Few artists in rock history command the reverence that David Gilmour does. The Pink Floyd guitarist, known for his soulful, soaring solos and emotive vocals, has always pushed the boundaries of musical expression. In a rare and intimate performance, Gilmour teamed up with his daughter, Romany Gilmour, for a stunning rendition of “Between Two Points” during a tour rehearsal. This stripped-down, atmospheric version offers a glimpse into the creative synergy between father and daughter—a collaboration that feels both deeply personal and universally moving.
Originally appearing on The Orb & David Gilmour’s 2010 album Metallic Spheres, “Between Two Points” is a dreamy, melancholic track built on echoing guitars, slow-burning synths, and haunting vocals. The rehearsal version, however, strips away some of the electronic layers, placing greater emphasis on the raw emotion of the performance.
The rehearsal space is dimly lit, with ambient lighting casting long shadows—an aesthetic that perfectly matches the song’s mood. David stands with his trusty black Fender Stratocaster, the same guitar that has defined so many of his iconic solos. Romany, positioned nearby, holds an acoustic guitar, her presence adding a delicate yet powerful counterpoint to her father’s playing.
From the first notes, Gilmour’s playing is unmistakable—sustained, bending notes dripping with vibrato, each phrase carefully crafted for maximum emotional impact. His tone is warm yet slightly overdriven, likely running through his Hiwatt amps or a similar setup. He employs his signature volume swells and delay effects, creating that expansive, floating quality that defines so much of his playing.
Romany, a talented singer and harpist in her own right, takes on vocal duties here, delivering a performance that is both fragile and commanding. Her voice has a soft, breathy quality, yet it carries an undeniable strength—reminiscent of artists like Kate Bush or Joni Mitchell. Her harmonies with David add a haunting depth to the song, their voices blending in a way that only family can achieve.
There’s an unspoken understanding between the two—a musical telepathy that comes from years of shared creativity. David’s guitar lines weave around Romany’s vocals, never overpowering but always enhancing. At times, he steps back, letting her voice take center stage, before returning with a subtle, weeping solo that feels like an extension of the lyrics.
Unlike a full-band performance, this rehearsal version feels like a private moment caught on tape. The sparse arrangement—just guitar, vocals, and perhaps a hint of reverb—allows every nuance to shine. The silence between notes is just as important as the notes themselves, a hallmark of Gilmour’s philosophy that “less is more.”