Filling The Empty Spaces - EIGHT YEARS THAT CHANGED PINK FLOYD FOREVER

The two shows Pink Floyd played at London’s Earls Court in May 1973 marked a quantum leap for the group out of the ballrooms and theatre circuit into the arenas, stadiums and fields, where their concerts would remain for the rest of their career. Thanks to the worldwide allure of their eighth album, The Dark Side Of The Moon, their controls seemed to be set; any intimacy and direct connection with the audience – never something highest on Floyd’s priority list – was over. Prog explores those shows and their impact on the group in the following years.

In 1980, Pink Floyd took to the stage at Earls Court, the cavernous 18,000-seater exhibition centre in west London. Booked for six nights in early August, the group performed a show that systematically parodied the very notion of an arena concert, introduced by an over-the-top MC, before sending four musicians onstage wearing Pink Floyd life masks; a surrogate band, proving that audiences at that distance could actually be watching anything. If that wasn't enough to emphasise the dislocation, a physical wall was built between artist and audience made of 450 cardboard bricks.

The Wall became Floyd conceptualist Roger Waters' most complex idea, a reaction to the general isolation in his role as conflicted multi-millionaire socialist, but specifically at the dislocation he felt as his group played live to ever bigger, increasingly soulless arenas. Always a band received with earnest silence from their fans, yet since the global success of 1973's The Dark Side Of The Moon, rowdy elements of the crowd, especially in North America, asphyxiated the already slender rapport Waters felt with his audience.

But how did it come to this? How did a band, so experimental, stately and well-mannered get to this point? It all begins in exactly the same place, Earls Court, seven years earlier in May 1973.