When iconic musicians pass away, we often default to praise. Words like “genius” and “visionary” get tossed around with ease. But when it comes to someone like Brian Wilson, even those lofty labels can feel insufficient. The same could be said, in a different way, for Roger Waters—especially when reflecting on the impact he had on Pink Floyd and how his vision began to overshadow everything else.
For artists like David Gilmour, one of the toughest parts of touring is curating a meaningful setlist. Sure, fans are happy just to see a legend live, but Gilmour always believed a concert should unfold like a story—not just a relentless barrage of hits. He may have learned some of that from Waters during their early days in Floyd, but with time, he also learned when certain songs were better left in the past.
In the glory years of Pink Floyd, everything was about balance. Dark Side of the Moon thrived on synergy: Gilmour’s soaring guitar tones, Richard Wright’s ethereal keys, and Waters’s lyrical weight all clicked together seamlessly. That balance is why Dark Side still resonates today—and why Waters’s recent attempt to redo it as a solo project was met with eye-rolls more than applause.
Waters had vision, no question. Wish You Were Here and Animals both carry his unmistakable stamp of social commentary and cynicism. But by the time they began working on The Wall, that vision had taken over, and Gilmour wasn’t willing to be sidelined. Despite remaining a co-producer and contributor, Gilmour was credited on just two songs—hardly reflective of his usual role. Waters had turned Pink Floyd into a one-man band in all but name.
That takeover produced iconic moments like “Comfortably Numb,” where Gilmour’s solo is the soul of the song. But elsewhere, the album’s themes have aged less gracefully. “Goodbye Blue Sky” may sound beautiful, but “Run Like Hell” has become more controversial over the years—not just for its aggression, but for its association with fascist imagery that now feels more disturbing than provocative.
Gilmour eventually chose to retire some of these hits. He admitted: “There are songs from the past that I no longer feel comfortable singing. I love ‘Run Like Hell.’ I loved the music I created for it, but all that ‘You’d better run, run, run…’—I now find that all a bit terrifying and violent. ‘Another Brick in the Wall’ is another one I shan’t be doing.”
Despite pressure, Gilmour stuck to his convictions. Even during the band’s brief reunion at Live 8, he refused to play “Another Brick in the Wall Part 2.” Why? Because it felt wrong to perform a song protesting education at a benefit concert for children.
That might disappoint fans hoping to hear every classic live, but Gilmour’s stance is about more than nostalgia. By stepping away from the most commercial Floyd hits, he’s made space for deeper cuts like “Fat Old Sun” to shine—songs that showcase his quieter brilliance and remind us that even rock legends can grow beyond their greatest hits.
