LEWISTON — I have to think that Roger Waters wouldn’t be thrilled with the idea of pairing a laser light show with the music of his legacy. There’s something about pretty, flashing lights that doesn’t jibe with songs about corporate greed and the ravages of war.

But whether Rog likes it or not, Pink Floyd is the ideal laser light show band. No artist has been as simultaneously cinematic and accessible, equally enthralling to fans of high-minded metaphors as it is to fans of wicked sweet guitar solos. So when Floyd tribute act The Machine did their thing to close out the 2010 Tuesday at the Park series, with its “Interstellar Multimedia & Light Show” in tow, it might not have been a conceptually mind-blowing experience. But damn, was it cool.

The four-piece ensemble delivers the goods in a way that leaves Floyd nerds with little to complain about — every keyboard sound re-created, every note of every epic solo replicated, every sound effect aped with the care only a psycho fan could give.

Hitting the stage with little fanfare before easing into the electronic blurps and clangs of its namesake, “Welcome to the Machine,” the band’s attention to detail was immediately apparent. The mix of cold synths and hypnotic, open guitar chords was almost as mesmerizing as it is on record, with the towering, pitch-bending keyboard solo retaining all of its might. And it got Floydier from there.

“We’re just getting warmed up,” shared lead singer/guitarist Joe Pascarell after a gorgeous rendition of “Shine On You Crazy Diamond,” the stunning ode to Floyd founder and burned-out genius Syd Barrett that has to be one of their toughest tunes to cover. Dude wasn’t lying, though. As the sun sunk behind the hills, The Machine tore into “Sheep,” unleashing the song’s scorching prog-rock gallop like it was their own. And the closer of the first set was a dead-on “Comfortably Numb” — the emotional state it induces can best be described by the title itself.

Once the sky was sufficiently dark, Set 2 kicked off with “Learning to Fly,” the slicked-up soft-rock hit that represented everything wrong with the post-Waters incarnation of the band. When coupled with the “Tron”-esque laser beams shooting from the stage, it felt like 1987 all over again. All was forgotten, though, when a “Dark Side of the Moon” medley ensued.

“Breathe,” with its gentle R&B groove and therapeutic lyric, segued into “Time,” a rumination on aging that sounded like it hadn’t gained a wrinkle. Then came “Money,” that funky, hilarious ode to coveting our neighbor’s goods that even classic rock radio can’t kill. And despite the lame accompanying video — shots of casinos, football teams, Lear jets, etc.—The Machine shredded this with authority, breaking the mold for an extended breakdown that hinted at reggae.

Everything was golden from this point, especially a pair of Barrett-era cuts — the haunting, Eastern psychedelia of “Set the Controls For the Heart of the Sun” and the acid freakout boogie of “Lucifer Sam.” And when the band dared to tackle the twisted show tune supreme, “The Trial,” complete with screeching mothers and evil judges, their mastery of the material was undeniable.

It might not have been up to Waters’ standards, but he can be a jerk. For any Floyd lover, this was killer.

Concert Review

The Machine Performs

Pink Floyd

Tuesday night at Artpark in Lewiston.