Photo: Paul Bachmann
It’s a rule of thumb that classic songs are timeless because they deal with universal themes. They generally cover the full spectrum of human emotion; love, loss, happiness, friendship. But not entirely.
Corruption, questionable moral behaviour and suffering are no less a part of the human experience, and sadly it’s these elements that make this headline show nothing less than absolutely topical.
Heavyweight support comes from Richard Ashcroft, who is prolonging the renaissance triggered by his album These People two years ago. Adorned in the sparkly jacket first unveiled on an unsuspecting public last week at Liam Gallagher’s Community Festival show, Ashcroft treats us to a full set this time. Whilst being perhaps too reliant on Urban Hymns (5 of the 9 tracks), it’s a further reminder of the quality of the album and its legacy.
Roger Waters’ show is everything a Pink Floyd fan could want, apart from the obvious. Whilst purists could debate about certain exclusions, with such a rich back catalogue it would be impossible to please everyone. At first it’s slightly unerring to hear Waters singing tracks originally sung by David Gilmour – Breathe and Wish You Were Here being the most striking examples – but the quality of the songs in question ensure it’s a fleeting discomfort. Waters doesn’t even attempt Money, generously giving up the limelight to his lead guitarist Jonathan Wilson who, via the medium of his axe, sends shivers around Hyde Park. All the while an inflatable pig, adorned with the message ‘Stay Human Or Die’, travels around the park.
The pig is just one example of this being a show in the truest sense, although it’s more accurate to call it an assault on the senses. Presented in true quadraphonic style, with different noises coming from different speakers (your reviewer actually thought the nearest speaker was broken before Waters opened with Speak To Me), it’s a reminder that Pink Floyd were pioneers in their heyday.
As well as the aforementioned pig, for the second set (for it was that type of gig) the stage was transformed into Battersea Power Station, complete with ‘chimneys’ rising from each corner. And as for other visuals, the leader of the free world certainly got a lot of screen time. Either pulling some of his most unflattering poses, or dressed as a baby, we were left with no doubt as to Waters’ thoughts on Donald Trump.
Therein lies the tragedy behind the pertinent messages. When first written, the album Animals was essentially a comment on the decay of society and the descent of human beings into nothing more than, well, animals. Originally set against a backdrop of 1970s Britain, the themes and messages of Dogs And Pigs (Three Different Ones) work well in the 21st century. In case the point is missed, all the tracks performed from Waters’ most recent album (Is This The Life We Really Want?) further emphasise the message (‘picture a leader with no f***ing brains’).
Making his thanks towards the end of set, Waters delivers a monologue about the Universal Declaration Of Human Rights and its relevance to Palestinian nationals. A thorny issue, it incurs a few boos, but as a 3D version the famous Dark Side Of The Moon prism shines over the crowd, accompanied by Comfortably Numb, any detractors are silenced.
