On Thursday, February 19, 2026, I went to the O2 arena in Prague to see The Australian Pink Floyd Show for the second time in two years. Last year in Pardubice, I was literally blown away by their precision. The sound, the arrangements, the visuals—everything fit together with almost studio-like precision. I left with the feeling that this is exactly how a tribute band should sound. That made me all the more curious about the new show promised by "The Happiest Days of Our Lives Tour 2026."
Over nearly four decades of existence, the Australians have built a reputation as the most successful tribute project in the world. After all, when members of Pink Floyd, specifically David Gilmour and Rick Wright, it's a distinction that not just anyone can claim. Their ambition is not to offer their own interpretation, but to reproduce the legacy of Barrett, Waters, Gilmour, Wright, and Mason as faithfully as possible. And in this, they are undoubtedly masters.
The Prague evening was once again flawless from a technical standpoint. The circular projection screen, new LED visuals, precise lasers, lighting design, and traditional inflatable props all worked exactly as they should. During "Another Brick in the Wall," a giant inflatable teacher materialized on the right side of the stage, and at the end of "Run Like Hell," a pink kangaroo rose above the stage. In the second half of the show, a short, light-hearted reminder of their homeland flashed across the circular LED panel: a collage of Australian icons from Crocodile Dundee to Skippy to Kylie Minogue and AC/DC. It was nice, short, and actually the only place where the band seemed more personal.
Musically, the evening was more in the spirit of instrumental pieces and guitar exhibitions. Bass guitarist Ricky Howard took charge of a large part of the "Gilmour-esque" vocals, Chris Barnes , on the contrary, dominated by more theatrical passages reminiscent of Waters. Compared to Pardubice, however, it seemed to me that this time the setlist contained fewer obvious hits and more space was given to longer, musically expansive pieces. The vocalists had less space than last time, and overall it was more about the musical performance.
But what I missed was contact with the audience. The performers came on stage, sang, and disappeared again without saying a word. No speeches, no relationship building, minimal interaction. The first real call to the audience came during "Run Like Hell," when the singer asked the audience to stand up, clap, and dance. Until then, it was more of a perfectly coordinated, almost laboratory-like performance of songs. Which is logical, because it's not their music and their story. The question is whether this is what causes the concert to lose its soul in places. Nevertheless, there are moments when you forget that you are not standing in front of the original. For example, the final "Comfortably Numb" after a short bow was a beautiful, dignified ending.
The Australian Pink Floyd Show is undoubtedly a phenomenon. As a musical and visual reconstruction of the world of Pink Floyd, it works perfectly. However, if you are expecting a personal touch or spontaneous concert energy, you won't find much of it here. It is precise, admirable, and at times breathtaking. I would just like to see a little more connection with the audience.
Text and photo by Lenka Machuldová