Review & photos by Ron Lyon
In celebration of the 50th anniversary of Pink Floyd’s seminal album, Wish You Were Here, Brit Floyd returned to Los Angeles for the second time in under two years — this time with special guest Alan Parsons — for a timeless performance at the Greek Theatre.
On this night warm summer night in Griffith Park, as we parked just above the venue, several of the park’s unflinching deer were just going about their business, casually grazing just yards from adoring concertgoers. It was one of many memorable moments this evening would bring. Fans of all ages, some in vintage Floyd shirts, others introducing the band to young children were here this night. The Greek’s tiered seating allowed every fan a visual and sonic feast, and I was fortunate to roam freely the entire evening, reflecting on the full scope of the performance.
Alan Parsons opened the evening with a set of songs spanning a very distinguished music industry career. Parsons was joined onstage by the entire Brit Floyd band, recruiting them for fusion of progressive rock forces that felt both natural and celebratory, as Parsons worked extensively with Pink Floyd during The Dark Side Of The Moon album recordings and subsequent tours as audio engineer.
The set began with a dramatic medley of “May Be a Price to Pay / Standing on Higher Ground,” featuring longtime lead vocalist PJ Olsson, who remained a strong presence throughout. Saxophonist Scott Page joined in on “Don’t Answer Me,” adding authenticity and flair. Other highlights included “Time,” “Prime Time,” and a commanding “Eye in the Sky.” A surprise vocal spotlight went to Brit Floyd’s Damian Darlington on “I Wouldn’t Want to Be Like You,” further emphasizing the musical chemistry between the acts.
The set closed with a rousing encore of “Games People Play,” drawing a standing ovation from the sold-out Greek crowd as the ensemble slowly exited for a brief intermission. Once Brit Floyd officially took the stage, the evening evolved into a full-blown Pink Floyd tribute, beautifully arranged with each track accompanied by Floyd-style visuals. The band launched into “Signs of Life,” “Learning to Fly,” and “High Hopes,” including the signature Dark Side Of the Moon prism, a post-nuclear imagery during “The Great Gig in the Sky,” and the inside the tube wave footage during “Breathe.”
Eva Avila’s powerful vocals and Ryan Saranich’s sax shined throughout, especially on “The Great Gig in The Sky,” which was viewed from the dizzying heights at the top of the amphitheater. The show was punctuated by fan favorites “Another Brick in the Wall, Pt. 2,” which had the crowd dancing in the aisles, and a heartfelt “Mother,” which began acoustically and grew into a full-band performance.
At this point in the show, the house lights were brought up. Musical Director Damian Darlington singled out and introduced the band, and highlighting key players like Ian Cattell (bass), Edo Scordo (guitar), and Scott Page, whose dual sax duet with Saranich on “Shine On You Crazy Diamond (Parts I–V)” was a high mark of the night.
Getting back to the music, the Wish You Were Here album suite was played in full, honoring the anniversary in both sound and spirit. “Comfortably Numb” and “Run Like Hell” rounded out a late encore that ran up to the 11:00 PM curfew. In many ways, this show exemplified what live music can be when artistic legacy and technical mastery converge. The visuals weren’t just nostalgic; they reframed Pink Floyd’s sonic journey through a modern lens.
After the show, I had a brief encounter with Alan Parsons and Brit Floyd’s Ian Cattell in the exclusive Redwood Lounge. Parsons was gracious as always, a bit non-plussed by the scene, beat a hasty exit. Cattell, a bit chattier, told the story where he suffered a serious injury at their last L.A. show in 2023, a show I attended. It was a great full-circle moment to end the night.
True to the magic of the evening, it ended just as it began, with another deer sighting, this time playfully chasing off a coyote into the now-quiet and very dark hills of Griffith Park. A special thanks to Andrea Faulk, Daniela Romero, and the Brit Floyd PR team for their generous access, which allowed me to capture images across both sets, an increasingly rare privilege in the live music world. The extra freedom resulted in dynamic, full-venue perspectives and a deeper sense of the night’s narrative.
