If you were to judge by the chatter I heard around Chinatown last night after Roger Waters performed The Wall at the
MCI Verizon Center then you would conclude that most people just witnessed one of the greatest rock concerts of their lives. “That is how a concert is supposed to be!” my friend said to me post-show. It was hard to disagree.
If you want your concert experience to include explosions, fireworks, flying pigs, puppets that drop from the ceiling, wild animations, flashing lights, surround sound systems that thunder in your ear, impeccable musicianship, and songs performed from an album that sold about 789 billion copies than The Wall did not disappoint in any fashion. Never one to short change his audience (at least when it comes to giving them a great show) Roger Waters produced the most fantastical, spectacular rock concert I have ever been witness to. It was Cirque de Waters.
If the punk rockers in the mid-70’s were back-lashing against the excess’ of their classic rock band brethren then this show would be the poster child for that movement. But isn’t that exactly what we, as an audience, want from The Wall? To this day, I still don’t understand how such a gloomy record became a staple of rock radio and embedded into our common musical collective. Songs about war, love lost, isolation, anger, madness, and megalomania don’t exactly jump off the shelves, eh, I mean, get downloaded in today’s market. Yet, when I looked around the arena I saw 65 year old tucked button down shirt into the shorts with socks and sandles on rocking out next to 16 year olds lighting up their first public joints. I saw metalheads and hippies, meatheads and squares, young and old all brought together by music that, when at it’s most uplifting moments, perhaps will get you to tap your feet a little bit. This is not Paul McCartney singing love songs or The Foo Fighters post-punk angst. It’s Pink Floyd‘s music as mass consumption. And it works brilliantly in this setting.
The note-for-note band (let’s face it, we want this album played note-for-note. Do you really want someone improvising the solo on “Comfortably Numb”?) was incredible and Waters can still hit all the notes. Was Gilmour missed? Perhaps, but the solid musicianship on exhibit made you quickly forget that this piece of music isn’t necessarily about the performers themselves. I would love to see this executed by high school theater groups around the country. Were there some overwrought moments? Yes. Do I really want to watch Roger Waters singing with mic in hand, bassless, roaming around the stage and “acting” out the lines from songs? Did the audience “understand the music” or the overall anti-war message? Were the loud claps for the Mercedez Benz logo dropping from a B-52 bomber pro or anti the company? I know Waters stance, but does his audience grasp what he is trying to say?
You know what? Who gives a fuck? People, including myself, went to this show to see one of the all time great pieces of music performed by it’s original author. Something you will probably never be able to do again on this scale. The show delivered in all aspects of the word. I was not going to see my favorite indie band shoegaze at The Black Cat. There is a time and place for that. This is one of those rare performances that you prefer to see in a large setting. I don’t want to see a pig flying around the 9:30 Club (but it would be quite cool). Floyd, whether they liked it or not, were eventually built for large audiences, large arenas. Though I still can’t fully understand how such a “weird” band became so mainstream I do understand why people loved this show so much.