In a revealing discussion, David Gilmour shared his experiences of feeling “bullied by the record label” while working on Pink Floyd’s final album, The Endless River. This candid reflection sheds light on the creative pressures that artists often face, especially when navigating the complex landscape of record label expectations.

During an insightful conversation with the Los Angeles Times, Gilmour elaborated on the collaborative process behind the 2014 LP, highlighting how it brought together various musical influences and ideas.

“When we embarked on that album, our engineer, Andy Jackson, had curated a project known as ‘The Big Spliff’—a compilation of various jam sessions recorded during the sessions for 1994’s The Division Bell,” Gilmour explained. This collection had gained traction among fans who were eager to hear the unreleased material from that era, prompting the band to consider their wishes. “Thus, we thought it would be a fitting tribute to our loyal listeners to include this material,” Gilmour recalled, emphasizing the band’s desire to honor their fanbase.

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In response to fan demand, Gilmour and his bandmates decided to assemble these recordings into The Endless River. The resulting album predominantly features instrumental and ambient music, with “Louder Than Words” standing out as the only track showcasing lead vocals. Despite the anticipation surrounding the album’s release, it received a mixed reception from critics, highlighting the challenges of meeting audience expectations.

Reflecting on the process, Gilmour candidly remarked, “My mistake, I suppose, was allowing the record company to pressure us into releasing it as a fully-fledged Pink Floyd record.” He suggested that the expectations placed upon the album were unjust, stating, “It should have been clear what it was — it was never meant to serve as a direct follow-up to The Division Bell. However, it’s a lesson learned, and I realize it’s never too late to fall into one of these traps again.”

David Gilmour Shares His Contentment in Moving On from Pink Floyd’s Legacy

In another poignant part of the conversation, Gilmour expressed a sense of fulfillment regarding the recent sale of Pink Floyd’s extensive catalog.

“It’s history — it belongs to the past. This music is now intended for future generations,” the iconic musician noted thoughtfully. “As someone who has devoted over four decades to combating the detrimental forces of indolence and greed, my goal has always been to preserve the integrity of our work. At this stage, I’ve decided to let go of that struggle.”

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In a lucrative deal, Sony secured Pink Floyd’s entire catalog, including their recorded music, name, and likeness, for an impressive $400 million. While this substantial amount certainly enriches Gilmour financially, his true sense of relief stems from finally moving past the band’s longstanding struggles with business-related issues.

“I’ve received my advance — it’s important to clarify that this isn’t entirely new money. It’s essentially an advance on what I would have earned over the subsequent years anyway,” Gilmour explained. “However, I am relieved to put an end to the conflicts, arguments, and absurdities that have characterized the last 40 years among the various factions and their managers. It truly feels wonderful to say goodbye to that chapter.”