It’s been more than three decades since Pink Floyd mounted their last tour. More than two since the classic quartet reunited to share the stage in London’s Hyde Park at Live 8. And nearly that long since the death of keyboardist Richard Wright.
In the years since surviving members David Gilmour, Roger Waters, and Nick Mason have all mounted shows whose setlists have relied heavily on the Pink Floyd catalog—though not often enough for the band’s legions of fans.
Filling that void have been two active units for whom the term “tribute band” doesn’t seem to suffice.
The Australian Pink Floyd Show (est. 1993) and Brit Floyd (est. 2010) have both gone full-out to not only reproduce a Pink Floyd show with accompanying lasers, films, balloons, visual/special effects, and bombastic-ness, but amplify the experience. And since members of TAPFS actually left to form BF, they’ve been circling each other somewhat warily out on the road.
Well, Houston fans of Pink Floyd will either have cause for zealous celebration or face a saucerful of a Sophie’s Choice when both groups visit the area within two days of each other: Brit Floyd on July 17 at the Bayou Music Center in downtown and the Australian Pink Floyd show on July 19 at the Smart Financial Centre in Sugar Land.
So like a sonic Switzerland of neutrality, the Houston Press spoke with members of both bands: vocalist Chris Barnes on the Aussie side, and vocalist/bassist Ian Cattell for the Brits.
Barnes says that the Aussie Floyd tour, titled “The Happiest Days of Our Lives,” will be a sort of “greatest hits” compilation of Pink Floyd’s best-known numbers with the occasional deep cut thrown in.
Cattell—a founding member of Brit Floyd—says his tour titled “The Moon, The Wall, and Beyond” will feature The Dark Side of the Moon in its entirety and a healthy sampling of The Wall, Pink Floyd’s two most popular albums.
As the “Roger Waters” of Brit Floyd, Cattell says he doesn’t really try to force his own vocal or playing stamp on the material or improvise. He says audiences come wanting to hear the songs as they remember them from studio/live albums or FM radio, and that’s what he wants to deliver.
“We’re not playing a version that’s unfamiliar to people. One that David Gilmour or Roger Waters might do in their own shows since it’s their own material. We stick to a version that’s out there,” he says. “But we do put a bit of ourselves in there. And as the bass player, I probably get away with that more than most!”
Similarly, Barnes handles most of the Roger Waters-sung tunes of Aussie Floyd. But he’s not as keen to put himself out there. “Ideally, I don’t want to be Chris at all!” he laughs. “I don’t want to listen to a gig and go ‘Oh, that’s sounds like me!’ But the natural tone of my singing voice is like Roger’s.”
Perhaps more than any other classic rock band, Pink Floyd is the one who then—and now with the tribute bands—lends itself more to a synthesis of sound and sight. And the people at the microphone, hitting the drums, or plucking the guitars are just part of the entire experience.
Barnes says he’s “lucky” in that respect. “There’s 10 of us in the band. Pink Floyd didn’t have a guy on his own singing. And it’s not just about the performers, it’s the music and the show,” he says. “It’s an honor to perform this music, but we’re like an orchestra—anonymous people playing the music. I only talk to the audience twice, and briefly. Or, as [band co-founder] Steve Mac says, we’re like professors in a laboratory.”
Some professor backstage is in charge of inflating “Skippy,” the giant inflatable kangaroo (a particular Aussie nod to Pink Floyd’s trademark flying inflatable pig. And yes, it’s a she.
Cattell has similar feelings about an onstage and behind the scenes balance. “It’s an enormous group effort not only with musicians, but lighting designers and laser designers, and stage workers. A lot of work that goes on months before we start the tour,” Cattell, who has his own background in lighting, offers. “These guys are geniuses and work very hard. And Damian [Darlington, co-founding vocalist/guitarist] is very much involved with that.”
As for playing in Houston, Barnes says he’s usually struck by a quote on a backstage wall at the Bayou Music Center, where they’ve previously played.
“It’s from one of my favorite films, Willy Wonka and the Chocolate Factory: ‘We are the music makers, and we are the dreamers of dreams.’ I take a picture of that every time I play there,” he says. “Other than that, it’s very, very hot. That’s my memory of Houston!”
Cattell’s memories are also a bit sticky.
“We always seem to play there around August, and it’s very, very hot! I get uncomfortable when it’s over 82 degrees!” he laughs. “I try to bring my bike out on tour, or at least I used to. The trails that go along the Bayou Music Center is something I always enjoy doing. But it’s hard to get it on the equipment truck.”
Well, perhaps they could add the earliest Syd Barrett-era Pink Floyd tune “Bike” to the set list and bring it along as a stage prop?
“That’s great! I can say I need it because it’s part of the show!” he says. “I always like to do ‘Bike.’ Because 95 percent of the audience doesn’t know what it is. But the other 5 percent is stoked!”
When the same song is suggested to Barnes, he’s equally enthusiastic. “I’d love to do that one! I’ll have to suggest that We always do at least one number that’s sort of a doff of the cap to Syd. He’s so important to the Pink Floyd story.”
Brit Floyd plays at 8 p.m. on Friday, July 17 at Bayou Music Center, 520 Texas. For more information, call 713-230-1600 or visit BayouMusicCenter.com. $53-$118 plus fees.
For more on Brit Floyd, visit BritFloyd.com.
The Australian Pink Floyd Show plays at 8 p.m. on Sunday, July 19, at the Smart Financial Centre, 18111 Lexington. For more information, call 281-207-6278 or visit ATGTickets.com. $18.25-$69.50 plus fees.
For more on the Australian Pink Floyd Show, visit AussieFloyd.com.
