Roger Waters World Tour 2007
Northern Hemisphere
Tour Reviews

I've attended hundreds of concerts for over 30 years now and I now can tag a new favorite. I was totaly impressed with his professionalism and showmanship.

The sound system was pristine, absolutely the best I've ever heard. Better than the Dead and Stones.

The Dark Side of the Moon was thrilling, having "Time" and "Us and Them" standing out as most memorable. The musicianship, particularly, the guitarists and backround singers were flawless.

A show for the ages.

In terms of the actual performances: everything from the vocals, musicianship, presentation, visuals, light show and acoustics were all perfectly fine. How could they not, considering the talent that was on the stage?

No, what I'm referring to goes deeper than the typical amazement and amusement of a rock show. The feeling of human to human connectedness was palpable; the communion between the performers and audience, and between the audience members themselves was truly a holy (read: whole-y) experience. Everyone there knew at least some of the lyrics, and most everyone knew all of the lyrics. Many times Roger had a 20,000 plus, back-up choir.

Having the where-with-all to cast my gaze upon others during the performance, one could easily find tears flowing during songs, that, for what ever reason, resonated with the individual(s) on some deep and sincere level. I lost it during Shine On, others could be seen tearing up to Perfect Sense and still others during Fletcher Memorial. The emotions where quite real & distinct, and more importantly, shared and experinced throughout the hall.

What we had last night was a soulful, joyful, celebration of life in music. And I will remember it has one of the foremost highlights of my life.

The set list was great, some of my favorites were Sheep, Shine On ^You Crazy Diamond, Set the Controls For the Heart of the Sun, and of course the final encore of the night was Comfortably Numb, with one of the best guitar solos of all time. Every musician played great, and the lady's had great voices. The special effects were cool too. The pyrotechnics were Awsome!!

Overall, this was a great experience. The band played with a lot of effort, which was well appreciated by the crowd. With the crowd being a wide range of people, old and young, we were all into it from beginning to end. I give my thanks for Waters coming close enough so I could see the show. Great Great Great Great!!!!!

The crowd was top notch. I am not a fan of the war and our leadership's guidance in these times - but I am happy to say that unlike all the other shows - there was no anti-Bush/war speech. The messages were there for all to see but when we got to that part of the show it almost seemed Roger was overwhelmed with the energy. He did not stop the show and go into the tirate that has been decribed so many times before.

Visually - I was pleased that there was so much new photage with the same songs he played for the ATD tour. I only wish there could be some time spent playing some KAOS material - I still think that show was the best.

It was a great time indeed that was topped off by some late night lightning extravaganza for those in the right state of mind - shades of the legendary Montage Mountain show.

Many thanks to Roger for such a wonderful gift.

Here it is for you and the fanclub. (I think the last time I submitted something to you it wound up in the letters section of issue #29!) Thank you so much for all you do; I read the latest REG Fan Club magazine issues 42 & 43 on my flight to Buffalo in order to get ready for the concert... they were great as usual!

Memories of the Roger Waters Concert at the Darien Lake Performing Arts Center, July 12, 2007

Christine and I enjoyed a nature-filled 75 minute ride out in the Western New York countryside until we reached Darien Lake. Parking was in a huge field, and after we went through the turnstiles we proceeded directly to the large merchandise stand. I bought a black embroidered polo shirt, a baseball hat for Chris, a program, a Dark Side of the Moon coffee cup, and a 2007 Tour poster. A couple people were ecstatic to see my black crossed hammers Wall shirt as we made our way to the lawn of the amphitheater. While taking in the crowd, we saw young tie dye adorned teens, adults with faded t-shirts of tours past, and a fan with numerous Pink Floyd emblems tattooed all over his body. There were parents with kids, each there to see the epic performance of one of rocks most legendary artists and albums.

We had assigned seats under the amphitheaters overhang, which was perfect. I learned at my first Waters concert in 1985 that sitting a little bit back from the stage is actually the best place to be, as you can enjoy Roger yet also see the fullness and expanse of the amazing graphics in all their enormity. The tickets said An Evening With Roger Waters: 8PM Sharp; I imagine the sold out crowd and late traffic jam was the reason for the start of the concert visuals at 8:15. A scene of a whiskey bottle, glass, half filled ashtray, and old time radio receiver (with a toy airplane on top of it) engulfed the screen behind the stage.

It proved to be the beginning of what you might call a concept flick which appeared on and off at pertinent moments throughout the night. Imagine then seeing the scene suddenly come to life when the equivalent of a movie projectors Pause button got released. As that occurred, a hand appeared to pour a drink and then peruse the stations on the tuner to check out the various musical selections. Audio of various DJs, song snippets, and commercials accented the screens visuals, as did the dry ice on stage which complimented the cigarette smoke appearing in the film. Songs eventually settled on and played in their entirety were the jazz standard My Funny Valentine and Elvis Presleys Hound Dog; once these raised the crowds levels of curiosity and anticipation sufficiently, Roger and his band made their way onstage.

The dramatic beginning of In The Flesh started off the first set, with Waters belting out in his best fascist German Einse, swei, drei, alle! The opening bar with 'So ya thought you might like to go to the show' engaged the crowd in a way that would keep it connected and entranced virtually the entire night. Various indictments by The Walls front man included the well-recognized satirical 'That one looks Jewish! And that ones a coon!'... 'Theres one smoking a joint and another with spots!' followed by the incredulous 'If I had my way, Id have all of you shot!' This perennial Pink Floyd standard is wildly impactful each time I've seen it performed, including twice in 1980 when The Wall was staged only in Los Angeles and New York.

The first offering segued nicely into Mother. The number is about an overprotective parent who helps build walls around her son. During this song there was an especially mind-blowing up close image of Waters on the video screen which seems permanently embedded in my brain. After the lyric 'Mother should I trust the government?' Roger glared sternly towards the camera, shook his head, and mouthed the words "No fuckin way!." Waters at his best!

A trip back to 1968 was next, as a psychedelic red, white, and blue oil and water lightshow inspired visuals were projected overhead during the stellar Set The Controls For The Heart Of The Sun. The three talented backup singers adopted lotus stances during the classic gem.

This was followed by Shine On You Crazy Diamond which paid homage to Pink Floyds co-founder Syd Barrett who was nudged out of the group in 1968 due to severe mental problems. Numerous early images of the scattered musical genius appeared behind the band, including a 20 second film showing Syd from behind, walking toward the ethos.

Waters passion was already evident, as was mine for his late friend; I found myself with tears unexpectedly running down my cheeks due to their connection, as well as my gratitude for simply being there that night. It was the fourth time on four U.S. solo tours that Ive seen Roger; I said after my first show in 1985 that I would never miss another Waters tour no matter where I had to travel. And this jaunt to Buffalo on the very last night of this American tour fulfilled my ongoing intention.

Two more including the title track from the album Wish You Were Here came next, including Have A Cigar, that a to greedy record company executives everywhere. Waters then sat down to sing Southampton Dock. I love the angst which is so deeply emoted in the last Pink Floyd studio album. The Final Cut visuals of the soldier in the field and the poppy plant flashed behind him, followed by extremely fitting images illustrating the next song, The Fletcher Memorial Home (for incurable tyrants). Tattered framed pictures of Begin, Reagan, Stalin, Hitler, Thatcher, George W. and Saddam were hung on the paint peeling walls of the assisted living center for former rulers. Plus, throughout the night, without fail, every time an image of George W. Bush appeared, boos and middle fingers cascaded from the crowd.

The theme of greedy, ruthless governments and massive corporate influences continued as Roger put down his guitar and strolled emphatically across the stage with microphone in hand while performing Perfect Sense, Parts 1 & 2. During the climax of the songs' chorus, Waters thrust his arms out to his sides as he howled 'It all makes perfect sense, expressed in dollars and cents!.' Rogers global social conscience and peaceful world activist's leanings became even more apparent to any who were not aware of them by this time when he introduced his newest song Leaving Beirut. He told the story of when as a teenager, he was welcomed into the home of a Lebanese couple after Rogers car had broken down on a summer trip. His gratitude and surprise that this couple of limited means would share everything they had with a young foreigner has formed the foundation of a beautiful vision of world peace reminiscent of John Lennons Imagine. After more than 40 years the generosity and love of his hosts occupies a place in Waters heart from where his humanness continues to spring forth. Terrific comic book style panels illustrated the memorable trip which touched Roger so much, and this selection concluded with a current plea for America to please rise up and be the world leader we could and used to be.

The Animals album was well represented with Sheep, the last song of the first set. It reflected the masses proceeding blindly as they follow others and simply go with the flow without questioning, engaging others, or seeking answers to formulate ideas for themselves. Sheep was absolutely massive in every way; it was made up of the fullness, bigness, and tightness of the band, the outrageous visuals on the incredibly huge screen behind them, and stunning pyrotechnics which punctuated the musical bombardment.

As if all of this was not enough to thoroughly infatuate those in attendance, a giant inflatable pig flew welcomingly just above the audience. The crowd marveled at its aura, as well as the numerous graffiti splashed slogans scattered all over its body like; Torture shames us all, and Habeas corpus matters. It's probably no coincidence that the one that stated; Impeach Bush Now, was placed strategically near the giant porkers asshole.

Overall, I'll never forget the all-encompassing experience of the performance of this song as its colossal size captivated my inner and outer senses. The explosive shower of sparks which came at songs end was an amazing conclusion to an absolutely incredible set.

The band left the stage with Roger promising their return in 15 minutes. There was a mad rush for the restrooms and concession stands, even though it had started raining. The frenzy reminded me about the heartiness of Buffalo crowds (which I hadn't been a part of in 30 years), and how hard they enjoy themselves; Western New Yorkers definitely party with exuberance

The pulsating entry into The Dark Side Of The Moon had people scurrying to their seats so they'd not miss a single beat or backdrop. The Waters-inspired creation had Roger alternately leading and stepping into the background as his band brilliantly performed various parts of the meandering masterpiece. The soft and soothing vocals of 'Breathe, breathe in the air' was the first of many stirring lines which set the mood throughout the second set. The visuals appropriately went crazy with quick moving colors, psychedelic images, and stark photographs during On The Run, which then segued into the loud chiming of clocks that began Time.

Each number seemed to top the previous one in some way while a certain harmony and ebb and flow reigned within the piece. Frantic paces were wonderfully balanced out by beautiful slow movements. The Great Gig In The Sky's clean, simple, and melodic progression peaked at perfection when the incredible female vocals kicked in. All eyes were on vocalist Carol Kenyon as the wailing sounds she created rose and fell again and again while she moved closer to her musical orgasmic explosion that inferred a complete loss of control. As the strains of her contribution were rewarded with one of the loudest cheers of the night, the sounds of cash registers in the background teed up Money. Fans sang along knowingly with the anthem which has been a huge staple on FM radio for nearly 35 years. Some of the same imagery from previous tours was used during this song, yet the film was shown in a monotone olive color rather than full spectrum. This small touch indicates that Waters is aware of what his show portrays and that he's always tinkering with even the most familial of pieces.

Next came Us And Them. The soft expression with the eerie vocals and mellow brass sounds built to a magnificent crescendo with emphatic sax solos that recoiled into bliss at songs end. Shortly after, the patter of disturbed laughter was heard from the four corners of the amphitheater. It was wild listening to the giddiness coming from all around you. Rogers presence and performance allowed all of us there to enjoy that lunatic in our heads, as we have countless times since we first heard this timeless music.

The various perspectives of the moon shown on the screen throughout the set merged into an awesome closing visual during Eclipse. As the lasting words of Dark Side faded, up came the bass-like pulse of a heartbeat which lead to a prolonged eruption of cheers and adulation for Waters and the band.

Pink Floyds Dark Side Of The Moon is one of the most enjoyed, most often played, most well-known, and highest selling albums of all time. It is recognized virtually all over the world, and its immortal themes and nature have already touched several generations since its release. There is no question that this magnum opus will continue to inspire future listeners for many decades to come, and maybe more. Having the opportunity to enjoy it performed live in its entirety is an experience that I'll always remember. Like attending The Wall in 1980, I had a sense that I was very fortunate to be seeing musical history right in front of my eyes, and thats something that I'll always treasure.

After the performers took their bows, they returned a few minutes later for the encore which began with the sweet sounds of The Happiest Days Of Our Lives. Once it morphed into Another Brick In The Wall, Part 2, the crowd was in a frenzy while singing in unison 'We dont need no education.' It actually was more like unabashed shouting, as the rock anthem crested with 'Hey teacher! Leave those kids alone!.' The enthusiasm of 'All in all were just another brick in the wall' was the best and most exuberant concert sing along I've ever enjoyed.

Vera Lynns face appeared on screen during the next song, which was named after the 40s British sweetheart. Her career as a singer flourished during World War II, and the reminiscing of those war years brought Roger to the brink when he aptly blared 'Bring the boys back home,' which also mirrored his stance on present day matters.

In a handful of spots here and there throughout the evening, the introductory scene of Pink, our on-screen host played out further. By the final song of the night. We'd not only seen our subject and the disarray of his disheveled dwelling, yet we came to see that his drug induced stupor had made him Comfortably Numb, the name of the final song of the night. He zoned out behind Waters and the band while one of Pink Floyds most popular and well-known pieces closed the show. To me, the thin white vertical columns of light in front of him looked like bars, symbolizing a dead end prison of despair our video star found himself in.

Flash pots exploded and several huge columns of sparks shot up as the evening came to a fantastic finish. Final cheers from the crowd were met with waves, thank yous, and bows from Roger and his mates and they called it a night. Waters had again delivered without question a night to remember for years to come. He proved that his astounding risks, stage command, and musical legacy are held in a world of admiration that continues to grow with time.