Waters started early with his contempt for authority, as evidenced in the first line of the second song of the concert, “Mother,” from Pink Floyd’s magnum opus, The Wall, which asks, “Mother do you think they’ll drop the bomb?” His disdain only grew more defined. During “The Fletcher Memorial Home,” from 1983’s The Final Cut, when Waters sang of “wasters of life and limb,” the targeted inference was not lost on the audience. The most damning and direct admonition, though, came courtesy of “Leaving Beirut,” a song Waters wrote in 2004, which, in part, deplores the policies and practices of George W. Bush while warning free-thinking Americans, “Don’t let the might, the Christian right, fuck it all up/For you and the rest of the world.” To follow, a mesmerizing performance of “Sheep,” from 1977’s Animals, cemented Waters’ condemnation of the current political climate, as a massive inflatable pig (an iconic fixture of Pink Floyd lore), plastered with slogans including “habeas corpus matters” and “impeach Bush now,” floated over the crowd. “No, this is no bad dream,” Waters wailed, at times his face reddening in anguish and palpable anger.
Of all the legends and fables of Pink Floyd, none resonate so profound as their enduring masterpiece, 1973’s Dark Side of the Moon. Perhaps because of the striking political bent to much of the show, however, Waters’ full-length performance of the album seemed almost obligatory if not, for the most part, unnecessary. Highlights included the radio smash, “Money,” along with the closing sequence of “Brain Damage” and “Eclipse,” but the complete recreation of such a landmark album, done so without the principal band members who helped create it in the first place, ultimately missed the mark. Unless all four surviving members of Pink Floyd come together to attempt this feat, maybe the 43 minutes of sonic bliss on Dark Side of the Moon would be better enjoyed with a decent pair of headphones.
In a climactic closing sequence that featured songs exclusively from The Wall, Waters again mixed music with current political context to brilliant effect. “The Happiest Days Of Our Lives” led into the anti-establishment anthem “Another Brick In The Wall (Part II)”. “Vera” culminated with a rousing version of “Bring The Boys Back Home,” perfected with exploding flash pots and flames amid a visual backdrop of a war zone. The point was suitably made. The implications shone through. “Comfortably Numb” then put that rage to rest while a riveted audience stood in awe.