Article Contributed by L. Paul Mann
Published on January 13, 2026
Photos by L. Paul Mann
In the intimate, red-velvet-draped confines of The Mint in Los Angeles, Tuesday night felt less like a standard weeknight and more like a high-voltage trip through rock history. On December 30, 2025, the venue hosted THINK:X, the immersive Pink Floyd experience led by legendary saxophonist Scott Page (of Pink Floyd, Toto, and Supertramp fame).
While the world often looks to massive stadiums for “Pink” spectacles, this show proved that the spirit of psychedelic rock is best served in a room where you can feel the vibration of the bass in your chest.
The Mint, with its legendary history and “casually nice” West Pico vibe, was the perfect choice for a pre–New Year’s Eve blowout. By 8:00 p.m., the room was packed with a mix of veteran Floydians and a younger generation of gear-heads eager to witness Page’s technical mastery up close. The air was thick with anticipation—and the faint scent of the venue’s famous garlic fries.
THINK:X wasn’t just a cover band; it was an ensemble of world-class musicians reclaiming a legacy. To fully grasp the weight of the performance, it’s essential to recognize THINK:X’s true “supergroup” status. This wasn’t merely a collection of session players—it was a gathering of rock royalty, each bringing the imprint of their own legendary careers into the Pink Floyd catalog.
The THINK:X Lineup
The Architects of Sound
Scott Page (Saxophone/Guitar): The visionary behind the project. Having toured with Pink Floyd (notably during the A Momentary Lapse of Reason era), Toto, and Supertramp, Page’s performance was rooted in authenticity. His ability to shift seamlessly between soulful sax melodies and driving rhythm guitar provided the show’s structural backbone.
Stephen Perkins (Drums): Best known as the founding drummer of Jane’s Addiction and Porno for Pyros, Perkins brought a polyrhythmic, tribal intensity to the set. His approach, particularly during the more experimental sections of “Echoes” and “Time,” injected a modern, muscular energy into the classic material.
Norwood Fisher (Bass): Co-founder of Fishbone, Fisher’s funk and punk-rock roots gave the rhythm section a deep, slap-heavy groove that made tracks like “Money” feel remarkably fresh and fiercely percussive.
Will Champlin (Vocals/Keyboards): A Grammy-winning songwriter and finalist on The Voice—and son of Chicago’s Bill Champlin—Champlin’s versatility allowed him to move fluidly from intricate keyboard textures to soaring lead vocals. He often handled the Roger Waters–esque narrative passages with a polished, contemporary edge.
Roberta Freeman (Vocals): A veteran performer who has toured with Pink Floyd (The Wall), Guns N’ Roses, and Elton John. Her rendition of “The Great Gig in the Sky” was the emotional apex of the evening, reaching those legendary high notes with effortless power and raw intensity.
Derek Day (Guitar/Vocals): The youngest member of the group and frontman of Classless Act, Day brought a theatrical, high-octane presence that bridged classic rock tradition with the genre’s future. He also carried double duty this night, stepping in for regular lead guitarist Kenny Olson, who was unable to make the show.
The magic of this lineup lay in its genre fusion. The funk of Fishbone, the alternative drive of Jane’s Addiction, and the soulful precision of Guns N’ Roses–era backing vocals all flowed into the Pink Floyd blueprint. At The Mint, that translated into a heavier, groovier version of Floyd than you’ll hear on any studio recording—or from most tribute acts.
Page wasn’t just the bandleader; he was a living bridge to the original Pink Floyd era. During “Us and Them,” his saxophone tone was buttery and expansive, filling the room with a nearly three-dimensional presence. His shift from the airy woodwinds of Dark Side of the Moon material to biting rhythm guitar on “Run Like Hell” underscored why he’s long been trusted by artists like Toto and Supertramp.
Perkins brought a tribal intensity rarely present in David Gilmour’s studio recordings. His standout moment came during the opening of “Time,” where he transformed the iconic ticking clocks into a thunderous percussive statement. His chemistry with Fisher created a rhythmic pocket so deep that even the slowest passages pulsed with life.
Freeman, having toured with Pink Floyd on The Wall, owns this material. Her performance of “The Great Gig in the Sky” silenced the clinking glasses at the back of the bar. She didn’t simply hit the notes—she navigated the wordless vocals with bluesy vulnerability and commanding control, delivering a true masterclass.
Fisher’s funk-driven bass approach gave “Money” a groove that actually made people dance—a rare accomplishment at a Floyd-centric show. Meanwhile, Champlin’s keyboards during “Shine On You Crazy Diamond” perfectly captured the spirit of Rick Wright, while his vocals added a luminous counterbalance to the grit of the guitars.
Derek Day injected modern adrenaline into the set. During “Young Lust,” his vocal snarl and rock-star charisma electrified the room, proving that this music continues to evolve in the hands of a new generation.
The setlist itself was a carefully curated journey, balancing the atmospheric tension of The Dark Side of the Moon with the aggressive, arena-sized punch of The Wall. True to the THINK:X ethos, electronica transitions stitched the songs together, creating a seamless, gapless flow that made the two-hour performance feel like a single psychedelic movement.
The band leaned into the hits without shying away from experimentation. The transition from “The Happiest Days of Our Lives” into “Another Brick in the Wall, Part 2” turned the intimate floor into a unified choir.
The “X” in THINK:X refers to the immersive, forward-thinking technology the group often employs. While The Mint’s compact stage limited the full scope of their 360-degree visuals, the lighting design was razor-sharp—deep purples and rhythmic strobes evoked the expansive feel of Pink Floyd’s Pulse era.
Closing out 2025 with THINK:X at The Mint was a powerful reminder that great music doesn’t require a stadium to feel massive. It was soulful, loud, and technically flawless—a tribute not just to Pink Floyd’s songs, but to the architecture of their sound. Miss this one, and you missed the most “comfortably” immersive night of the year.
