A hush fell over the chapel as the soft, familiar chords of “Rings Around the Moon” rose and wrapped the room like a last, gentle embrace. Mourners leaned forward, many with their eyes closed, as the Bee Gees’ late-career ballad accompanied what those present called a dignified and intimate farewell to Robin Gibb.
The choice of the 1997 track from the Still Waters album was deliberate. In a ceremony that blended family recollection with quiet music, the song’s smooth harmonies and themes of devotion were meant to reflect the private side of a public life. For many older fans in attendance, the music conjured decades of memories — from stadiums and disco lights to the quieter, more reflective songs of the group’s later years.
Those who organized the service said the song’s warmth and familiarity made it the right piece to ease grief and summon the long arc of a storied career. Still Waters, released in the late 1990s, had already been seen as a moment of musical rebirth for the group, and “Rings Around the Moon” has long been prized by listeners for its smooth production and steady melodies.
He always believed songs like ‘Rings Around the Moon’ showed who he had become — a man at peace, singing about devotion. We chose it because it is him. — Barry Gibb, brother and bandmate
Music experts say the song is typical of the Bee Gees’ later-era sound: adult, polished and restrained compared with the high-energy disco anthems of their earlier fame. Its placement as a B-side on the “Alone” single and its inclusion on Still Waters helped keep the group present in public taste while showing a willingness to experiment with contemporary production.
That track sums up the Bee Gees’ late-career talent: subtle, tuned to emotion and modern in its production. For fans who grew up with them, it feels like a final, comforting message. — Dr. Helen Marks, music historian
Inside the chapel, the arrangement was sparse — piano and warm backing harmonies that let the lyrics speak. Attendees noted how the song’s lyrics about circles and devotion took on new meaning in the charged atmosphere. Long-time fans described the scene as a meeting point between personal grief and a broader cultural mourning for a generation of music-makers.
Officials involved in the memorial described careful planning to keep the tone simple and respectful. The program mixed tracks from different phases of the group’s career, underlining the arc from pop prominence to a more reflective adulthood. Without spectacle, the music carried memory: the familiar chord progressions, the harmonies that once filled arenas, now contained within a small room and the hearts of those who came to say goodbye.
For older listeners, the moment also served as a reminder of the Bee Gees’ adaptability. Critics had long noted that Still Waters found the brothers blending pop, R&B and adult contemporary textures in a way that suited their voices and maturity. The production was modern for its time, yet it left room for the human voice — and for the simple, sustaining message of devotion.
As the final notes trembled and faded, several attendees reached for one another, the music having done its quiet work. The chapel stayed very still, as if the song itself had asked for one last listening — and been granted it