Roger Waters | 06.19.07 | Oakland, CA
By Team JamBase Jul 10, 2007 • 12:00 am PDT

Roger Waters :: 06.19.07 :: Oracle Arena :: Oakland, CA
![]() |
Since Pink Floyd’s one-off appearance in July 2005 at the London Live 8 concert, the fervor of Floyd fanatics for a proper reunion with founding member Waters has been stirred up again. But, with creative control issues still lingering between Waters and David Gilmour, and Gilmour’s stated intention that he has retired from lengthy touring, hopes of an extended Floyd reunion remain, at best, a pipe dream.
Until then, Waters will more than suffice. While he’s committed to not playing stadiums (unlike the Gilmour-led Pink Floyd), his fans have still come to expect the highest standards of audio and visual quality, and this tour was no exception, with elaborate staging designed by Mark Fisher, complete with projections, floats and a 360-degree quadraphonic sound system.
His band featured, amongst others, Waters solo vets Andy Fairweather Low and Snowy White (who played a solo on the Animals ancient 8-track) on guitars as well as Roger’s son Harry Waters on Hammond organ.
![]() |
The beloved paean to Syd Barrett, “Shine on You Crazy Diamond,” followed, and while the images of the recently deceased Barrett floated by on the video screens, this performance seemed rather by-the-numbers, although vocalist David Kilminster brought some zeal. “Have A Cigar” was a nice addition to this latest tour, Waters not having played it in years and it segued properly into the emotional sing-along “Wish You Were Here.”
![]() |
The one new song Waters has played on this tour (since 2006) is called “Leaving Beirut.” Waters introduced it with a story of how a family in Lebanon took him into their home when he was hitchhiking. “Beirut” is a lyrically complex song that draws parallels between Waters’ youth and his present objections to the U.S. involvement in the Middle East. Musically, “Beirut” leaves a little bit to be desired, with its 1950’s throwback theme. Perhaps the song grows on one upon repeated listens but it lacked the immediacy demanded in a live setting. However, the visuals for “Beirut” must be acknowledged – a series of graphic novel quality illustrated projections that depicted Waters’ adventures in an innovative format.
![]() |
The old Floyd staple, the floating Pig, has been resurrected for this tour, but with a Waters-inspired twist – the Pig was scrawled with political graffiti including “All Religion Divides” and a strategically placed “Bush is an Asshole” on the float’s behind.
Second set kicked off with glorious harmonies befitting “Speak to Me” > “Breathe,” but it was “On the Run” that was the early standout, with its still innovative mélange of synthesizers, guitars and newly added effects such as construction and traffic noises that were jarringly effective. Visually, “On the Run” was spectacular, as well, featuring a blurring array of cosmic and psychedelic visuals that proved the perfect enhancement to the hyped tempos of the music.
![]() |
The closing suite of “Brain Damage” > “Eclipse” ended the sincere recreation of DOSTM by Waters and his band. And what would Dark Side be without incredible female backing vocals? Katie Kissoon, P.P. Arnold and Carol Kenyon were more than up to the task.
![]() |
A jammed out but characteristic “Comfortably Numb” closed the show, and while it’s an undeniable classic, perhaps next tour Waters could mix things up a bit and close the show with an equally potent rocker such as “Not Now John” from The Final Cut.
Should Waters tour again? Indubitably. Even approaching his mid-sixties, Waters appears as vital as ever and there is no reason he shouldn’t continue performing live indefinitely, even if Pink Floyd’s future is still obscured by clouds.
JamBase | Oakland
Go See Live Music!