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LUCCA – Roger Waters' technology is not optimistic. It does not cure, it is not entertainment. This is not peacemaker. This does not solve the problems, but poses them. Technology is the medium, the end but also the content of Pink Floyd's bbad tour: dark, sullen, abysmal, a black mirror where we are all invited to look in our eyes our fears, our anxieties, which bothers us moreover, it torments us, and we do not have the courage to pronounce. True, in the first part of "Us + them" been in the air (seen Wednesday 11 in Lucca, under the walls of the city, as part of the Summer Festival, Saturday 14th stage in Circus Maximus in Rome, some changes of scale compared to spring) you also fly in the other. But in a space that vibrates with the hustle and bustle of Kubrick, this is certainly not the dreamed goal but – using a metaphor of Dante – a purgatory from which to observe the earth and its sufferings. The tunnels of madness. Supermarkets fake well-being. This is an important concert, that of Waters. Not only because it gives you the opportunity to hear again some of the most beautiful chapters of the Pink Floyd saga (from "Wish you were here" to "The great concert in the sky", from "Mother" at "Comfortably numb") nails the viewer to his responsibilities. He throws an unhealthy, grotesque, politically defeated, rotten gift on his face. And of which he risks being unconscious.
A present that exudes sadness and loneliness, like the image of the woman from behind watching the sea, projected on the mega-screen before the concert: a migrant who observes the water where A- Did he see his children die? Does this low palatal tide hint at a dead-end future? And the waves so far away mean that the path of suffering is still long? In the invitation to not think propelled by the new rights of the world, in front of a pop posed on the abyss of absurdity, Waters warns us
"Resist". It is written on the t-shirt that twenty guys (all from Lucca) wear, on stage, an orange jumpsuit during "The wall". It is a proud and desperate invocation against creeping fascism, against anti-Semitism (but at the end of the Waters it carries a kefiah which was given to it by the Palestinian refugees, declaring which side it is on.) Against the armaments Against the profits of the war: the "creed" of Waters is projected in the meantime, before the big screen turns into Battersea Park power station (the cover of "Animals", the album Orwellian Pink Floyd, criticism acerbic of capitalism) and "Pigs" in a symphony against Trump, taunted by photomontages in travestì, in the form of pig tired or photographed in the most silly grimaces
Algie, the mythical flying pig, is suspended in the air among the smoking chimneys, then hovers over the public, while the most terrible and senseless phrases of the President of the United States flow. This album, which stigmatized the nihilism of punk. Because the time has come to redo the song a powerful non to recognize, in which to rediscover a sense of community. For this reason, the Waters tour (the last, it seems, of his career) is necessary. In an artistic sense, for the exemplary cohesion of the eight elements of the group (where Jonathan Wilson stands out for guitar and vocals), guided by the tragic and at the same time smiling (but still shamanic) wisdom of Waters. But also civilian.
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