In Pink Floyd’s snarling standout track “In the Flesh,” Roger Waters intones that an unwell “Pink” has stayed back at the hotel, sending his assorted musicians as a surrogate band to find out “where you fans really stand.”

It was a fitting opener Friday night for The Australian Pink Floyd Show, which serves as a surrogate band a full 20 years after its influential namesake’s final tour.

As for where the fans stood, many were ankle- or knee-deep in water at the surrogate Mandalay Bay Beach (actually a large pool with manmade surf) swaying to and cheering the band’s faithful renditions of prog-rock classics.

The band then revisited the Floyd’s origins with the spacey and psychedelic “Astronomy Domine,” written by the late Syd Barrett for the 1967 debut LP, “Piper at the Gates of Dawn.”

That gave way to the lengthy instrumental drone of “Shine On You Crazy Diamond Parts I-V,” which opens the Floyd’s stellar, underrated album “Wish You Were Here” and is about Barrett, who was booted from the band in the ’60s amid his struggles with mental illness and drug abuse.

The Floyd often abbreviated the nearly 9-minute instrumental that opens “Shine On” during the band’s final tour in the mid-’90s, but its Australian namesake took concertgoers along for the full trip.

“Time,” from the stellar, not-underrated “Dark Side of the Moon,” began with another lengthy instrumental passage showcasing percussionist Paul Bonney’s skills with the sticks.

“Money” would have been the smart-money choice as a second selection from “Dark Side,” but the Australian band instead opted for “The Great Gig in the Sky,” a wise move as backup singers Lorelei McBroom, Lara Smiles and Emily Lynn displayed remarkable range while replicating Clare Torry’s haunting, wordless howl from the 1973 track.

That unexpected detour was followed by two other surprises, albeit less-exciting ones. The band tackled “What Do You Want From Me?” and “Keep Talking” from “The Division Bell,” a mid-’90s album that divides fans partly because of Waters’ lack of involvement.

Both were as faithfully reproduced as anything else in the show, but one couldn’t help but wish classics such as “Dogs,” “Mother” and “Us and Them” had made the cut instead.

“Another Brick in the Wall Part II,” an unlikely hit from “The Wall,” was predictably popular — offering the enthusiastic crowd a chance to dance after a string of songs that, while engaging, are dirge-like by comparison.

The band then put its own twist on the opening of the title track for “Wish You Were Here,” replacing the random snippets of songs in the original’s intro with work by Aussie bands such as Men at Work and AC/DC.

The bouncing bass that buoys “One of These Days” — the opening track from 1971’s “Meddle” whose only words are the ominous “One of these days, I’m going to cut you into little pieces” — gave way to the obvious choice for a concert closer, “Comfortably Numb.”

Vocalist/guitarist David Domminney Fowler admirably approximated David Gilmour’s inimitable guitar sound on the long instrumental outro, after which most of the crowd stayed put waiting for at least one encore. And they got one, but only one, in the form of “Run Like Hell,” a rollicking stomper with which the real Pink Floyd closed its shows.

Led Zeppelin 2 opened the show, and while vocalist Bruce Lamont couldn’t quite mimic Robert Plant’s vocal stylings the way bassist Colin Wilson nailed Waters’, guitarist Paul Kamp and he at least looked the part. Kamp’s long, dark-brown locks were a reminder of what the now-gray Jimmy Page looked like in his younger years.

The Australian Pink Floyd Show’s most remarkable elements are band members’ excellent musicianship, as well as Wilson’s dead-on approximation of Waters’ sneering vocals, which eclipsed Fowler’s good-but-not-great vocal impression of Gilmour.

Elaborate stage shows were part of the real Pink Floyd’s concert allure, and there were no inflated pigs, pyrotechnics or striking laser displays to be found Friday night. But if one closed his eyes, it was easy to imagine being at a real Floyd show during the band’s 1970s heyday.