Here's something that might surprise you: even rock legends have folk heroes. And this is the part most people miss—David Gilmour's entire musical foundation rests on artists far removed from Pink Floyd's psychedelic soundscapes.
When it comes to music, taste is entirely personal—there's no such thing as an artist who captures every single heart. Yet Joni Mitchell comes remarkably close to achieving that near-impossible feat of universal adoration.
Try finding someone who genuinely dislikes the legendary singer-songwriter, and you'll quickly discover it's an incredibly difficult mission. Her admirers span the entire musical landscape, crossing boundaries between countless genres and styles. Among her most passionate advocates stands David Gilmour, the iconic Pink Floyd guitarist, who would gladly talk himself hoarse proclaiming his profound admiration for Mitchell's artistry.
You might not immediately recognize Gilmour's folk music influences when listening to his progressive rock work—whether with Pink Floyd or during his solo ventures. But here's where it gets interesting: folk music completely captivated him throughout the 1960s, and that powerful influence continues to shape his musical sensibilities to this very day.
Mitchell's rise to mainstream success coincided almost perfectly with Gilmour's entry into Pink Floyd. Though he wasn't among the band's original founding members, circumstances brought him into the fold when Syd Barrett's mental health struggles and substance abuse issues forced the remaining members to bring in reinforcements. What started as an emergency addition quickly evolved into something far more substantial—Gilmour transformed into an absolutely essential component of Pink Floyd's creative engine. But before stepping into the world of progressive rock pioneers, Gilmour had envisioned an entirely different musical path for himself.
His earlier years included busking adventures across Europe with his band Jokers Wild, a project that perfectly embodied his passion for folk traditions. However, the moment he stepped into the Pink Floyd universe, his entire career trajectory shifted dramatically and irreversibly. Despite this radical change, his devotion to folk music—particularly Mitchell's work—has never wavered. The Canadian icon has occupied prime real estate in Gilmour's record collection for virtually his entire adult life.
Gilmour's Mitchell obsession became public knowledge during his memorable appearance on BBC Radio 4's legendary program Desert Island Discs, where distinguished guests select eight songs they'd want as companions if stranded on a remote island. Among his carefully chosen tracks was Mitchell's timeless composition 'For Free,' which he identified as not just a personal favorite but as one of eight pieces of music he genuinely couldn't imagine living without. Explaining his selection, the guitarist offered this insight: "This represents Joni Mitchell's internal battle with her own contradictions, if you will. The conflict within her conscience about maintaining artistic integrity while simultaneously enjoying financial success."
Appearing on Mitchell's celebrated album Ladies of the Canyon, 'For Free' showcases her extraordinary gift for narrative songwriting at its absolute finest. The song's inspiration came from a street musician she frequently encountered in New York—someone performing with remarkable talent yet receiving neither compensation nor recognition. Witnessing this stark contrast between raw artistry and her own commercial success created a profound ethical dilemma for Mitchell, which she explored beautifully through 'For Free.'
But here's where it gets controversial: Is commercial success incompatible with artistic purity? Mitchell clearly wrestled with this question, and it's one that still divides artists today.
Beyond celebrating her lyrical genius, as demonstrated in tracks like 'For Free,' the former Pink Floyd guitarist also enthusiastically praises Mitchell's guitar work, which he firmly believes doesn't receive the recognition it truly deserves.
Several years back, Gilmour orchestrated what became the most extensive guitar auction in recorded history, parting with the vast majority of his personal collection to support charitable causes. During the auction proceedings, he fielded various questions, including this particularly revealing one: "Who served as your primary inspirations, and how did you successfully develop beyond merely imitating them to create such a distinctive sound?"
After taking a thoughtful pause, he delivered this response that rightfully honors Mitchell's influence: "Countless players have inspired my journey. I absorbed lessons from Pete Seeger, Hank Marvin, Lead Belly, Joni Mitchell, John Fahey, Roy Buchanan, Jeff [Beck] and Eric [Clapton], plus dozens of others. I copied their techniques—never be afraid of imitation—and eventually, something that I'd describe as genuinely my own emerged from that foundation."
Furthermore, during a separate conversation with NPR, Gilmour once again highlighted Mitchell's significance, explaining: "There are literally a thousand other influences that have somehow merged together—folk music, Pete Seeger, Woody Guthrie, Big Bill Broonzy, John Fahey, Joni Mitchell—there are thousands of musicians and vocalists who have directly shaped the music I create and who have essentially formed the foundation of what you might characterize as my distinctive style."
Gilmour regards Mitchell as an all-time legendary figure, and honestly, challenging that assessment feels nearly impossible. Groundbreaking albums like Blue and Ladies of the Canyon became absolutely crucial in defining the entire singer-songwriter blueprint, and more than five decades later, emerging artists continue attempting to capture her magic. Yet it was precisely her unparalleled originality that elevated her to stardom—and that's something that can never truly be duplicated, no matter how many try.
So here's my question for you: Do you think modern singer-songwriters are still too heavily influenced by Mitchell's shadow, or has her impact been essential for the genre's evolution? Is there such a thing as being too original to follow? Drop your thoughts below—I'm genuinely curious whether you think her influence has been a blessing or if it's made it harder for new voices to emerge with their own identity.
