So, first of all - I should clarify that I consider myself more a fan of the earlier Floydian psychedelia then Waters' melancholic solo works.
Well, as all of the events of greater importance in one's (mine?) life; the opportunity to attend a live Waters show in Prague caught me somehow unprepared. In fact, I headed out with no ticket in a hope that getting one shouldn't be a problem. As the ticket clerk informed me, it was totally sold out with only VIP tickets left (living on a student's budget they weren't in my financial reach anyway). This is where the miracle came in. A man just next to me turned and offered his ticket because he was going to buy a VIP one anyway (thanks, pal!). Sometimes I get the funny feeling that events of this kind just invisibly follow me waiting for a chance and a right moment to appear.
Meanwhile a 15-minute delay was announced because a large crowd was still waiting to check in. All concert goers and their bags had to go through some metal detectors. I personally found it quite humiliating. Also I had to get rid of the tea from my thermos flask. While getting to the upstairs area on the escalators I noticed that the Sazka Arena's architecture managed to plant some sterile and alienating impression on me. Almost unconsciously, the so-many-times repeated lines from THX-1138 movie came into my mind ("For the greater efficiency, consumption is being standardized.")
Sad that I missed the first two songs - "In The Flesh" and "Mother," and the intro with Vera Lynn's "We Will Meet Again" (it was supposed have been played coming from the on-screen radio, according to the Cologne Apr. 16 Show review). During In the Flesh, I'm curious as to whether Roger made the crossed-arm symbol (as presented by Pink in "The Wall") as he appeared on stage. Concerning "Mother," it's a pity that I cannot answer the question whether it resembled the a-bit-dry as compared to "The Wall" version or the one on the "Is There Anybody Out There?" album with the enhanced melodies and more outstanding keyboard.
I arrived it the meddle... uh, middle of the "Set The Controls For The Heart Of The Sun" which is a choice you cannot go wrong with. I was deeply impressed only by the appearance of this song in the set-list; but listening to it anytime calls for an encore! The visuals tried to bring back the essence of the 60's psychedelia with more or less success - I liked them. Definitely one of the sweet-spots of the show. "Shine On You Crazy Diamond" was just a mere standard; "Have a Cigar" a great song to bring in some diversity followed by "Wish You Were Here". Umm... I saw nothing wrong with them (Shine On... & WYWH) but they seem a bit overrated to me and had been performed so many times, that a little change wouldn't have hurt - "Saucerful of Secrets" anyone, maybe?
The next pleasant surprise was "Southampton Dock"; the song I liked best from "The Final Cut" album with greatly described melancholy and very touching melody. It deserves a honourable mention, at least. But it seems to me it's only purpose was to act as a prelude to "Fletcher Memorial Home"; which was a bit too large a dose of "The Final Cut" for me. I definitely could live with less.
The words from "The Ballad Of Bill Hubbard" and a flying figure of an astronaut marked the transition to Waters' only solo album from which songs were presented here - the "Amused To Death". I cannot say I can agree with its lyrics, but musically - "Perfect Sense Parts 1-2"... it was simply great; the screen showing a submarine attacking a oil derek at the center of some Coliseum-looking arena, Waters conducting the crowd, huge explosions and the wonderful vocals... It was THE song of the evening; if I could make one suggestion for improvement - let's keep it for the encore. While enjoying the song, I wished I had been in the centre of the boiling crowd in front of the stage instead of sitting high in the middle-left of the auditorium...
Before the next song, Waters gave a short speech to the audience. He returned to memories of his youth when he was hitch-hiking in Beirut and how he realized his Arab host possessed all the human qualities which some people in the West are still missing. The song was "Leaving Beirut". As far as I know; it's a new song and hasn't been released yet. It seemed an average creation to me, it didn't catch me - nor did the music or the words.
It's a bit different with the "Sheep". Genial performance with videos that matched the mood of this song very well. Even the good old building of the Battersea power station showed up for a few moments. I don't know whether the words of Roger's version of the lords prayer were intentionally left so hard to understand - it could use a bit of correction. The standard equipment was used during the "Animals" - related songs, the pig 'on the wings' made it's appearence; this time painted with slogans against Bush and religion. It was a great piece for the end of the 1st half of the evening.
During the 15-minute break I just lurked around until I happened on some 'merchandise' stuff, but the prices were too steep for me. Yeah, I felt this is not the place where most of this stuff would be sold. The only thing I got was the grainy-looking black & white poster of the young Roger holding his bass guitar, and a nice conversation with the girls selling them. But soon I went back to my place as the famous heart-beat (and the maniacal laughter, of course) announced the beginning of the... "I've always been mad; I know I've been mad, like most of us are. Very hard to explain why you're mad, even if you're not mad..."
Yes - in the next part of the show; the entire "Dark Side of the Moon" was going to be performed. Looking back - it was a bit too predictable, but what else would you expect from this album? Concerning "On the Run (The Travel Sequence)" - I was disappointed that the excellent video presented at "Pulse" (Gilmours version) didn't make its appearence here. Instead, there were some colourful visualizations overlayed with a running steam locomotive... but no plane crash. Sorry, folks. It made me a bit sad as this was one of the things I really looked forward to. Followed by "Time" - the drum solo at the beginning sounded somehow... plain and it wasn't as dramatic and rich as the one in "Pulse". It was interesting to notice how the tic-tac noises were made by Roger on the bass guitar. I missed the warmth and softness of Wright's vocals in the refrains, too. I surely liked "Us and Them"; another example of a great song combined with matching visuals; and to me, "Any Colour You Like" seemed a bit too short. The rotating prism with the 'any colour you like' lightbeams was worth it to see too. The first part of the evening definitely made a deeper impression on me though.
As the first encore; "The Happiest Days Of Our Lives" with the spotlights searching through the audience - was just another prelude to "Another Brick In The Wall" where most of the audience went crazy. Hmm... another song I should avoid; but at least there was some decent solos in it. To me, the most precious moments in the second half were during "Vera". I was totally blown away to hear it. It creates the atmosphere of a bit of painful nostalgia as it's sung in a world that's wasn't supposed to be; as if someone is asking very gently, but with heartfelt meaning, 'what went wrong?'... the lost moments of cheer... it's so much apart of this song.
I was distracted from my thoughts by the chorus of "Bring The Boys Back Home" where I realized "Vera" was - hate to say - yes, an interlude and as it later turned out; "Bring The Boys..." was another interlude to segue into "Comfortably Numb". While "Bring The Boys..." had to carry some political message, "Comfortably Numb" was supposed to be the last song, with the videos showing some close-ups of hands holding a half-burnt cigarette - the same theme as apeared in the movie "The Wall" but without the conclusion of the birth of Pink the Dictator. Mmm... could I suggest "Run Like Hell" as a closing song? There's the same thing with "Comfortably Numb" as I mentioned about Wish Your Were Here. ...give us a dynamic and truly powerful ending that Run Like Hell certainly provides, and which pleases every paranoid's heart! (or am I just pampered too much by Gilmour's "Dark Side of the Moon" and "Pulse" shows?)
To summarize - my feelings about the gig are rather mixed; for me - besides being a score on my gunstock - it seemed that the concert faded only to be a social event, with a presentation of the past... Don't get me wrong, I liked it, but in my opinion that just wasn't the ideal way. Yes, I'd like to hear more "Astronomy Domine" and "Interstellar Overdrive"; perhaps "Careful With That Axe, Eugene" or "Green Is The Colour" oldies not just the ones from a few chosen albums. Another note: after the show I checked and compared the set-list with the 2006 tour (didn't do that before the gig) and barely noticed any change. It seems Roger just got stuck in one place. Never mind, that's what we like, that's what we want. And whether we will get it or not? That's Roger's choice...
[In the hope that Michael Simone won't mind; I will publish a PS from his reply. It's worth to read through it. It's year 2009 now when I remembered his words. You won't step twice into the same river. Not just because of the river.]
PS... Just a personal note; while many of your criticisms were valid and each has his own perspective and feelings during a show, it seemed that your attendance of the show was negatively prejudiced before you went, and that negativity and too high of expectations ruined any real enjoyment of the show for you. Gilmour's Floyd is no more, and although you definitely seem much more a Gilmour fan and not at all a Waters fan, your negative prejudice seems to blind you. All the video's, pyrotechnics, special effects and inflatables might seem to you to be something you should expect as standard in any Floyd performance but your critical outlook seems to have blinded you to the fact that you will likely never see a show like that again in your lifetime. That no other artists put on such an extravagant event nor a performance so spectacular. With your prejudged attitude of expectations you kept yourself from enjoying one of the best shows you might ever be able to experience. And by the way, Roger didn't do On the Run, as this was one of the two songs from The Wall David wrote, and Roger would rather play the stuff he wrote. Sorry you didn't enjoy the show as much as you could have.
-- "Hey, everybody's got baggage, everybody's got pain, live your life to the fullest but never, ever forget where you've been and whatever good fortune you've been given."
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