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    Another Brick On The Wall?

    Expect to see more Pink Floyd mini reunions in the future: Roger Waters & DavidGilmour are back

    Jim Beviglia
    Jul 12, 2010 | 10:25 pm
    • It can't be as good as the Live 8 show, but expect to see what's left of PinkFloyd together on stage much more often.
    • Is Roger Waters willing to share the spotlight?

    By now, we should know better than to listen to any musician who says that there is no way he'll ever reunite with their old band. The Eagles famously called their reunion tour "Hell Freezes Over" in a sly tribute to the band’s former animosity with each other.

    In truth, all those hard feelings usually get smoothed over by the passage of time or the bushelfuls of cash thrown at them by concert promoters, whichever comes first.

    No band has resisted the reunion temptations quite like Pink Floyd, where the bad blood between Roger Waters and David Gilmour reached such a point that the two men didn’t speak for years, contacting each other through intermediaries when decisions had to be made on greatest hits albums, reissues and the like.

    We thought we had it as good as we were ever going to get it when the four men that comprised the Floyd’s classic '70s lineup (Waters, Gilmour, Richard Wright, and Nic Mason) buried the hatchet long enough to perform at Live 8 in London back in 2005. It was a triumphant albeit abbreviated return, as they sounded fantastic and even embraced at the end of the set. All of us fans had a measure of closure, which became even more important somehow when Wright passed away in 2008.

    So what are we to make of Gilmour’s surprise appearance with Waters at a benefit performance in Oxfordshire, England on Saturday?

    The two played four songs, Gilmour on lead guitar, Waters trading his bass in for an acoustic, with an ad hoc backing band in tow. Imagine the lucky souls in the crowd of 200 who were treated to the duo harmonizing on the old '60s chestnut “To Know Him Is To Love Him” before tearing into three Floyd warhorses: “Wish You Were Here,” “Comfortably Numb,” and “Another Brick In The Wall (Part 2).”

    To paraphrase one of Waters’ classic lyrics, you don’t need no education to put two and two together here. The last two songs of the set were featured on The Wall, an album which is the basis for the live shows that Waters is planning this year. He apparently asked Gilmour at one point to participate and was turned down, but now it seems anything is possible.

    The absence of Wright in any possible Floyd reunion cannot be overlooked; his spectral keyboards and hauntingly deadpan vocals are an integral part of "Dark Side Of The Moon" and "Wish You Were Here," which, for my money, represent the band at its absolute peak.

    On the other hand, the keyboardist’s role in the band had been marginalized at the end of the '70s due to a rift with Waters and his own personal problems. Wright was a nonfactor in the recording of The Wall. So this might be the project in which a version of Floyd without Wright could satisfy even the purists.

    There are some other possible setbacks here. Gilmour might not want to relive the album that was Waters’ baby from day one and created so much of the disharmony that led to the band’s breakup. And, vice versa, Waters might not want to share the spotlight on such a personal project that contains myriad autobiographical elements.

    As fans though, we can dream that all that pettiness gets put aside. After all, the technical demands of the original Wall shows were such that the band performed it just a precious few times 30 years ago. The demand is overwhelming, not just from those who were there the first time around, but from the millions of fans who’ve discovered their majestically melancholy music since then.

    I don’t think we’ll see a full-fledged reunion, at least not this time around. But, if I were a betting man, I would place a wager that at some point during Waters’ tour we’ll see Gilmour perched on top of The Wall to blast out his monumental solo on “Comfortably Numb.”

    Is it a long shot? I don’t think so. After all, this is the band whose live shows taught us that pigs can indeed fly.

    unspecified
    news/entertainment

    lizzo concert review

    Lizzo makes Houston feel 'Good as Hell' at sold-out Rodeo concert

    Craig Hlavaty
    Mar 7, 2026 | 12:24 am
    Lizzo RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Lizzo entered the rodeo in a tricked out SLAB.

    Much like Mayor of Trill Town Bun B’s past rodeo shows, Lizzo’s sold-out Friday night show, closing out Black Heritage Day, was a rapturous celebration of Houston pride with a live jukebox.

    The best rodeo shows are when no one sits down, even if their boots make their dogs holler, and when the show ends, everyone spills out of the stadium barefoot, or the menfolk carry the heels. No other city would allow you to eat chicken fried lobster, drink award-winning wine by the bottle, watch teenagers wrestle calves for cash, see kindergartens hold on to a sheep with a death grip, and stomp your Ariats to “Still Tippin’” with 70,000 other people within the span of six hours.

    Along with Go Tejano Day, Black Heritage Day (which became a part of the RodeoHouston DNA in 1993) showcases the diversity found on the concrete and the hay off Kirby Drive every year. It’s a whole day of celebration on the grounds, including field trips, art installations, traveling museum exhibits, and an unofficial HBCU reunion event. As cowpokes in cowboy hats battled various beasts before the show, the big screen highlighted roving bands of women dressed in their finest rodeo attire. The sidewalks around NRG Stadium were a Friday night fashion show. Friday was also the kickoff of spring break for most Houston-area school districts, meaning the grounds will be insanely busy over the next week.

    Proud Alief Elsik High School alum and University of Houston product Lizzo was supposed to have made her triumphant hometown rodeo debut back in 2020, but Covid-19 scuttled the second half of that season, including her appearance. Just a few weeks ago, she gushed on Late Night with Seth Meyers about how important the show would be to her, mentioning seeing John Mayer and Beyoncé during her teen years in town.

    At 9:15 pm, just next door to the 8th Wonder of the World the “9th Wonder of the World” — Texas Southern University’s Ocean of Soul Marching Band — made its way onto the show floor to massive applause as a hype video of Houston landmarks played on the show screens. If RodeoHouston needs a house band — founded in 1969 — this is it. In fact, it should be legally mandated that they appear every year.

    Before Lizzo even appeared, the show felt like a Super Bowl halftime show, with three SLABs driving out into the dirt, with the woman herself kicking off “About Damn Time” from the back seat of a fourth SLAB, clad in a black leather studded duster, surrounded by TSU dancers. This is the kind of big-budget spectacle that the rodeo salivates for. Backed by a mostly-female band onstage, the Ocean of Soul provided a constant brassy, bassy undercurrent.


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    “This is the city that raised me,” Lizzo said, taking in the 69,362 souls in her midst.

    She was met with a hurricane-force wall of screams as she launched into “Cuz I Love You,” ditching her black leather duster for a white tank top.

    Houston’s own gospel pop quartet The Walls Group appeared just then for the Black National Anthem, “Lift Every Voice And Sing.” Lizzo and the Walls siblings then wove “Special” into “Total Praise.” We’d all buy a Lizzo gospel album, and you know it.

    Her collaboration with Cardi B “Rumors” — flaunting rodeo lyrical standards — gave way to her own rendition 4 Non Blondes’ “What’s Up,” giving Linda Perry’s grunge pop classic a torch song glow-up.

    Lizzo got back into her custom SLAB for her own “Yitty On Yo Tittys” from last summer’s My Face Hurts From Smiling album, complete with a human-sized dancing Labubu. The Ocean of Soul got its own interlude while keen eyes could see Lizzo side stage, tuning up her famous flute with a familiar line.

    Wait, is that? Yes, by God, that’s Houston’s national anthem.

    Soon Slim Thug, Mike Jones, and Paul Wall sauntered out for “Still Tippin’” as city pride began to sweat from the stadium walls, all while the Ocean of Soul kept strutting along. The professor emeritus’ of Houston's 2000s rap explosion, you look up from your phone and realize all these Houston rap standards are all over 20 years old now. Paul is a silver fox, Slim is a real estate magnate, and even people in Japan know Jones’ personal phone number.

    “At the end of the day, I just want Houston to feel good as hell,” Lizzo said, tapping directly into “Good As Hell.” Was that a pregnant lady in a cowboy hat dancing on the big screen? How much more Houston can a fetus be?

    The only truly Houston things left to do tonight were to sweat through your Wranglers in the parking lot, gaze at the Astrodome, sit in standstill traffic, and join the drive-thru parade at the closest Whataburger.

    Setlist

    With Texas Southern University’s Ocean Of Soul

    About Damn Time
    Juice
    2 Be Loved (Am I Ready)
    Soulmate
    Cuz I Love You

    With The Walls Group

    Lift Every Voice And Sing
    Special > Total Praise
    Rumors > What’s Up

    Tempo > Wobble
    Boys (with Ocean Of Soul)
    Mo City Don (Z-Ro Cover)
    Yitty On Yo Tittys
    Screwed (with Ocean Of Soul)
    Still Tippin’ (with Slim Thug, Mike Jones, and Paul Wall)
    Truth Hurts
    Good As Hell (with Ocean Of Soul)

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