
Hands down the best concert I have ever seen. Musically, visually, energetically, and thematically it set a new bar that I do not believe anyone else could ever top. I know, I'm biased, but I've seen Floyd sans Waters, and I have to say there's no comparison. I had my doubts because the United Center has always been terrible for concerts. I’ve seen Clapton, Peter Gabriel, the Who and Neil Diamond at the United Center and while all were good concerts, there were always acoustic problems, echoes, stray sounds. You could never hear them clearly if they spoke. I was amazed at the quality of this sound. Not that I expected anything less. Roger Waters is known to tour with sound systems that can overcome even the most acoustically flawed spaces. It exceeded my expectations, and my expectations were already pretty high.
It was great that I got to take my dad, since he's the one that introduced me to Floyd in the first place. And, while I was not excited about having John's old phone at first, but when I realized that, hey... it' had a camera in it... and our seats were so close to the stage - literally the edge of the stage was maybe 200 feet away, if that. So this has turned into a photo essay.
The energy here was so much different than the Rosemont Theatre. Not better or worse, just different. At the 1999 show, there was a quiet reverence. At this show there was this electric flash that seemed to overtake everyone in the room. We were all connected by our love of the music. Tonight was special too because I brought my dad. One thing we’ve always shared is a deep respect for Roger Waters and Pink Floyd, though my fandom goes far deeper than his I think. It was great to be able to share something like this. The generational gaps in the crowd prove that some music, music that touches something deeply symbolic in ourselves, is truly timeless.
The whole show revolved around recurring themes. Would we expect anything less? The background music playing before the show was old rock n’ roll and blues like Chuck Berry, Elvis, and Billy Holiday. On the 30ft tall screen behind the stage was a layered, almost three dimensional image of a bottle of Johnny Walker, a half poured glass, an ashtray, and an old European radio with a toy airplane atop. A few minutes before the start of the show, the ashtray started smoking, and the 3D illusion was aided by a couple of smoke machines. A giant hand with a cigarette grabs the glass of Johnny Walker, puts the cigarette in the ash tray and then the background music begins changing as the hand turns the dials of the radio. Once, the radio came to “Dancing Queen” and quickly changed to another station, playing “Waterloo,” also by ABBA and quickly changed the station again. This theme of the man in his bedroom drinking, contemplating, returned several times during the course of the show.
Setlist:In the Flesh
Mother
Set the Controls for the Heart of the Sun
Shine on You Crazy Diamond (abridged)
Have a Cigar
Wish you Were Here
Southampton Dock
The Fletcher Memorial Home
Perfect Sense 1&2
Leaving Beirut
Sheep
IntermissionSpeak to Me
Breathe
On the Run
The Great Gig in the Sky
Money
Us and Them
Any Colour You Like
Brain Damage
Eclipse
EncoreThe Happiest Days of Our Lives
Another Brick in the Wall Part II
Vera/Bring the Boys Back Home
Comfortably Numb
I was absolutely blown away that he played
Set the Controls for the Heart of the Sun, it’s such a beautiful song. If you’ve never heard it, it is worth seeking out. Waters wrote the lyrics after reading some Eastern philosophical poetry (I’m not sure if was the Tao or something else). During Shine on You Crazy Diamond, the giant screen showed old images of the band from the late 60s and old Super 8 video of Syd Barrett. He practically played the entirety of Wish You Were Here, with the exception of Welcome to the Machine.
Even though I had seen the setlists online, and I knew what was coming, I still was not prepared for how Southampton Dock and the Fletcher Memorial Home affected me. Those songs off the Final Cut that I never thought I would ever hear live, bring tears to my eyes when I listen to them anyway. The album is based on Waters' opposition to the Falklands War, a war he felt Margaret Thatcher used to gain popularity and thus, betrayed the memories of the soldiers who fought and died in World War II (his own father among them). Hearing them live, watching the emotion roll over his face as he sang them, and hearing the crowd sing along while images of poppy fields and soldiers graves rolled by on the screen had a profound impact on me.
“they disembarked in 45
and no one spoke and no one smiled
there were too many spaces in the line
gathered at the cenotaph
all agreed with hand on heart
to sheath the sacrificial knifes
but now
she stands upon southampton dock
with her handkerchief
and her summer frock clings
to her wet body in the rain
in quiet desperation knuckles
white upon the slippery reins
she bravely waves the boys goodbye again
and still the dark stain spreads between
his shoulder blades
a mute reminder of the poppy fields and graves
and when the fight was over
we spent what they had made
but in the bottom of our hearts
we felt the final cut”
I was happy to see the images on screen during the
Fletcher Memorial Home included the likes of George W. Bush, Osama bin Laden, Karl Rove, Saddam Hussein, and Kim Jong Il who obviously all belong in the Fletcher Memorial Home for "incurable tyrants and kings" along with its original residents Thatcher, McCarthy, Reagan, Begin, Brezhnev and Nixon.
I still maintain that Perfect Sense is some of his best writing. It's an amazingly powerful song, and this time it came with visual aids to go along with the scathing criticism of our media’s dismissal of war as entertainment --"It all makes perfect sense, expressed in dollars and cents, pounds, shillings, and pence." In an animated scene, we get an aerial view of a stadium, filled with water, almost like the Colosseum, the stands packed with cheering fans. In the water, there's a submarine and an oil rig and along with the sound samples in the song, we get the live, telecast play-by-play featuring Marv Albert. The entire place turned electric during the final chorus of that song.
Then, to pull all of this together, songs written 20-30 years ago, he included a new song he wrote a few years ago about a trip to the Middle East he took when he was 17 (making it 1960-61) and his car broke down. It’s the story of him being taken in by a poor Arab family who fed him what little of their food they had, and gave him their bed to sleep in. He said in his introduction that he never forgot that family and their kindness toward a stranger. It’s a commentary on our monolithic image of Arabs in the West as terrorists and violent people when the majority of them are simply poor people living their lives the best they can under the circumstances and wishing for peace. There’s an interview with Waters where he speaks about playing that song in Israel, in a small rural town inhabited by Arabs, Jews and Christians and he told them they’re the hope, the new generation that can help end all this strife. It’s a wonderful song. Much more direct and less symbolic than his usual body of work, but given the subject matter, it had to be.
During Sheep, he brought out the Pig. It flew around on remote control like a little dirigible. On it’s skin were images of a brick wall, with messages like ‘Religion Divides us All,” “Fear Builds Walls,” “Habeus Corpus Matters,” “Torture Shames Us All,” and on the butt, was “Impeach Bush Now” with a peace sign underneath. Now I’ve heard two songs from Animals live. Sheep is a classic Floyd song starting out fairly mellow and bluesy, and then morphing into full-blown energetic rock – all with a political message of course.

Dark Side of the Moon made up the entirety of the second set and hearing it live, with the images on the screen and the energy in the stadium was inexpressible. As the band left the stage for the intermission, the screen went black and there was a distant image of the moon slowly getting closer. Then, the pulse started. A faint red light in the distance blinking with the heartbeat as the band took the stage again. The light on a satellite orbiting the moon flew past the screen and started Speak to Me. Dark Side is a timeless classic album and a scathing political commentary on our individualistic, selfish lifestyles. I never realized that the ticking of the clock at the beginning of “Time” was Waters clicking his pick against the strings of his bass. I always thought it was a synthesizer. During Us and Them he flashed images of people and children living in refugee camps and impoverished areas of the world in contrast to what appeared to be New York (any modern city really) with well-dressed people hustling and bustling.
Carol Kenyon, one of his backup vocalists nailed The Great Gig in the Sky. I’ve always said that if I ever could sing, I’d want to learn to sing that. It’s one of the hardest vocal solos in rock in my opinion.

Now, you can’t conclude Dark Side without the classic symbol of the album – the prism. In the middle of the stadium, hanging from the ceiling, I noticed this strange looking contraption and I knew immediately what it was. It was a laser prism that created a floating, 3-dimensional, rotating prism above the crowd with the white beam and the rainbow casting light over us as it spun like a lighthouse beacon. With everyone singing along
All that you touch
All that you see
All that you taste
All that you feel
All that you love
All that you hate
All you distrust
All that you save
All that you give
All that you deal
All that you buy
beg, borrow or steal
All you create
All you destroy
All that you do
All that you say
All that you eat
everyone you meet
All that you slight
everyone you fight
All that is now
All that is gone
All that's to come
and everything under the sun is in tune
but the sun is eclipsed by the moon.”

The entire band took their bow and exited the stage. They came back a couple minutes later for the Encore set, before which, Roger introduced the band members. During “The Happiest Days of Our Lives”/”Another Brick II” the screen projected images of the new wall built in Palestine. It had spraypainted on it “Fear Builds Walls” and “No Thought Control” among other things, many written in Arabic and Hebrew. “Vera” and especially “Bring the Boys Back Home” drew such fury from the crowd. Another song I never thought I would hear live. Again the theme of war figuring heavily into his work. The show concluded with Comfortably Numb where the screen reverted back to the room of the man drinking Johnny Walker and were eerily similar to the scenes in The Wall where Bob Geldof is sitting in his hotel room staring off with empty eyes into nothingness. As if this whole time he has been listening and contemplating as we all have; as if the whole show was his imagination or an expression of the vast helplessness most of us feel looking at how fucked up the world is and thinking there’s not much we can do to make a difference.

Undoubtedly the best concert I have ever seen. It will take a lot for anything to top this. Musically and thematically, the entire show pulled together Waters political commentary on the world and brought us all closer together for a few hours. I have a deep love for that man. I know how silly that sounds, like I’m some sort of groupie, but it’s not like that. I love his ideas and his sincerity. It’s not a romantic or erotic, groupie-type love. It’s nearly paternal in a way. His thoughts and expressions have helped shape who I’ve become. There’s just something in his work that connects with me on a deeper level than almost anything else in this world and certainly no other music has this effect on me. Seeing him live, seeing how much he still feels the emotions of the songs as much as I do even after playing them time after time. Seeing how deeply and sincerely he loves sharing his ideas touches me like nothing else can.