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Pink Floyd

From Alfawiki
Pink Floyd
Company typePrivate
IndustryMusic
Founded1965 in London, England
Headquarters
London
,
England
Area served
Worldwide
ProductsMusic albums, singles, film soundtracks

Pink Floyd is a rock group originating from London, England, established in 1965. As early innovators of the British psychedelic scene, they rose to prominence as a key progressive rock ensemble, distinguished by lengthy compositions, innovative soundscapes, introspective lyrics, and intricate stage shows.

The original lineup featured Syd Barrett (guitar, vocals), Nick Mason (drums), Roger Waters (bass, vocals), and Richard Wright (keyboards, vocals). They gained attention with singles like "Arnold Layne" and "See Emily Play" and released their acclaimed first album The Piper at the Gates of Dawn in 1967. David Gilmour (guitar, vocals) joined later that year; Barrett departed in 1968 due to mental health struggles. Waters took on the role of chief lyricist and conceptual architect behind albums such as The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), and The Wall (1979). The cinematic version of The Wall (1982) earned two BAFTA Awards. The band also produced multiple film soundtracks.

Rising internal conflicts caused Wright to leave in 1981 and Waters to exit in 1985. Gilmour and Mason continued under the Pink Floyd name, later reuniting with Wright to create A Momentary Lapse of Reason (1987) and The Division Bell (1994), both supported by extensive tours. The classic lineup reunited for Live 8 in 2005. Barrett passed away in 2006; Wright followed in 2008. Their final studio release, The Endless River (2014), was based on unreleased material from sessions for The Division Bell. In 2022, Pink Floyd issued "Hey, Hey, Rise Up!" as a response to the Russian invasion of Ukraine.

By 2013, Pink Floyd had sold more than 250 million records worldwide, placing them among the top-selling musical acts ever. Both The Dark Side of the Moon and The Wall have been inducted into the Grammy Hall of Fame and remain among the best-selling albums internationally. Four albums reached number one on the US Billboard 200, while five topped the UK Albums Chart. Their notable singles include "Money" (1973) and "Another Brick in the Wall (Part 2)" (1979). The band was inducted into the US Rock and Roll Hall of Fame in 1996 and the UK Music Hall of Fame in 2005. They received the Polar Music Prize in 2008 for their groundbreaking integration of artistic expression with music.

History

Pink Floyd’s founding members were Roger Waters, Nick Mason, and Richard Wright, who began studying architecture at London Polytechnic in 1962, along with Syd Barrett, who was two years younger and relocated to London in 1964 to attend Camberwell College of Arts. Waters and Barrett had known each other since childhood; Waters frequently observed Barrett playing guitar at home. Mason described Barrett as unusually extroverted for that era.

Before forming Pink Floyd

Waters met Mason during their architecture studies at London Polytechnic. They initially played together within a student group formed by Keith Noble and Clive Metcalfe, accompanied by Noble’s sister Sheilagh. Richard Wright joined later that year after switching from architecture to music studies, expanding the group to six members named Sigma 6. Waters handled lead guitar duties, Mason was on drums, while Wright initially played rhythm guitar before transitioning to keyboards. The ensemble performed at private events and rehearsed in a basement tearoom at Regent Street Polytechnic, covering songs by the Searchers alongside material from their manager Ken Chapman.

In September 1963, Waters and Mason moved into a flat at 39 Stanhope Gardens in Highgate owned by Mike Leonard, a part-time instructor who also designed lighting effects used during early performances. Mason left after the academic year ended in 1964; guitarist Bob Klose replaced him that September, prompting Waters to switch to bass guitar. The band experimented with various names—including the Meggadeaths, the Abdabs, Leonard's Lodgers, and Spectrum Five—before settling on the Tea Set. When Metcalfe and Noble departed to form their own group in September 1963, Syd Barrett joined Klose and Waters at Stanhope Gardens.

Klose brought in singer Chris Dennis, an RAF technician. In December 1964, they recorded their first demo during studio downtime in West Hampstead; Wright did not participate due to taking a break from his studies. This session included an R&B cover plus three Barrett originals. After Dennis was posted overseas early in 1965, Barrett assumed lead vocal duties. Later that year they became the resident band at London's Countdown Club near Kensington High Street, performing extended sets that encouraged improvisation through lengthy solos. Under pressure from family and tutors, Klose left mid-1965 with Barrett stepping up as lead guitarist.

Pink Floyd

In late 1965, the ensemble adopted the name Pink Floyd Sound. According to accounts, Barrett spontaneously coined the name upon discovering another group called the Tea Set was playing at one of their shows. The name was inspired by two blues artists, Pink Anderson and Floyd Council, whose records Barrett possessed. By 1966, their setlist predominantly consisted of rhythm and blues tracks, and they started securing paid engagements, including a December 1966 performance at the Marquee Club. It was here that Peter Jenner, a lecturer at the London School of Economics, took an interest in them. Jenner and his associate Andrew King assumed managerial roles despite lacking significant experience in the music business. Utilizing King's inheritance, they founded Blackhill Enterprises and invested roughly £1,000 to acquire new instruments and gear for the band. After some equipment was stolen, replacements were obtained through installment payments. Jenner also recommended removing "Sound" from their name; thus, on 15 October 1966, they made their debut as Pink Floyd at the Roundhouse.

With Jenner and King at the helm, Pink Floyd became embedded in London's underground music circuit, performing at venues such as All Saints Hall and the Marquee Club. Their shows featured experimental extended instrumental jams enhanced by basic light displays using colored slides and household lamps. Thanks to Jenner and King's contacts, the band received prominent media attention in outlets like the Financial Times and Sunday Times, which described their performances as "apparently very psychedelic."

In 1966, Pink Floyd formalized a partnership with Blackhill Enterprises, each party holding an equal one-sixth stake alongside Jenner and King. Their repertoire increasingly included original compositions by Barrett intended for their debut album. Despite more frequent gigs, widespread mainstream acceptance remained elusive; notably, after a controversial performance at a Catholic youth club where the organizer refused payment claiming it was not music, a small claims court upheld that ruling. The band gained more traction at London's UFO Club, building a loyal following. Barrett’s energetic stage presence—characterized by improvisation and intense delivery—was highlighted as uniquely captivating by biographer Nicholas Schaffner.

EMI Contract

By 1967, Pink Floyd had begun drawing attention from record labels. During negotiations with various companies, Joe Boyd—co-founder of IT magazine and manager of the UFO Club—and booking agent Bryan Morrison arranged and financed a recording session at Sound Techniques in Kensington. On 15 February 1967, Pink Floyd secured a contract with EMI that included a £5,000 advance. EMI's Columbia label issued their debut single "Arnold Layne," backed with "Candy and a Currant Bun," on 10 March 1967. Both songs were recorded on 29 January 1967. Although "Arnold Layne" faced radio bans due to its cross-dressing subject matter, strategic retail promotion helped it climb to number 20 on the UK charts.

The band's second single under EMI-Columbia, "See Emily Play," was released on 16 June 1967 and reached number 6 in the UK rankings. Pink Floyd made appearances on BBC programs such as Look of the Week and Top of the Pops, though mimed performances were required for television. By their third TV appearance, Syd Barrett exhibited noticeable behavioral shifts linked to escalating LSD use, which began to affect group dynamics.

The Piper at the Gates of Dawn

The initial recording agreement for Pink Floyd was secured through discussions between Morrison and EMI producer Norman Smith, which included producing their debut album at EMI Studios in London. Mason described the recording process as relatively trouble-free, although Smith observed that Barrett was often unresponsive to suggestions. Released by EMI-Columbia in August 1967, The Piper at the Gates of Dawn climbed to number six on the UK charts and stayed there for fourteen weeks. The album was introduced to the American market a month later via Tower Records. While Pink Floyd continued to attract sizeable audiences at the UFO Club, concerns grew over Barrett’s deteriorating mental state. Jenner and his assistant June Child observed Barrett’s growing disengagement during live performances.

After withdrawing from the National Jazz and Blues Festival and several other scheduled gigs, King informed the press that Barrett was suffering from nervous exhaustion. Waters arranged a consultation with psychiatrist R. D. Laing, but Barrett declined to participate. A subsequent stay in Formentera under the care of underground physician Sam Hutt failed to bring any improvement. Following a series of concerts across Europe in September, Pink Floyd embarked on their inaugural US tour in October, during which Barrett’s condition further declined. On television appearances hosted by figures such as Dick Clark and Pat Boone, Barrett offered minimal or no responses and refused to lip-sync "See Emily Play," prompting King to curtail the US tour and bring the band back to London.

Upon returning to England, Pink Floyd supported Jimi Hendrix on his tour, but Barrett’s depression continued to deepen.

1967: replacement of Barrett by Gilmour

In December 1967, as tensions with Syd Barrett escalated, Pink Floyd expanded their lineup by adding guitarist David Gilmour as a fifth member. Gilmour, who had previously known Barrett from Cambridge Tech and performed alongside him, joined the band with a weekly salary of £30 negotiated by manager Steve O'Rourke. The initial plan was for Barrett to remain involved as a non-performing songwriter while Gilmour compensated for his erratic stage presence. However, Barrett's increasingly unpredictable output—including intentionally intricate compositions like "Have You Got It Yet?"—complicated collaboration efforts.

By January 1968, during a tour stop in Southampton, the group effectively decided to proceed without Barrett, marking the conclusion of his active involvement. After discussions with business associates Jenner and King, Barrett formally consented to leave in March; Jenner and King then dedicated themselves solely to managing his affairs. Subsequent managerial shifts occurred: Morrison sold his enterprise to NEMS Enterprises, and O'Rourke assumed duties as Pink Floyd’s personal manager. Blackhill officially announced Barrett’s departure on 6 April 1968.

Following Barrett’s exit, creative direction and lyric writing became primarily Waters’ responsibility. Initially, Gilmour mimed Barrett’s vocals on television appearances but soon began contributing original material alongside Wright and Waters during live shows. Mason remarked that Gilmour brought more structure to the band’s sound, enhancing its accessibility and commercial appeal.

A Saucerful of Secrets (1968)

In 1968, Pink Floyd revisited Abbey Road Studios to finalize their sophomore album, A Saucerful of Secrets, which had commenced in 1967 under Syd Barrett's direction. This record features Barrett’s last contribution with the track "Jugband Blues". Waters broadened his compositional role, contributing "Set the Controls for the Heart of the Sun", "Let There Be More Light", and "Corporal Clegg", while Wright added "See-Saw" and "Remember a Day". Norman Smith advocated for the band’s self-production efforts, offering guidance on studio methods, though he remained doubtful about their musical direction and substituted Mason on drums for "Remember a Day". For the album’s title piece, Waters and Mason devised a unique notation system, which Gilmour described as resembling an "architectural diagram".

Issued in June 1968, A Saucerful of Secrets showcased psychedelic artwork designed by Storm Thorgerson and Aubrey Powell of Hipgnosis—marking their first Pink Floyd collaboration and only the second EMI album to feature external designers. The album attained number nine on the UK charts and remained there for 11 weeks. Critical reception was generally positive, though some reviewers found certain sections repetitive. The day following its UK launch, Pink Floyd performed at Hyde Park’s inaugural free concert. In July 1968, they embarked on their first major American tour alongside Soft Machine and the Who. That December saw the release of the single "Point Me at the Sky", which, like previous singles since "See Emily Play", failed to chart and became their final single until 1973’s "Money".

Ummagumma (1969) and Atom Heart Mother (1970)

Ummagumma represented a new direction for Pink Floyd. Released as a double LP under EMI’s Harvest imprint in November 1969, its initial two sides featured live recordings from performances in Manchester and Birmingham. The latter two sides contained individual experimental compositions from each band member. The album garnered favorable reviews, peaked at number five on the UK charts, and remained listed for 21 weeks.

In October 1970, Pink Floyd unveiled Atom Heart Mother, their first project recorded using an eight-track recorder. After disagreements over mixing early on, Ron Geesin was brought in to address sound challenges and enhance the orchestral arrangement with minimal direct involvement from the band. Geesin collaborated with choir director John Alldis to complete the work. Keyboardist Richard Wright received an executive producer credit; this marked his last official role in the band's discography. Gilmour later dismissed the album as "a load of rubbish," reflecting internal dissatisfaction with the outcome. Despite mixed views, Atom Heart Mother became Pink Floyd’s first UK number-one album and spent 18 weeks on the charts.

Throughout 1970, Pink Floyd conducted extensive tours across North America and Europe. Following a New Orleans concert, $40,000 worth of equipment was stolen, threatening their financial stability; however, most items were recovered after FBI intervention. By 1971, the band achieved profitability for the first time and secured second place in a Melody Maker reader poll. Members established residences: Mason and Wright settled in London, Gilmour acquired a farm in Essex, and Waters set up a home studio in Islington.

After touring concluded, Pink Floyd began developing new material in January 1971 but struggled to identify a cohesive concept. Recording sessions were largely unproductive, often extending into early mornings without significant progress. Engineer John Leckie observed minimal involvement from their record label aside from occasional visits by management bearing wine and cannabis. The group experimented with simple sounds and guitar motifs while spending days at Air Studios generating music using everyday household objects—a creative approach revisited during sessions between The Dark Side of the Moon and Wish You Were Here.

Meddle (1971)

Issued in October 1971, Meddle climbed to number three on the UK charts and remained listed for 82 weeks. This album marks a shift from the Syd Barrett-led period toward the evolving Pink Floyd sound. Jean-Charles Costa of Rolling Stone emphasized David Gilmour's increasing creative contribution, noting that the record solidified his position as a central artistic figure and signaled the band's revitalized momentum.

The production process extended over several months, beginning with recording sessions in April, followed by tours throughout Great Britain, Europe, the Far East, Australia, and the United States. In the same month of October, the group also produced the concert film Pink Floyd: Live at Pompeii.

Critically, NME lauded Meddle as "an exceptionally good album," highlighting "Echoes" as a standout achievement in their catalog. In contrast, Melody Maker offered a less favorable view, describing it as ambitious sonically but lacking depth.

Obscured by Clouds (1972)

Prior to this release, Pink Floyd had contributed soundtracks for The Committee (1968), More (1969), and parts of Zabriskie Point (1970). Following the success of More, director Barbet Schroeder invited them to compose the score for his subsequent film, La Vallée. Recording took place at Strawberry Studios and Château d'Hérouville in France during a Japanese tour, with final mixing completed at London's Morgan Studios. Waters noted that early UK editions suffered from "excessive sibilance." After disagreements with the film company, the soundtrack was issued under the title Obscured by Clouds, while the film was retitled to La Vallée (Obscured by Clouds).

The album is characterized by concise tracks with a country music influence and features Wright's newly acquired EMS VCS 3 synthesiser. Key songs include "Burning Bridges," co-written by Wright and Waters; "Childhood's End," which was the last Pink Floyd piece with lyrics penned by Gilmour until 1987; and "Free Four," notable for its US radio popularity and lyrical reference to Waters's father's World War II death. The closing track "Stay," written and performed vocally by Wright using Waters's lyrics, is accompanied by a chant from the Mapuga tribe featured in the film.

The Dark Side of the Moon (1973)

Between May 1972 and January 1973, Pink Floyd recorded The Dark Side of the Moon at Abbey Road Studios with EMI engineer Alan Parsons and producer Chris Thomas. The title alludes to madness rather than celestial bodies. The material was honed during extensive tours across the UK, Japan, North America, and Europe. The iconic prism artwork, created by Hipgnosis, symbolizes both societal cohesion and fragmentation. All lyrics were authored by Waters.

Released in March 1973, the album quickly achieved chart success throughout the UK and Western Europe and garnered critical praise despite some early mixed reactions. The band largely abstained from press engagement due to unfinished quadraphonic mixes at release time. The album featured prominently during Pink Floyd's US tour that March.

Commercially, it became one of rock music’s most successful albums ever, reaching number one on US charts and staying on Billboard’s Top LPs & Tape chart for over fourteen years throughout the 1970s and 1980s, with sales exceeding 45 million copies globally. In the UK, it peaked at number two and remained on charts for 364 weeks. It ranks as the third best-selling album worldwide and twenty-first in US history.

The album’s financial success brought considerable wealth to Pink Floyd members; Waters and Wright acquired large country estates while Mason invested in high-end automobiles. Frustrated with Capitol Records' handling in America, Pink Floyd secured a new deal with Columbia Records reportedly worth $1 million upfront. Harvest Records continued representing them within Europe.

Wish You Were Here (1975)

Following their UK tour supporting Dark Side, Pink Floyd returned to the studio in January 1975 to begin work on their ninth studio album, Wish You Were Here. With Parsons opting out of production duties, the group enlisted Brian Humphries as producer. The initial recording phase proved difficult; the intense success of The Dark Side of the Moon had left the members emotionally and creatively exhausted. Wright described this interval as particularly taxing, Waters found it agonizing, and Mason's personal struggles impacted his drumming contributions.

Waters ultimately conceived a fresh thematic direction, drawing inspiration from three original tracks performed during 1974. A serendipitous four-note guitar motif devised by Gilmour evoked memories of former bandmate Syd Barrett for Waters. These compositions collectively portrayed Barrett’s ascent and decline, reflecting Waters’ desire to express the sorrow surrounding Barrett’s disappearance.

Barrett unexpectedly visited the studio during sessions, but his altered appearance initially prevented recognition by the band. This encounter profoundly affected Waters. The album’s artwork, created by Thorgerson, represents hidden feelings through an image depicting two businessmen shaking hands, one engulfed in flames.

Wish You Were Here debuted on 5 July 1975 at Knebworth and was officially released in September, achieving number one chart positions in both the UK and US.


Animals (1977)

In 1975, Pink Floyd purchased a three-level complex of church halls at 35 Britannia Row in Islington, which they transformed into a recording facility and storage area. Utilizing this newly equipped 24-track studio, they recorded their tenth album, Animals, in 1976. The album’s concept, primarily developed by Waters, drew loose inspiration from George Orwell’s allegorical novella Animal Farm, depicting societal classes as dogs, pigs, and sheep. Brian Humphries served as engineer for the project, which was completed by December 1976. Although Hipgnosis received credit for packaging design, Waters finalized the concept and chose an image featuring Battersea Power Station with a pig superimposed.

For the cover shoot, the band commissioned a 30-foot pig-shaped balloon; after multiple weather-related delays and an incident where the balloon broke free and drifted into Kent causing local disturbances, they ultimately opted to digitally place the pig over the power station photograph.

Disputes over royalty distribution emerged due to allocation being based per track. Gilmour, who was largely responsible for "Dogs", which occupied most of side one, earned less than Waters despite contributing more music. Waters wrote the shorter two-part "Pigs on the Wing". Wright acknowledged he did not advocate strongly for his own compositions, while Mason recalled Waters deliberately creating tension with Gilmour. Gilmour’s involvement was limited due to new fatherhood; Mason and Wright also contributed less amid personal challenges and strained relations with Waters. Notably, Animals marked Wright’s first Pink Floyd album without a songwriting credit; he observed that Waters increasingly regarded himself as the primary creative force.

Released in January 1977, Animals peaked at number two in the UK charts and number three in the US. Critics described it as provocative and uncompromising; NME highlighted its relentless nature while Melody Maker commented on its stark realism.

The band embarked on an extensive tour supporting Animals, known as the "In the Flesh" tour—their inaugural large-scale stadium performances—which generated internal tensions. Waters frequently arrived alone for shows and departed immediately afterward; Wright threatened to leave mid-tour. During a concert at Montreal’s Olympic Stadium, Waters spat at unruly audience members; Gilmour refused to perform encores that evening. The tour’s conclusion represented a low point for Gilmour, who felt that their peak had been reached with little more to accomplish.

The Wall (1979)

In July 1978, during a period of financial strain caused by unsuccessful investments, Waters presented two concepts for a new album: a 90-minute demo named Bricks in the Wall, and what eventually became his solo project, The Pros and Cons of Hitch Hiking. Mason and Gilmour opted to develop the former. Bob Ezrin co-produced the album and crafted a forty-page script inspired by Waters's vision of Pink—a character symbolizing Waters's childhood struggles and disillusionment with the music business. The storyline traces Pink's progression into megalomania followed by his journey toward self-redemption.

Throughout production, dissatisfaction with Wright's limited participation resulted in his removal from the band. Gilmour remarked that Wright "hadn't contributed anything of any value," while Mason observed Wright’s disengaged demeanor. Waters offered Wright the option to "leave quietly" or confront conflict; Wright chose to depart but returned as a paid session musician for The Wall tour. Mason delegated mixing responsibilities to others in order to focus on recording his solo album, Nick Mason's Fictitious Sports.

The album included the hit single "Another Brick in the Wall, Part II", which reached number one on both US and UK charts. Released on 30 November 1979, it dominated the US Billboard chart for 15 weeks and peaked at number three in the UK. It holds the sixth position in RIAA certifications with 23 million copies sold in the United States. The album cover marked a shift away from Hipgnosis’s style that had been present since The Piper at the Gates of Dawn.

Gerald Scarfe was responsible for creating animations and large inflatable puppets representing key characters during the tour, enhancing the live experience. Relations within the band were tense; members often isolated themselves while on tour. Wright was the sole member to profit financially from the tour, which incurred an approximate loss of $600,000 when adjusted for inflation.

The album was adapted into the film Pink Floyd – The Wall, which combined live concert footage with animation sequences. Director Alan Parker adopted a narrative style using actors without dialogue. Waters declined to play the lead role; Bob Geldof accepted it after initial hesitation due to financial considerations. The film premiered at Cannes in May 1982 and later in the UK, earning BAFTA awards for "Best Original Song" ("Another Brick in the Wall") and "Best Sound".

The Final Cut (1983)

In 1982, Waters proposed an album titled Spare Bricks, originally intended as a soundtrack companion to Pink Floyd – The Wall. However, following the Falklands War, Waters redirected his focus toward composing new material critical of Margaret Thatcher's nationalist response, dedicating the work to his deceased father. Conflicts intensified between Waters and Gilmour over whether to include previously written songs or produce entirely new content. Waters expressed frustration over Gilmour's minimal lyrical contributions. Michael Kamen acted as mediator between them and filled in for Wright’s absence. Recording sessions took place across eight studios, including Gilmour's Hookend Manor and Waters's home studios in East Sheen. Gilmour and Waters worked separately; after a final dispute, Gilmour’s songwriting credit was removed.

Mason’s musical input was limited but he contributed sound effects utilizing an experimental Holophonic system. Despite personal difficulties, he remained somewhat detached during production. Waters personally designed the album cover, employing his brother-in-law Willie Christie as photographer. Although Gilmour requested additional time to compose songs, Waters denied this extension. While not credited as producer, Gilmour still received payment for his roles as musician and producer.

Released in March 1983, The Final Cut reached number one on UK charts and number six in the US. Waters wrote all lyrics and music for this album. Rolling Stone awarded it five stars, describing it as "a superlative achievement... art rock's crowning masterpiece." Waters himself regarded it as "essentially a Roger Waters solo album."

Waters's exit and ensuing legal disputes

Gilmour released his second solo record, About Face (1984), where he conveyed his perspectives on various subjects, including his interactions with Waters. This album served as a means to establish distance from Pink Floyd. Meanwhile, Waters embarked on a tour supporting his solo project, The Pros and Cons of Hitch Hiking (1984). Wright partnered with Dave Harris to create the band Zee, which produced the album Identity, though it failed to gain significant attention. Mason unveiled his second solo effort, Profiles, in August 1985.

In 1984, Gilmour, Mason, Waters, and O'Rourke convened to deliberate the future of Pink Floyd. Mason and Gilmour departed with the conviction that the band could persist following Waters’s solo endeavors; conversely, Waters believed that Pink Floyd had reached its conclusion. Mason later characterized this meeting as a breakdown in communication.

Following The Pros and Cons of Hitch Hiking, Waters declared that Pink Floyd would not reunite and pursued resolution of royalty issues with O'Rourke, who subsequently informed Mason and Gilmour. Waters then replaced O'Rourke as manager with Peter Rudge. He proceeded to record the soundtrack for When the Wind Blows alongside his second solo album, Radio K.A.O.S..

Waters formally notified EMI and Columbia of his departure from Pink Floyd, requesting release from contractual commitments. Gilmour interpreted this move as an attempt by Waters to accelerate the band's dissolution. Waters contended that by ceasing new album production, Pink Floyd breached their agreements, leading to suspended royalties; he further claimed he was ousted under threat of legal action. Seeking intervention from the High Court, Waters aimed to dissolve the band partnership and prevent further use of the Pink Floyd name, labeling it "a spent force creatively". When it was revealed that no formal partnership agreement existed, Waters sought veto authority over the band's name. In response, Gilmour issued a statement affirming Pink Floyd’s continuation.

A Momentary Lapse of Reason (1987)

In 1986, Gilmour began assembling musicians for a new recording project initially intended as a solo album. By late 1986, he opted to release it under the Pink Floyd name—the first album without Waters. Contributors included Jon Carin and Phil Manzanera, with Bob Ezrin serving as producer. Legal complications initially delayed Wright's involvement; however, after a meeting in Hampstead, Pink Floyd invited Wright back into the fold. Gilmour remarked that Wright’s presence "would make us stronger legally and musically," compensating him at $11,000 per week.

Recording sessions took place aboard Gilmour’s houseboat, the Astoria, moored on the River Thames. Gilmour sought to restore balance between lyrics and instrumentation following Waters’s previous dominance. Without Waters’s guidance, crafting lyrics proved difficult; Gilmour collaborated with Eric Stewart and Roger McGough before ultimately selecting Anthony Moore for lyrical contributions. Both Wright and Mason were out of practice at this time and thus contributed sparingly.

Released in September 1987, A Momentary Lapse of Reason featured cover artwork by Thorgerson, marking his return after absence on earlier albums. To emphasize Waters’s departure, the inner sleeve displayed only Gilmour and Mason—the first group photo since Meddle—while Wright was credited solely by name. The album attained number three positions on both UK and US charts. Waters criticized it as "facile" with "poor" songwriting and "third-rate" lyrics; Wright echoed this sentiment, describing it as "not a band album at all." Q magazine characterized the release essentially as a Gilmour solo project.

Waters attempted to interfere with the Momentary Lapse of Reason tour by threatening legal action against promoters using the Pink Floyd name in America. To fund tour expenses upfront, Gilmour and Mason provided financial support; Mason even used his Ferrari 250 GTO as security. Initial rehearsals were challenging due to Mason and Wright's lack of recent practice; Bob Ezrin was brought in to assist preparations. During Pink Floyd’s North American tour, Waters conducted his smaller-scale K.A.O.S. On the Road tour nearby. A legal dispute arose over Pink Floyd's use of their iconic flying pig; in response to Waters’s lawsuit, Pink Floyd altered their pig design by adding exaggerated male genitalia for differentiation. The conflict was resolved on 23 December when an agreement granted Mason and Gilmour perpetual rights to the Pink Floyd name while Waters retained exclusive rights to works such as The Wall. In 2013, Waters expressed regret over initiating litigation, acknowledging he underestimated how valuable the Pink Floyd brand was commercially independent of its members.

The Division Bell (1994)

Following several years dedicated to individual endeavors, Pink Floyd commenced work on The Division Bell in January 1993 at Britannia Row Studios. Gilmour, Mason, and Wright collaborated through improvisation, generating sufficient material within a fortnight to begin composing songs. Producer Bob Ezrin rejoined the project as co-producer, and from February to May 1993, recording shifted to the Astoria studio.

Although not officially a band member under contract, Wright contributed to five co-writing credits—the first since 1975’s Wish You Were Here. Gilmour’s future spouse, author Polly Samson, co-wrote several tracks including "High Hopes", which played a key role in unifying the album’s themes. Orchestral arrangements were crafted by Michael Kamen, while Dick Parry and Chris Thomas also returned to participate. The album title was suggested by writer Douglas Adams, and the cover art, designed by Storm Thorgerson, drew inspiration from Easter Island’s Moai statues—depicting two opposing faces merging into a third “absent face,” symbolizing Syd Barrett and Roger Waters. To prevent release conflicts similar to those experienced with A Momentary Lapse of Reason, the band set an April 1994 release deadline before resuming touring activities. The album achieved number one positions in both the UK and US charts and remained on the UK chart for 51 weeks.

Prior to beginning The Division Bell Tour, Pink Floyd rehearsed for over two weeks at Norton Air Force Base in California. The tour launched on 29 March 1994 in Miami, featuring a road crew largely unchanged from their previous tour. The setlist combined classic Pink Floyd songs and later included a full performance of The Dark Side of the Moon. During the European leg, Waters declined invitations to join the band on stage. This final tour concluded on 29 October 1994. In 1995, Pink Floyd released the live album Pulse along with a concert video. Mason subsequently published his memoir, Inside Out: A Personal History of Pink Floyd, in 2004.

2005–2006: Live 8 reunion

On 2 July 2005, Pink Floyd’s classic lineup—Waters, Gilmour, Mason, and Wright—performed together at Live 8, a charity concert held in Hyde Park, London. This marked their first joint appearance in over two decades. The reunion was orchestrated by Live 8 organizer Bob Geldof; after Gilmour initially declined participation, Geldof contacted Mason and then Waters, who persuaded Gilmour to take part. The band stressed that their previous conflicts were secondary to the event’s humanitarian purpose.

They arranged their setlist at London’s Connaught hotel and rehearsed for three days at Black Island Studios. These sessions were marked by tension and disagreements regarding style and tempo; the final running order was confirmed shortly before the performance. During "Wish You Were Here," Waters showed visible emotion about reuniting and dedicated the song to absent members, particularly Syd Barrett. The group’s final onstage embrace became an enduring image following Live 8. In the aftermath of this reunion, Pink Floyd experienced a substantial surge in sales—Echoes: The Best of Pink Floyd sales increased by more than 1000%, while The Wall also saw significant gains. Gilmour committed his share of these profits to charity and encouraged others to do the same. Waters expressed regret over past difficult periods within the band.

Although Waters declined a £136 million offer for a farewell tour, he left open the possibility of future performances for charitable causes. Conversely, Gilmour indicated that a reunion tour or new album was improbable due to his preference for solo work; while he acknowledged no ill feelings toward former bandmates, he showed no interest in extensively revisiting that era.

In an Italian interview in February 2006, Gilmour confirmed that Pink Floyd had effectively ended as a band due to his advancing age and focus on solo projects. Both he and Waters reiterated that no reunion plans existed. Later that year, Gilmour toured smaller venues with contributions from Wright and other musicians associated with post-Waters Pink Floyd tours; their encore performances of "Wish You Were Here" and "Comfortably Numb" represented their only joint appearances since Live 8 as of 2012.

2006–2008: the passing of Barrett and Wright

Syd Barrett passed away on 7 July 2006 at his residence in Cambridge, aged 60. His funeral took place on 18 July 2006, notably without any Pink Floyd members in attendance. Richard Wright reflected on Barrett as the inspirational force behind the band's early days, emphasizing the enduring influence he left behind. Although Barrett had largely withdrawn from public view, his musical achievements received widespread recognition across the country. His estate, valued at over £1.25 million, was bequeathed to his close family members, who later sold some of his belongings and artworks at auction. On 10 May 2007, Waters, Gilmour, Wright, and Mason gathered to perform at "Madcap's Last Laugh," a tribute concert held at London's Barbican Centre that celebrated Barrett's compositions alongside solo renditions.

Richard Wright succumbed to cancer on 15 September 2008 at age 65. His former bandmates honoured his crucial contribution to Pink Floyd's distinctive sound. David Gilmour drew attention to Wright's frequently underappreciated role, commending both his emotive vocals and keyboard artistry. One week after Wright’s death, Gilmour paid homage by performing "Remember a Day" from A Saucerful of Secrets on BBC Two's Later... with Jools Holland. Keyboardist Keith Emerson referred to Wright as the essential "backbone" of the group.

2010–2011: additional live appearances and reissues

In March 2010, Pink Floyd initiated legal proceedings against EMI to prevent the digital sale of individual tracks, invoking their 1999 contract which limited distribution to complete album formats only. The court ruled in their favour, reaffirming the album as an artistic whole. By January 2011, however, Pink Floyd negotiated a new five-year agreement with EMI permitting single-track downloads.

On 10 July 2010, Waters and Gilmour reunited for a charity event at Kiddington Hall in Oxfordshire benefiting Palestinian children, attended by approximately 200 guests. Subsequently, Gilmour appeared alongside Waters during The Wall Live concerts at London's O2 Arena in May 2011, performing "Comfortably Numb" and collaborating with Mason on "Outside the Wall."

On 26 September 2011, Pink Floyd and EMI launched the Why Pink Floyd...? campaign to reissue the band’s catalogue in remastered formats including multi-disc "Experience" and "Immersion" editions. These were remastered by James Guthrie, co-producer of The Wall. Later in November 2015, Pink Floyd released a limited-edition EP titled 1965: Their First Recordings, featuring six tracks recorded before their debut album.

The Endless River (2014) and Nick Mason's Saucerful of Secrets

In November 2013, David Gilmour and Nick Mason revisited unreleased material recorded with Richard Wright during the sessions for The Division Bell, enlisting session musicians and modern studio techniques to complete a new Pink Floyd album without involvement from Roger Waters. Mason described the project as a tribute to Wright’s pivotal role in shaping Pink Floyd’s sound.

Released in 2014, The Endless River received mixed critical responses but broke records as Amazon UK’s most pre-ordered album ever and debuted at number one in multiple countries. Its vinyl edition became the fastest-selling UK vinyl release that year and the quickest since 1997. Gilmour confirmed this would be Pink Floyd’s final studio album: "We have captured the best we can... It’s unfortunate but this marks the end." No tour followed since Gilmour felt performing without Wright was not feasible. In 2015, he reiterated that Pink Floyd was finished and that any reunion without Wright would be inappropriate.

November 2016 saw the release of The Early Years 1965–1972, a comprehensive box set containing unreleased outtakes, live performances, remixes, and films from their formative period. This was succeeded in December 2019 by The Later Years, compiling material post-Waters' departure including a remixed version of A Momentary Lapse of Reason featuring enhanced contributions from Wright and Mason alongside an expanded reissue of their 1988 live album Delicate Sound of Thunder. In November 2020, Delicate Sound of Thunder was issued separately across multiple formats. The live recording Live at Knebworth 1990, previously part of The Later Years collection, became available on CD and vinyl from 30 April 2021.

In 2018, Nick Mason established Nick Mason's Saucerful of Secrets, a band dedicated to performing Pink Floyd’s early repertoire. The group includes Gary Kemp from Spandau Ballet and longtime collaborator Guy Pratt. They toured Europe in September 2018 followed by North America in 2019. Roger Waters joined them onstage at New York’s Beacon Theatre to sing vocals on "Set the Controls for the Heart of the Sun".

2022–present: "Hey, Hey, Rise Up!" and ongoing disputes

In 2018, Mason observed that although he maintained close ties with both Gilmour and Waters, the pair remained deeply divided. A remastered edition of Animals was postponed until 2022 due to disagreements between Gilmour and Waters concerning the album's liner notes. Waters publicly accused Gilmour of attempting to take excessive credit and of limiting his access to Pink Floyd’s official website and social media channels. Rolling Stone characterized their dynamic as having reached "another low point."

In March 2022, Gilmour and Mason reunited under the Pink Floyd name alongside Pratt and keyboardist Nitin Sawhney to produce the single "Hey, Hey, Rise Up!" in protest against Russia’s invasion of Ukraine. The track features vocals from BoomBox’s lead singer Andriy Khlyvnyuk, sampled from a Kyiv Instagram clip where he sings the 1914 Ukrainian anthem "Oh, the Red Viburnum in the Meadow." Gilmour described Khlyvnyuk’s rendition as "a powerful moment" that inspired the song. Released on April 8, proceeds were directed toward Ukrainian Humanitarian Relief efforts. Gilmour emphasized that the conflict spurred this Pink Floyd release but considered it a singular event.

Pink Floyd withdrew their music from streaming services in Russia and Belarus; however, tracks involving Waters remained accessible, leading to speculation that he may have opposed their removal. Gilmour expressed dissatisfaction with this situation but did not provide further details. Waters declined to denounce Russia’s invasion and openly criticized "Hey, Hey, Rise Up!". Following this, Gilmour and his wife Polly Samson issued strong public reproaches of Waters. In 2023, Waters unveiled The Dark Side of the Moon Redux, a reinterpreted solo rendition of the classic album, while Pink Floyd released a The Dark Side of the Moon 50th Anniversary box set. In 2024, Gilmour launched his fifth solo project, Luck and Strange, which features keyboard contributions recorded with Wright in 2007.

In October 2024, Pink Floyd consented to sell their entire catalogue to Sony Music for approximately $400 million. This transaction included rights to their recorded music, merchandise, and related spin-offs but excluded songwriting ownership. According to Variety, internal conflicts had delayed this deal for several years. Prior to finalizing the sale, Gilmour expressed a wish to resolve ongoing disagreements surrounding catalogue management.

A 4K restoration of Pink Floyd: Live at Pompeii debuted in cinemas beginning April 24, 2025, followed by a home media release. The soundtrack album accompanying this restoration was issued on May 2 and became Pink Floyd’s seventh album to reach number one in the UK charts.

Classification

Recognized as one of the pioneering psychedelic music acts in the UK, Pink Floyd emerged at the forefront of London’s underground scene, performing regularly at venues such as the UFO Club and Middle Earth. By 1967, Rolling Stone noted they had crafted a unique psychedelic sound characterized by extended, loud compositions that incorporated elements of hard rock, blues, country, folk, and electronic styles. Their 1968 piece "Careful with That Axe, Eugene" solidified their status within art rock. Additional genres associated with Pink Floyd encompass space rock, experimental rock, acid rock, proto-prog, experimental pop (especially during Barrett's era), as well as psychedelic pop and psychedelic rock. Author Mike Cormack emphasized their exceptional versatility across rock music genres including disco, ambient, meta rock, folk, country and western, blues, freeform improvisation, chamber pop, and psychedelia.

During the late 1960s, media outlets labeled Pink Floyd’s output as psychedelic pop, progressive pop, and progressive rock, helping them cultivate a following within psychedelic pop circles. Wright remarked in 1968 that although they were often viewed as a psychedelic band, they never strictly identified as such but prioritized spontaneity and improvisation. Waters later reflected that their early experimental approach stemmed more from youthful inexperience than deliberate artistic vision. Unconstrained by standard pop formulas, Pink Floyd evolved into trailblazers of progressive rock throughout the 1970s and ambient music during the 1980s.

Instrumentation

The guitar contributions of Syd Barrett and David Gilmour have been fundamental in shaping Pink Floyd's distinctive sound. Barrett was a pioneering guitarist who embraced extended techniques, delving into dissonance, distortion, feedback, tape manipulation, echo devices, and various effects. His approach was partly inspired by Keith Rowe, a free improvisation guitarist from AMM. A unique aspect of Barrett’s style involved playing his guitar through an aged echo box while sliding a Zippo lighter along the fretboard. He frequently utilized Binson delay units to produce his signature echo effects. Barrett’s creation of free-form "sonic carpets" marked a groundbreaking direction in rock guitar artistry.

Alan di Perna of Rolling Stone recognized Gilmour as a central figure in Pink Floyd’s sound, labeling him the most significant guitarist of the 1970s and describing him as "the missing link between Hendrix and Van Halen." Gilmour was ranked 14th on Rolling Stone's list of greatest guitarists. In 2006, he reflected on his style: "[My] fingers create a unique tone... [they] may not be the fastest, but I believe I am immediately identifiable... The way I craft melodies is influenced by musicians like Hank Marvin and the Shadows." His sparse note selection often drew comparisons to jazz legend Miles Davis.

In 2006, Guitar World characterized Gilmour’s playing as featuring "straightforward, expansive riffs; powerful, well-timed solos; and lush ambient chord textures." His solos on tracks such as "Money," "Time," and "Comfortably Numb" were described as cutting "through the mix like a laser beam through fog." The solo on "Time" was hailed as "a masterclass in phrasing and thematic development," showcasing emotionally charged bends, expressive triplet arpeggios, and flawless vibrato. Gilmour’s phrasing is widely regarded as his most distinctive strength as a lead guitarist. He achieves his recognizable tone by combining a fuzz pedal, delay effects, bright equalization settings, and playing close to feedback to sustain notes with vocal-like qualities: "It’s far more enjoyable to play when bent notes slice through you like a razor blade."

Sonic experimentation

Pink Floyd continuously explored new frontiers in sound. Their second single, "See Emily Play," premiered at London's Queen Elizabeth Hall on 12 May 1967 and featured one of the earliest uses of quadraphonic technology through the Azimuth Co-ordinator. This device enabled keyboardist Wright to manipulate amplified sounds and taped recordings, projecting audio across 270 degrees around the audience for an immersive swirling effect. By 1972, the band had upgraded to a bespoke public address system with four channels delivering sound in a full 360-degree radius.

Roger Waters employed the VCS 3 synthesizer on tracks such as "On the Run," "Welcome to the Machine," and "In the Flesh?." He also applied a Binson Echorec delay unit on bass for "One of These Days." During the production of The Final Cut, Pink Floyd incorporated cutting-edge sound effects and recording technologies. Nick Mason concentrated on utilizing the experimental Holophonic system, which produced immersive three-dimensional audio illusions by means of stereo tape techniques that simulated sounds moving around listeners wearing headphones.

Film scores

Pink Floyd's compositions, frequently regarded as well-suited for cinematic soundtracks, began appearing in films starting in 1968 with The Committee. The following year, they crafted the soundtrack for Barbet Schroeder's More, which generated significant financial success and included pieces performed live alongside selections from A Saucerful of Secrets. While contributing to Michelangelo Antonioni's Zabriskie Point, the band spent close to a month residing in an upscale hotel in Rome; however, Antonioni’s frequent revisions restricted their input to only three tracks. Among these, "The Violent Sequence" was initially dismissed but eventually transformed into "Us and Them" featured on 1973's The Dark Side of the Moon. In 1971, Pink Floyd reunited with Schroeder for La Vallée, producing the soundtrack album Obscured by Clouds, which was recorded in roughly one week at Château d'Hérouville near Paris. This release marked their first album to break into the top 50 of the US Billboard charts.

Live performances

Recognized as innovators in live music presentations, Pink Floyd raised the bar with elaborate stage productions and pioneering audio technology such as quadraphonic sound systems. Early in their career, they integrated visual elements to enhance their psychedelic soundscapes at venues including London's UFO Club. Their pioneering slide-and-light displays were among the earliest in British rock, significantly boosting their underground fan base.

In 1966, they appeared at the Roundhouse's inaugural event before an audience of 2,000, which included notable figures like Paul McCartney and Marianne Faithfull. Their road manager Peter Wynne-Willson improved lighting effects using polarisers, mirrors, and even stretched condoms. After securing a deal with EMI, they purchased a Ford Transit van to facilitate touring. On 29 April 1967, Pink Floyd headlined The 14 Hour Technicolour Dream at Alexandra Palace, arriving after traveling from the Netherlands. In July 1969, they performed the track "Moonhead" live during BBC’s broadcast covering the Apollo 11 Moon landing.

November 1974 saw their debut use of a large circular projection screen, which became a hallmark of their live performances. The 1977 In the Flesh Tour introduced "Algie," a massive inflatable pig that floated above audiences and was detonated during shows. Audience reactions and venue scale influenced the development of their concept album The Wall. The subsequent The Wall Tour featured a towering cardboard wall erected between the band and spectators, onto which animations were projected alongside enormous inflatable characters representing elements of the narrative. A memorable moment occurred during "Comfortably Numb," when Gilmour ascended atop the wall on a hydraulic lift illuminated by blue and white lighting.

During the The Division Bell Tour, an internet enigma known as Publius Enigma surfaced, tied to cryptic messages within their album and stage light sequences spelling out "Enigma Publius." Mason later revealed that this campaign was orchestrated by their record label rather than by Pink Floyd themselves.

Lyrical themes

Characterized by Waters's introspective and philosophical songwriting, Rolling Stone portrayed Pink Floyd as "bearers of a uniquely somber perspective." Jere O'Neill Surber emphasized their exploration of concepts such as reality versus illusion, existence and mortality, temporal and spatial dimensions, cause and randomness, as well as empathy contrasted with apathy. Waters himself regarded empathy as a fundamental element in the band's lyrical content. George Reisch highlighted the psychedelic masterpiece "Echoes" from Meddle as an embodiment of authentic communication, understanding, and cooperative spirit. Although Waters was often dubbed "the gloomiest man in rock," critics frequently misunderstood his existentialist-inspired themes.

Disillusionment, absence, and non-being

In the track "Have a Cigar" from Wish You Were Here, Waters critiques the lack of sincerity within the music business by portraying a dysfunctional interaction between the band and a record executive who erroneously assumes "Pink" is an individual member. David Detmer interprets this album as confronting the dehumanizing forces artists face in commercial environments to reach their audience.

The motif of absence permeates their lyrics—manifested in Barrett’s exit post-1968, the loss of Waters’s father during WWII, unfulfilled political aspirations, and the fading of youthful vitality explored in the soundtrack Obscured by Clouds. Storm Thorgerson, responsible for the Wish You Were Here cover art, summarized its lyrical focus as revolving around withheld presence—the psychological repression of full engagement—ultimately distilled into absence: both of people and emotions. His visual designs conveyed this theme through classical symbolism and fragmented unity, reflecting existentialist ideas of absurdity articulated by Albert Camus. Waters noted that the album might more aptly have been titled Wish We Were Here. Mike Cormack identifies the theme of absence throughout Pink Floyd’s repertoire, from "Paintbox" through to "Comfortably Numb".

Waters delves into non-being on The Wall with "Comfortably Numb," expressing: "I caught a fleeting glimpse... the child is grown, the dream is gone." Similarly, Barrett’s last contribution, "Jugband Blues," alludes to non-existence with lines such as: "I'm most obliged to you for making it clear that I'm not here."

Exploitation and oppression

Patrick Croskery characterized Animals as a distinctive fusion combining the potent sonics and thematic depth of Dark Side with the artistic alienation depicted in The Wall. He drew parallels between its political commentary and Orwell’s Animal Farm. The album opens with a hypothetical scenario: "If you didn't care what happened to me. And I didn't care for you," subsequently evolving into a beast fable featuring anthropomorphized figures symbolizing various psychological states. The lyrics portray a dystopia, an inevitable outcome in a society devoid of empathy and kindness.

The characters include "Dogs" representing aggressive capitalists, "Pigs" embodying corrupt politicians, and "Sheep" symbolizing the exploited masses. Croskery described the "Sheep" as misled by an illusory cultural identity—a false consciousness. The "Dog," driven by self-interest and ambition, ultimately becomes isolated and emotionally barren following a lifetime of exploitation. Waters cited Mary Whitehouse as an example of a "Pig," someone enforcing moral standards through governmental authority. Toward the album’s conclusion, Waters returns to empathy: "You know that I care what happens to you. And I know that you care for me too." Nonetheless, he acknowledges persistent threats posed by the "Pigs" and reveals himself as a "Dog" seeking refuge, emphasizing the necessity for equilibrium among state power, commerce, and community amid ongoing strife.

Alienation, war, and insanity

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O'Neill Surber linked Dark Side of the MoonTemplate:'s "Brain Damage" lyrics to Karl Marx's concept of self-alienation, highlighted by the line: "there's someone in my head, but it's not me." The lyrics of "Welcome to the Machine" from Wish You Were Here reflect Marx’s notion of alienation through material obsession leading to estrangement. Themes alluding to alienation from humanity appear in Animals, where the "Dog" acts on instinct rather than reason. The "Dogs" justify their moral bankruptcy as survival tactics within an unfeeling world lacking empathy or ethical standards. Alienation from others remains central throughout Pink Floyd’s work and is especially prominent in The Wall.

War is depicted as a dire consequence stemming from alienation and features prominently across Pink Floyd's albums, particularly in The Wall. Waters’s personal loss—his father dying during WWII—influenced numerous songs addressing war's toll including those on The Final Cut, which is dedicated to his father and subtitled A Requiem for the Postwar Dream. The Wall reflects Waters’s experience growing up in postwar England marked by a shortage of men, profoundly impacting his interpersonal relationships.

The lyrics on The Dark Side of the Moon explore modern life’s pressures contributing to mental instability, portraying psychological illness as a widespread human condition while encouraging optimism: “an exhortation ... to embrace the positive and reject the negative.” George Reisch described The Wall less as an exploration of madness itself than as an examination of societal structures fostering it. The protagonist Pink isolates himself due to guilt but eventually acknowledges his mental breakdown and questions whether he is responsible for it. He perceives himself as having disappointed everyone—his overbearing mother, critical teachers, departing wife—and faces judgment for exhibiting near-human emotions, deepening his sense of alienation. Waters’s lyrics imply that Pink's insanity arises from contemporary social conventions, interdependencies, and psychological dysfunctions fueling his turmoil.

Legacy and influence

With over 250 million records sold worldwide—including 75 million certified copies in the United States—Pink Floyd stands among rock music's most commercially successful and influential groups.Cite error: Closing </ref> missing for <ref> tag}} (deceased 2008)[1]

  • Syd Barrett – lead vocals; lead & rhythm guitars (1965–1968) (deceased 2006)[2]
  • David Gilmour – lead & rhythm guitars; vocals; bass guitar; keyboards; synthesizers (1967–present)

Discography

Main articles: Pink Floyd discography and List of songs recorded by Pink Floyd

Studio albums Template:Col div

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Concert tours

Main article: Pink Floyd live performances

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External links

  • [Official site]
  • [Profile on AllMusic]
  • [IMDb profile page]
  • [Artist page on Rolling Stone]
  • [Songkick artist profile]
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