0:11:19.036 --> 0:11:22.036 or three with film Men's Era before. Is it hard 0:11:22.116 --> 0:11:26.516 when you're working with it? Somebody knew to find how 0:11:26.636 --> 0:11:29.916 to be disagreeable in the moments what you need. 0:11:29.916 --> 0:11:34.316 To be well, you know, No, I've done, as you say, 0:11:34.356 --> 0:11:38.916 a couple with film Mensonario, who's my great friend. Eytime 0:11:38.996 --> 0:11:45.676 moves on. I felt we needed a new direction, not direction, 0:11:45.836 --> 0:11:51.196 but just a new mind on it, a new opinion 0:11:51.996 --> 0:11:57.356 on it. And my co collaborator, co writer who happens 0:11:57.396 --> 0:12:00.676 to be my wife, Polly did a lot of research 0:12:01.076 --> 0:12:04.036 because we were spending a lot of time talking about 0:12:04.796 --> 0:12:06.996 which of the people that I had worked before we 0:12:07.116 --> 0:12:12.716 might work with again, and thinking of who else we 0:12:12.836 --> 0:12:18.236 could go to, who is new And Polly found an 0:12:18.316 --> 0:12:21.796 album by a band called Old Jay and she liked 0:12:21.836 --> 0:12:24.276 the sound and she had listened to this and we 0:12:24.556 --> 0:12:29.316 liked it both. And Charlie was the producer, so we 0:12:29.436 --> 0:12:33.076 had a good look at him from far and then 0:12:33.116 --> 0:12:37.596 asked him to come down and meet up. So that's 0:12:37.676 --> 0:12:39.796 where it all started, you. 0:12:39.836 --> 0:12:41.876 Know, because it is you know, kind of it could 0:12:41.916 --> 0:12:45.196 become fraight rather easily, you know, to your point. You 0:12:45.276 --> 0:12:48.356 have to agree when it makes sense and disagree when 0:12:48.876 --> 0:12:51.116 you know something needs to maybe move forward or something's 0:12:51.156 --> 0:12:54.276 not working, or you know, just find some sort of 0:12:54.316 --> 0:12:58.276 common ground. Is it difficult to forge a new working 0:12:58.356 --> 0:13:01.116 relationship with with with someone like that or is it 0:13:01.316 --> 0:13:02.116 is it easy? 0:13:02.636 --> 0:13:07.036 Well, Charlie Andrew, as it has been widely said, you know, 0:13:07.196 --> 0:13:12.276 didn't really know me all my music or Pink Floyd's music, 0:13:13.756 --> 0:13:18.836 and he comes from a different sort of era of music, 0:13:19.796 --> 0:13:24.516 and that sort of thing is invaluable. You want to 0:13:24.636 --> 0:13:30.356 be pushed and you want him to if it's wrong 0:13:30.756 --> 0:13:33.196 to tell you so. And it's one of the dangers 0:13:33.276 --> 0:13:37.556 of having a fair amount of success that people get 0:13:37.796 --> 0:13:42.836 very frightened of disagreeing with you with the one in 0:13:43.196 --> 0:13:46.996 my position. And one of the lovely things about Charlie 0:13:47.116 --> 0:13:51.196 is he had no such fear and just came straight 0:13:51.316 --> 0:13:54.156 out with the questions and the disagreements, if there were any, 0:13:54.676 --> 0:13:59.476 remarkably few, actually, it has to be said, but on 0:13:59.596 --> 0:14:03.956 one or two occasions we changed the direction of things 0:14:04.036 --> 0:14:07.356 around quite a bit, and it was all for the good. 0:14:08.756 --> 0:14:11.636 Sometimes you need to kick out the backside, you need 0:14:11.756 --> 0:14:15.556 to look at things from a different pangle, and he 0:14:15.756 --> 0:14:18.276 was very, very good at that. That's great. 0:14:18.916 --> 0:14:21.916 You mentioned that you you collaborate quite often with your wife, 0:14:21.956 --> 0:14:25.756 who's incredible writer. You also had your daughter on this 0:14:25.876 --> 0:14:28.356 project and on the tour with you, and she's obviously 0:14:28.516 --> 0:14:30.716 now in the movie, the concert film you guys are 0:14:30.716 --> 0:14:31.196 putting out. 0:14:31.996 --> 0:14:32.556 Tell me about that. 0:14:32.636 --> 0:14:35.036 I mean, the first time you guys did anything, at 0:14:35.116 --> 0:14:37.556 least publicly, was was the Ghost song? 0:14:37.636 --> 0:14:41.276 Right, yes, yes, I've said ghost yeah, yeah, Well the 0:14:41.356 --> 0:14:46.076 yes I have Ghost song came about because of Polly's book, 0:14:46.596 --> 0:14:50.636 because she writes novels and she had written a novel 0:14:50.716 --> 0:14:53.636 based on an island in the Greek Island, and. 0:14:55.596 --> 0:15:00.756 When it got to the release of that book was 0:15:00.796 --> 0:15:03.916 when COVID started and we were suddenly locked down, and 0:15:03.996 --> 0:15:06.916 we had some events lined up that she was going 0:15:06.956 --> 0:15:09.036 to go and do readings and quite q and as 0:15:09.236 --> 0:15:12.316 and all those things, and they all got canceled. And 0:15:13.196 --> 0:15:16.516 Chris Salmon, who works in this on something, said why 0:15:16.596 --> 0:15:20.396 don't you just do it online? You know, this is 0:15:20.476 --> 0:15:23.396 what people do these days. So he rigged up a 0:15:23.436 --> 0:15:27.556 little studio online and we had a little set, a 0:15:27.636 --> 0:15:29.516 little set that we were going to take out to 0:15:29.636 --> 0:15:32.876 places which was on the front of a Greek cafe, 0:15:33.516 --> 0:15:36.596 and we put that up in a barn and plugged 0:15:36.636 --> 0:15:39.676 a microphone into a laptop like this and did the 0:15:39.796 --> 0:15:45.796 first one. I didn't have an engineer or a soundman 0:15:46.036 --> 0:15:49.396 or a lifsman or a cameraman. It was just me 0:15:49.676 --> 0:15:52.676 sort of pressing in the buttons and getting checking that 0:15:52.796 --> 0:15:55.556 it was actually going up, and then sitting back down 0:15:55.636 --> 0:15:58.636 and doing the whole thing with a couple of glasses 0:15:58.716 --> 0:16:02.116 of wine. We're each week as we went on, because 0:16:02.116 --> 0:16:04.876 we kept it going for quite a while, every Thursday 0:16:04.956 --> 0:16:08.076 night and had a great time and Polly's book was 0:16:08.276 --> 0:16:11.796 based on the Street Island in the year nineteen sixty 0:16:12.076 --> 0:16:17.396 when there were as an English and Australian and other 0:16:17.516 --> 0:16:22.156 countries contingent of artists and writers, one of whom was 0:16:22.236 --> 0:16:26.636 Leonard Cohen, who has a small role in Polly's book. 0:16:27.356 --> 0:16:30.636 So one of the things we did was to do 0:16:30.796 --> 0:16:35.436 some Leonard Cohen songs as part of these lockdown sessions. 0:16:35.476 --> 0:16:37.916 We call them the Von Trapped sessions because we were 0:16:37.996 --> 0:16:43.556 trapped and they got quite an audience. And one of 0:16:43.636 --> 0:16:45.996 the songs we did was a new song I wrote 0:16:46.276 --> 0:16:50.836 called with Polly of course, Polly's Lovely Words. She did 0:16:50.876 --> 0:16:54.276 an audiobook as well, which she read herself, and we 0:16:54.356 --> 0:16:58.516 thought it'd be good to do a bit of music, 0:16:58.636 --> 0:17:02.036 incidental music here and there to emphasize what's going on 0:17:02.196 --> 0:17:03.956 in the book, which is not the usual way of 0:17:04.036 --> 0:17:07.076 doing an audio, but it's usually just the words that 0:17:07.716 --> 0:17:09.796 I wrote a few little bits, and in one of 0:17:09.876 --> 0:17:14.356 those things basically was yes I have ghost So yeah. 0:17:14.476 --> 0:17:19.036 So Rony just came on and played her harp and 0:17:19.196 --> 0:17:22.596 sang on that song and on everything else we did, 0:17:22.716 --> 0:17:26.796 and just showed us what a great voice, how well 0:17:26.916 --> 0:17:30.476 her voice blended with mine and that was a treat. 0:17:31.396 --> 0:17:34.796 So when we got to this album and Polly suggested 0:17:34.876 --> 0:17:38.756 we do this song called Between two Points from them 0:17:38.756 --> 0:17:42.876 more Goldfield Brothers who got Romany to sing that, and 0:17:44.236 --> 0:17:47.236 we thought she'd just come along and be a guest 0:17:47.796 --> 0:17:50.236 for the one song on some shows, But as soon 0:17:50.276 --> 0:17:53.756 as we got into rhearsals, she just kicked into gear 0:17:54.876 --> 0:17:58.916 and it became very quickly obviously that she was going 0:17:58.956 --> 0:18:01.916 to be coming on the whole tour and being part 0:18:01.956 --> 0:18:05.876 of our vocal section all too play instruments as well. 0:18:06.076 --> 0:18:10.876 In fact, funnily enough, the four girls women who were 0:18:11.036 --> 0:18:16.876 on my tour have formed their own band themselves, which 0:18:16.956 --> 0:18:20.676 they call Marshall Gilmore Webbs, and they've been doing shows 0:18:20.716 --> 0:18:24.596 in London and they're great, so we're hoping that's take 0:18:24.676 --> 0:18:26.516 on some legs. 0:18:27.156 --> 0:18:29.556 When I saw that they had formed that that group, 0:18:29.876 --> 0:18:32.116 it didn't shock because when I didn't shock me because 0:18:32.276 --> 0:18:35.836 they were like their section when they do great against 0:18:35.876 --> 0:18:40.996 this guy is I mean, it's phenomenal, and the chemistry 0:18:41.076 --> 0:18:42.796 between them is like palpable. 0:18:43.196 --> 0:18:47.436 Yeah, Chastry is great. Louise Marshall is just a beautiful 0:18:47.516 --> 0:18:51.436 piano player, and you know Hattie on the Heart and 0:18:51.556 --> 0:18:53.796 Romany on the Heart and Who when he plays guitar 0:18:54.276 --> 0:18:57.276 and Charlie Webb plays guitar and ukulele, and they will 0:18:57.596 --> 0:19:01.876 be percussion when required. They are a band while and 0:19:01.876 --> 0:19:04.356 they're in they accompany themselves on these shows. They've been 0:19:04.396 --> 0:19:09.516 doing us and they played their enormous part in all 0:19:09.916 --> 0:19:12.276 the music, all the songs that we were doing on 0:19:12.356 --> 0:19:12.636 the tour. 0:19:13.716 --> 0:19:16.556 When something's really like clicking like that and you're seeing 0:19:17.636 --> 0:19:21.876 that chemistry exists within your group, is that inspiring to you? 0:19:22.036 --> 0:19:22.276 Does that? 0:19:23.476 --> 0:19:27.436 I mean, you've been around counts, played with so many people, 0:19:27.796 --> 0:19:30.076 but I mean that that did feel like a pretty 0:19:30.156 --> 0:19:33.116 special group you put together there that was really clicking 0:19:33.156 --> 0:19:33.916 on all cylinders. 0:19:34.436 --> 0:19:38.276 It was really fantastic. These people are really good. They 0:19:39.316 --> 0:19:43.156 they feel emboldened to add their own things, you know, 0:19:43.316 --> 0:19:46.996 to be more experimental with the way that we're doing things. 0:19:47.076 --> 0:19:50.996 I mean, obviously, if I want to, I can always 0:19:50.996 --> 0:19:53.396 say after we've done something to someone, maybe we will 0:19:53.516 --> 0:19:55.396 ring that back next time. I didn't think I really 0:19:55.476 --> 0:19:58.236 had to do that at all, you know. And Roman 0:19:58.396 --> 0:20:04.956 is enthusiasm on stage and brilliance and she just g 0:20:05.316 --> 0:20:08.476 the whole band up into being a little bit more 0:20:08.596 --> 0:20:15.276 extra and and exciting. So I can only thank her 0:20:15.356 --> 0:20:19.156 and everyone else for what they gave to me in 0:20:19.316 --> 0:20:20.596 that toll thing. 0:20:21.516 --> 0:20:25.036 Yeah, we'll be back with more from David Gilmour after 0:20:25.116 --> 0:20:31.356 the break. I want to ask about the opening. I mean, 0:20:31.676 --> 0:20:35.796 to your point about pulling things back a bit. I 0:20:35.916 --> 0:20:40.516 was curious about two things, as it relates to your 0:20:40.556 --> 0:20:43.556 own plane. When when you're doing something live, particularly this tour, 0:20:43.956 --> 0:20:47.236 you open up with five Am, which is an incredible, 0:20:47.596 --> 0:20:52.596 you know, really beautiful guitar song. When I saw you 0:20:52.636 --> 0:20:55.556 guys at the Bowl, it was the most freezing fridgid 0:20:55.756 --> 0:21:00.476 night ever and I felt almost nervous as you guys started, 0:21:00.516 --> 0:21:01.916 because I was like, I don't know if I could 0:21:01.956 --> 0:21:06.676 get my fingers working this in this sort of environment. 0:21:07.956 --> 0:21:10.196 So so I guess I'm you're interested in both. How 0:21:10.356 --> 0:21:12.956 do you on this how did you on this tour 0:21:13.476 --> 0:21:18.396 gear up to open that way? And then my next 0:21:18.556 --> 0:21:20.836 question I'll ask next is but it's how do you 0:21:20.916 --> 0:21:24.716 pull yourself back throughout a gig when you feel yourself 0:21:24.836 --> 0:21:27.876 maybe if drifting too far one direction or another, are 0:21:27.876 --> 0:21:28.436 doing too much. 0:21:29.916 --> 0:21:32.556 I don't know. I mean, I have a desire to 0:21:32.716 --> 0:21:37.836 get to set a mood before one gets into the 0:21:38.796 --> 0:21:41.276 into the meat of the whole thing. I just want 0:21:41.356 --> 0:21:47.356 to quieten the audience down, get them into a more 0:21:47.556 --> 0:21:52.916 pensive and before bringing them back up into the excitement 0:21:53.076 --> 0:21:56.236 of the moments that you're going to try and get 0:21:56.276 --> 0:22:00.396 to later. It's hard to describe. And as for pulling 0:22:00.436 --> 0:22:04.196 myself back, and don't really try to pull myself back too. 0:22:04.276 --> 0:22:06.676 What I'm more trying to push myself forward. 0:22:07.716 --> 0:22:11.556 Is there an internal monologue you're having with yourself during. 0:22:11.356 --> 0:22:16.316 A show constant? Yes, about is this going the way 0:22:16.796 --> 0:22:18.956 that I wanted to? Is it going to lead on 0:22:19.156 --> 0:22:22.716 into the next thing in the most perfect way? Again, 0:22:23.796 --> 0:22:26.676 tough to explain how how those processes work. 0:22:27.796 --> 0:22:30.756 Yeah, I mean, is it more? I can't imagine you're 0:22:30.876 --> 0:22:33.076 you're able to put into words in those moments on 0:22:33.156 --> 0:22:35.876 stage exactly what might not be working or exactly what 0:22:36.076 --> 0:22:38.476 you want to happen next to lead to the next thing. 0:22:39.116 --> 0:22:40.756 But it must exist as a feeling in you right 0:22:40.796 --> 0:22:41.876 that you recognize, Yes. 0:22:42.116 --> 0:22:44.836 It is really just a feeling, and you know, just 0:22:45.916 --> 0:22:51.076 moving on into the next moment and hoping that everything 0:22:51.196 --> 0:22:53.156 will stay as wonderful as it is. 0:22:54.556 --> 0:22:56.436 You know, I was trying to think about as I 0:22:56.516 --> 0:22:58.836 was listening to to all your stuff again like kind 0:22:58.876 --> 0:23:01.556 of what you know, not to just just to try 0:23:01.596 --> 0:23:04.196 to get a sense of like my bearings of like 0:23:04.356 --> 0:23:07.316 what the kind of like if there's anything close to 0:23:07.476 --> 0:23:10.156 what you do and the closest I Again, this is 0:23:10.236 --> 0:23:13.156 not to like butter you up or anything, but you know, 0:23:13.196 --> 0:23:15.356 it's like it's almost like, you know, the way Miles 0:23:15.476 --> 0:23:20.276 Davis approached music or played, where it's this both you're 0:23:20.316 --> 0:23:24.676 able to craft and write these really beautiful lines but 0:23:24.756 --> 0:23:29.516 then also do a fair amount of improvising but tastefully. 0:23:30.316 --> 0:23:34.356 How have you honed those two skills? Like how do 0:23:34.436 --> 0:23:39.916 you hone both crafting beautiful melodic lines but then also 0:23:40.476 --> 0:23:43.756 going out and sometimes taking those to other places. 0:23:44.836 --> 0:23:49.796 Gosh, you ask tricky questions and you know, I'm just 0:23:50.196 --> 0:23:55.996 hunting for magic and emotion And that is the same 0:23:56.196 --> 0:24:00.276 process in the studio as it is on stage, you know. 0:24:00.516 --> 0:24:04.356 But then you've got all the opportunities in the world 0:24:04.436 --> 0:24:07.396 to go back and perfect things in the studio and 0:24:07.596 --> 0:24:13.556 work until you think things are as you know, as 0:24:13.636 --> 0:24:16.476 good as you're going to get them. But that is 0:24:16.556 --> 0:24:21.236 then a decision and it's made and you've got there 0:24:21.516 --> 0:24:25.636 and then when you get onto a stage, you can 0:24:26.996 --> 0:24:29.596 use that as your template, but then just kind of 0:24:29.676 --> 0:24:32.316 forget about it and just go off anywhere you want 0:24:32.356 --> 0:24:37.636 to at any time and feel free to just play. 0:24:37.756 --> 0:24:41.356 I mean, I've never well I did on this album 0:24:41.556 --> 0:24:46.076 on one track, maybe two tracks, actually learning one of 0:24:46.156 --> 0:24:49.236 my guitar sert's or a record. Never done it in 0:24:49.316 --> 0:24:51.276 the past, you know, I never did it with comfortably 0:24:51.396 --> 0:24:54.996 enim or any of those things. But you know, you've 0:24:55.076 --> 0:24:58.956 got a template of how the solo's going to start, 0:24:59.316 --> 0:25:03.916