The greatest standard-bearer of the legacy returned pinkfloydianor, five years later, with another mammoth montage, this time called “This Is Not A Drill”. The bar was at the top after his last tour, so successfully reinventing himself and continuing to surprise, in that league in which Roger Waters He only competes with himself, it was undoubtedly a major challenge.
From the imposing screens, suspended on an innovative stage located in the center of the venue, the first messages were sent to those present: “If you are one of those who say that you love Pink Floyd, but you can’t stand the political roll of Roger Waters concerts, you can go fuck yourself in the bar”. Not bad, as a declaration of intent and a warning of what was to come. Of course, only in English, like all the other bombed slogans for the next two and a half hours.
The music started with a disjointed “Comfortably Numb”, while many of us felt somewhat out of place. Not only was the epic guitar solo of the song by “The Wall”, but we were deprived of the vision of the stage with the screens, which were limited to emitting apocalyptic images. The sound, very powerful but scarcely organic, came to seem pre-recorded.
Fortunately, the screens soon went up, making way for “Another Brick In The Wall”. Thus, a central stage was revealed in which, inevitably, the musicians took turns turning their backs on each of the four orientations of the stands that surrounded them. Despite the obvious difficulty that this entailed when connecting with the audience, the studied rotation of positions largely compensated for the inconvenience. Meanwhile, above their heads, the spectacular images did the rest.
After the initial phase dedicated to “The Wall”, Waters redoubled his well-known commitment to politicize the show, practically turning it into a rally. To do this, he began by relying on songs from his solo career such as “The Powers That Be” o “The Bravery of Being Out of Range”. Successively accusing all the past US presidents of being war criminals, sharing grim images of innocents being shot in Iraq, or voicing support for Julian Assange, among other slogans, may seem excessive for some at a rock concert. However, in favor of Waters, it should be noted that he knows how to fit it perfectly into the common thread that weaves together his live repertoire, as well as with the audiovisual experience that accompanies it. On the other hand, the long and tedious monologue, more or less improvised, that he released before “The Bar”cooled the atmosphere and cut the rhythm in an incomprehensible way.
The excitement returned to the forum with a selection of the album “Wish You Were Here”, which included a successful and emotional tribute to the long-awaited Syd Barrett. Below, and as the only reference to “Animals”a powerful “Sheep”, enlivened by a giant flying sheep that flew over the interior of the venue, gave way to a twenty-minute break.
The liturgy was resumed with more “The Wall”including a thunderous “Run Like Hell”. And, of course, with new political and protest slogans. Yes to human rights, no to antisemitism… in response to accusations by David Gilmour’s wife via Twitter? Probably not, but impossible not to think about it.
The most critical moments of the evening came with the section dedicated to “The Dark Side of the Moon”. Guitarist Jonathan Wilson stepped up by taking on vocal duties at “Money”while the almost 80-year-old Waters held his own without really hiding behind his excellent and numerous band at any time.
However, and when it seemed that we were going to return home with a very good taste in our mouths, another speech capable of lulling the most painted came. For all the more reason he has to harangue Joe Biden and Vladimir Puttin, it is still a pity to interrupt in this way the rush that listening to live always causes “Brain Damage” y “Eclipse”.
Redeeming a bit after that recurring slip, Waters treated us to a finale broadcast from the dressing room doors, with the musicians in a circle playing acoustically. “Outside The Wall”. An original idea that worked and, once again, took us in a few minutes from the dark side to the bright side of Roger Waters.
This Is Not A Thrill, therefore, it is another extraordinary spectacle, driven by Roger Waters, which once again vindicates the immense legacy of Pink Floyd in a big way. The problem is that it has more weaknesses and ups and downs than its predecessors. Let’s not forget that it is announced as a farewell tour, so it is a last chance to live such a unique experience. Those of us who have done it on a few occasions will undoubtedly miss it from now on; but, in all probability, more because of the previous visits than because of this one.
