![]() I appreciate the unique way he uses it to tell stories, like his friendship with Syd Barrett. He's not just using the screens to project the band. I think it’s 200,000 pounds or something like that, which is incredible. I think they said this is the heaviest thing that’s been hung as far as the big monolith up there. I mean, I don’t even know the square footage of the LED, but it’s enormous. The stage is shaped like a crucifix and everything's in the round. To come in and see where it’s at, it was like, “Holy shit.” I mean, these guys spent thousands and thousands of fucking hours. He’s got a process, but he follows his gut. But the way I see it, those ideas with him are constantly changing and ticking and they’re definitely evolving and stuff. That’s all been done with a different team, not necessarily the band. How did things change production-wise with the delay of the tour? That was the day when we were kind of like, “Maybe we should get the fuck out of Dodge.” It was the same thing, he was so excited about the tour, saying, “This is my idea for this and this is going to be this.” I was like, “Yeah, that’s amazing, man.” The next day, I was supposed to go down with Roger and his creative partner Sean to see some of the visuals and stuff. I saw him on March 12 or something, right before the pandemic. The plan was that it would start in the summer. We were trying to find out what it could be like as far as the songs and stuff like that. There was a script involved there was a whole thing. We did a demo of some of the songs and stuff. We tried some songs: This one might work this one won’t work. ![]() We practiced some songs and talked about a set list. We got brought in December before the pandemic. What was the process of getting ready for this tour? Things were delayed by the pandemic. Wilson offered us a deeper look inside the Pink Floyd legend's current tour.
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