Roger Waters 'Us + Them' Tour 2017

I didn't change the definition, I was clarifying what I wrote. Being dated does tend to have a negative connotation but I was also clear in stating that it still can be enjoyable. I was expanding on another post comparing Waters earlier work like Us & Them (generic and timeless) to Southampton Dock (specific and dated). The latter is still a beautiful song albeit less universal.

That's a distorted perception of what I wrote. Nearly a laugh...

 

Okay, we can both have a laugh.

 

This is a really awkward comparison. Kvetching about Reagan and Haig is a long way from a first person narrative from a WWI vet talking about leaving a comrade in no man's land. The latter may be a story rooted in a specific historical event, but the point is that it humanizes the experience and takes it down from the shelf of high concept. Pairing those words with the music (and, honestly, those words stand on their own as gut wrenching if you watch the doc they're from) plays your emotions like a violin and transcends the specific historical events in question. It's a horrifying experience and you hear in that weathered voice years of mixed feelings and survivor's guilt.

It could be about WWI, WWII, Korea, Vietnam, Iraq, Afghanistan, etc. That's the distinction between something that becomes "dated" and something which may have a historical component, but sheds that to become far more significant on the hearing.

 

I don't disagree with your greater point. It fits nicely with my own viewpoint and how it applies to The Fletcher Memorial Home.

 

"Take all your overgrown infants away somewhere
And build them a home, a little place of their own.
The Fletcher Memorial
Home for Incurable Tyrants and Kings."

How are these lyrics tied to any specific time period? As I said earlier, there's been a steady stream of new occupants at the Home. Unfortunately, the theme is timeless and just as apt now as it was back in '83.

And "kvetching"?! That's your take? Clearly this song ain't for you.

And these lyrics, they grab me every time:

"Through the fish-eyed lens of tear stained eyes
I can barely define the shape of this moment in time
And far from flying high in clear blue skies
I'm spiraling down to the hole in the ground where I hide"

I just don't see these lyrics being dated at all. Nope, just don't see it. But that's fine. It means something to me. Very intense.

I have 4 Pink Floyd albums on my top 100 list and am considering adding Is This The Life We Really Want. I say "considering" because that means something has to get cut and I don't know which album to cut. And maybe it's too soon.

 

In both cases, you've quoting the best couplets from the respective songs.

Immediately following the bit from "Fletcher" that you quote, you get that spoken interlude name-dropping the candidates of the day. The song would have been considerably better had that been dropped and left to the imagination of the listener. Again, this is IMO, but I suspect I'm not alone in feeling Waters unnecessarily anchored that lyric to the year in which the album was made. Hell, I'm pretty well-read and I only know about half the people named. That's immediately dropped the potential audience for the track in any generation too young to have been aware of the political scene in the mid-'80s. Compare that to almost any track on The Wall or Animals, which kind of hold up in any day or age and you've got an idea of what I'm talking about. The laundry list is what hurts the song - I'd argue fatally, but mileage obviously varies.

As for "The Final Cut," I'll even cop to the fact that the lines you quote are great. Great imagery, emotive, etc. Unfortunately, then Waters follows it up with this tired nonsense:

If you negotiate the minefield in the drive
And beat the dogs and cheat the cold electronic eyes
And if you make it past the shotgun in the hall,
Dial the combination, open the priesthole
And if I'm in I'll tell you what's behind the wall.

Eh, you throw a lot of imagery at the (ahem) wall here, but it doesn't amount to much and it doesn't really do much on an emotional level - at least for me. This song in general feels like three or four soul-bearing exercises that got thrown into one song because Roger couldn't or wouldn't extrapolate on any one of them to completion. It feels like a bunch of scraps stapled together because there was a need for another song. This one really feels like one of those "rejects from The Wall" that Gilmour was questioning revisiting.

Obviously, this stuff is all subjective. I'm just doing what I can to give some reasons for why these songs hit (or don't, as the case may be) for me.

 

Somebody better provide us with a concert review and get this thread back on track. You're not going to sway me and I'm not budging you one bit when you have to reluctantly say "I'll even cop" to thinking a line or two is great.

I've given up on making a case. I'll go back to following page 280 of idle speculation about the new McCartney album.

 

This is a good description of the The Band song "The Night They Drove Old Dixie Down" which was written in 68 or so about an historical event 100+ years earlier. In my mind, it's not dated at all. It's timeless and relevant to any era within which wars are fought and soldiers die.

 

Posting random thoughts as to last nights concert in Zurich….

Quiet crowd especially compared to the show in Chicago….Of course Chicago's United center holds around 24'000 and was almost sold out whereas Zurich stadium holds 12'000 and this was an added show so I'd guess around 8'000 there (1st Zurich show was pretty much sold out). 3 times the crown of course adds to the energy a bit. Chicago we seemed to be standing about 80% of the time, Zurich we rarely stood and were in our seats 95% of the time. Of course there's also a slight difference between Americans and the Swiss at such events as well. Small and calm isn't particularly what one thinks of when one thinks of a Floydish concert, but that was kind of the feeling I got out of it. It wasn't a big spectacle, it was a nice show….but combined with some of the slower parts where they have a run of a few slow pieces in a row, it kind of felt like it was dragging a bit. There was something needed to inject some energy and even found myself fighting to keep the 6 year old awake (to be fair it was 2230 and she had already had a full day).

I originally came here asking for seating advice. The front row seats were nice. A bit of a trade off I feel as you miss much of what is being projected but there is a bit more intimate feel to it.

Enjoyed it for what it was...a 74 year old Roger Waters touring as Roger Waters. Nice to hear a bit off of Animals and appreciated One of These Days from Meddle.

Is it just me or are the 2 blond women more of a distraction than a benefit? The first time they're out there pounding on the drums it's a bit novel but it quickly loses its appeal. I found myself somewhat wishing that the backup singers could remain backup versus front and center...of course it probably doesn't help that I am fatigued of Great Gig in the Sky which has been played at every Floydish concert I've been to.

Time was nicely done as was Money. Again, that is just taking it as is versus judging musicality and showmanship.

Beyond Amused to Death, I'm not overly familiar with much of Waters' solo stuff. Although I enjoyed a few of the pieces he played, I can't say I was singing along as I was for the Floyd material...if that makes me a bad fan then so be it. Lol.

The show changed a bit from what I saw in Chicago. In Chicago they had the silver orb flying around but that was missing here...also missing were some of the images I remember from the Chicago show (unless the were only on the center screen and I somehow missed them).

Do all concerts end with a stage rush? I have to say that it's a bit annoying having to get in front of the crowd with kids when I have front row tickets. They did the same to me at Gilmour in Rome...and I guess it's generally not an issue...but yesterday I had the misfortune of having a rather agressive idiot push right into me when I had my 6 year old on my knee against the barrier. and he wouldn't back off. I ended up putting my 6'5 230 pound frame squarely against him and keeping him away from my kids. This is right when Waters was walking through greeting the crowd. So here I am trying to keep these idiots away from my kids and some poor guy just reaches his arm over to shake hands, he poses no problem at all, and I shove his arm away just out of some instinct. Honestly, I feel kind of bad about doing that (to be fair, I didn't get to shake hands either either). I didn't really see who I did it to either so I couldn't apologize once I realised what had happened. Oh well...

At the end of the day I had a nice night out with my daughters enjoying music that I grew up with. I understand arguments as to pricing, and lip synching...etc. but I would go see old Rog again. His show might not be as great as U2...but he's not U2. His voice and instrumental prowess may not be as they were on the 70s...but it's no longer the 70s.

 

This is a bit of an issue for me ..... something of a buzzkill .

I missed Rog this time around, after catching everything since the '87 KAOS tour ..... I'm conflicted about that ...

 

Richard Wright was also rather underused on that one .....

 

So, yesterday I went to my second Roger Waters concert. And for the first time I feel the need to write something about it....
Watch out, there will be spoilers!

I stayed of this thread so I wouldn't know what was going to happen. No setlist spoilers, just open minded going in.
My first Roger Waters concert was his rendition of The Wall and I was absolutely blown away then.
Never thought that could happen again in a similair way. But when my longtime concertbuddy and I exchanged looks at the end of the concert, all we could do was hug eachother and congratulate oneanother that we experienced this.


First of all, the sound. Surround, yeah! And where some artists like to blow your eardrums out at the very first tone, this band needed a bit cranking up ;-) They did eventually but never that eardrumimplodingloud. Great! The effects on the other hand were to be felt in my hole body, drones, sirenes, explosions, helicopters and ofcourse your array of various anmials ;-)

Second; lights. Man...........I don't think I ever will experience anything like that pyramid again. That was so awesome! There was a fair bit of audiencelighting and the band self was well lit.

Third; effects. Yes, there's the big screen on stage. There was a film projected at the start of the concert with a woman on a beach. And during the first half of the show the obligtuary films of time and welcome to the machine were shown. And during intermission we get to know a bit about Rogers political views.....
And than......not all animals are equal..........like pigs or dogs..........The alarms and sirenes.....the alarmligths......the lowering of the screens and the rising of the chimneys.......WHAT.A.SPECTACLE! And to have all that extra space to show clips and stuff, amazing!
And of course there was Algie........Alway nice to see ;-)

Fourth; Music. OF course, this is a concert, so what about the music. David Kilminster is such a great interperter of Gilmour's work, really liked his playing. The drummer was good, but I like it when there's a bit more action in the moves. But steady as a rock. Keys sounded great, bass was good and the backing singers could really nail their interpertation of The Great Gig. The saxplayer was, IMHO, a bit underwhelming, his sound didn't come across as great.
I thought the interpertation of Welcome to the Machine was excellent and the songs from ITTLWRW really worked in the live setting. Dogs and Pigs....man, first time I heard them live......Fantastic!

So, I now know Roger is (sometimes?) lipsyncing and ofcourse there are audiofiles all over the place. But this has been an experience to remember.
I loved it! And I really felt the need to share it here.
I want to go again!

Greetz,
Cas

 

Great write up. Less than a fortnight to go until Liverpool here...

 

Never having been a fan of Waters as a solo artist I probably would have passed this one up, except that a friend scored cheap tickets - not cheap and nasty, just cheap.

My thoughts:

• Most of the music and the playing was great.
• Three or four songs were performed in full before Roger uttered a word to the audience. Made it seem a bit impersonal, as if I could just as well have rented a DVD.
• The political rants annoy me but thankfully they did not occupy too much of the show.
• Visuals were a little overpowering. At times I could imagine I was watching a Youtube video. I find this with Steven Wilson also. I think it's time for a new concert paradigm. Mood lighting is fine, but mostly people come to hear and see the performer(s).

Overall I gave it about 4/5. A tad too professional sounding, almost as if Roger and the band were running on autopilot.

 

That's what happens when you're locked into a click track and resort to lip synching the majority of the show. I've seen Roger on every tour and this was my least favorite by far.

 

Liverpool for me too, never have I not been looking forward to a gig as this one. I f I hadn't paid £200 for my ticket I'd sack it off, actually I would if it wasn't for Sheep 3DO and Dogs. Nobody else wanted to go so I'm on my todd, I don't really like this touring band, and I've decided I'm leaving before the encore as there is no car park because of the fire a few months back, I'll be parking in Birkenhead and getting the train over so an early exit to beat the rush..

 

Last time I parked a car in Birkenhead I came back to no car, but then it was my own fault as I know the place well enough to know I should not have parked it down by Central Station.

 

Planning on parking in L1 here, although I realise this means a good hour to get out of the car park afterwards.
£200 is an awful lot to have paid for a ticket - we’re you aware of the set list and the degree of Roger’s live involvement in the show? In content & presentation, it’s not so far removed from 2010-2013 The Wall shows.

 

I never saw any of The Wall shows - not interested - but as the name suggests it was pretty heavily skewed towards DSOTM and WYWH era Floyd - Animals and the Wal to a lesser extent. Overall I enjoyed the first half of the show more than the second, though as I said I wish he had not waited half an hour before uttering a word to the audience. Quite the contrast with Elton John. Whether you like Elton's music or not you would have to admit that he is a consummate showman - plenty of patter but not too much patter, he seems completely at ease with his audience.

 

I was there as well, of the 4 shows I've seen him play (DSOTM in 2007, The Wall in 2011 and 2013, last night) this was the most memorable one.

 

Yes, I'm aware of the presentation and content of the show there have been plenty upped in the usual places, Y, DaD etc. There's no element of surprise for me I know what to expect Anyway I would say this tour is a lot different than The Wall shows lip synching aside which I don't mind, better to have the backing tape in case Waters 74 year old voice cracks. The £200 ticket, yup that's a lot never paid anywhere near that for a single ticket before, I paid it because I want the best sound I could not give two ##t# about the visuals..

 

I don't think it's as bad as it was but then cars are harder to steal these days. I often use Conway Park to park going to Liverpool.

 

Finally got to see this tour at Liverpool last night. I’ve mixed feelings about it all. Starting with the bad...

• Aside from Bricks pats 2 &3, everything felt very ‘on the rails’. Like The Wall shows, I appreciate that everything music wise has to be timed to the visuals. Unlike The Walls shows though, I felt as though the band were going through the motions. Roger didn’t speak to the crowd until the end of the first set, only to tell us that the children on stage were ‘your kids’ and that there would now be a short break.
• This one is definitely me: Floyd’s music has always felt introspective, interior and introverted. It absolutely baffles me why it manages to attract the lager swilling crowd the way it does. If you’d have shown me just crowd shots without music/showing me who was on stage, I’d have said this was an Oasis audience or similar. Everyone was having a good time though and no one was making a pain of themselves. It did seem that everyone around me had to make multiple trips to the bar and each came back with 4 beers each every time. It felt 180 degrees at odds with the music itself.
• The band’s energy levels seem to drop again in the second half for Money etc.

And the good....

• Dogs and Pigs 3DO. WOW! The band seemed to go up a level, Roger went up a level, the visuals were astonishing and on par with the best that The Wall shows had to offer. Easily the centrepiece of the entire night for me and worth the ticket price alone. Oh to have had a complete album run through with Sheep as well. The impact was so great that everyone in my seating section put down their phones and just watched & listened.
• Mr Screen films. Lovely to see upscaled/rerendered classic Mr Screen films for Welcome to the Machine etc on the bigger stage backdrop screen.
• The sound. Looking at the array of speaker stacks around the venue when I took my seat and I knew what to expect. Sound, effects and vocals panned seamlessly around the venue. There is a reason why Floyd 5.1 & Quad are in a league of their own for home listening and this still applies to ex-Floydies live. Both Roger & David’s shows are masterclasses in live audio presentation, with Roger really pushing at what is possible with large scale surround sound.
• Laser pyramid. Nuff said.
• The children on stage for Brick pts2&3. Took their dancing very seriously and when they got to cut loose, made the most of it. They just radiated joy and enthusiasm at performing on such a stage for such a large audience. They got a huge response from the crowd and deservedly so.

Left just before the CN encore (heard it enough times, and with absolutely no disrespect towards Dave Kilminster who is a great guitarist, I’ve heard Gilmour himself play it live, so...) in order to not get mired in the queue to get our of the L1 car park. A fine night overall, but the Animals tracks aside, it didn’t have the same impact on me as The Wall shows did.

 

I'm not going to add much to what has already been said - except to say that Glasgow (Saturday night) was astonishing. Powerful, profound and unexpectedly moving. For reasons I won't explain, the bit at the end on the screen when the woman sitting on the beach staring out to sea is joined by (presumably) her small daughter simply took me apart...

I haven't seen him since the mid-90s and I regret now not making the (considerable) effort to have attended one of the Wall shows.

 

Have to say the Instagram post Roger's team put up was spine tingling stuff.

Roger Waters on Instagram: “THANK YOU LIVERPOOL, LOUDER THAN EVER!”

Looking forward to Hyde Park on Friday and Birmingham on Saturday.