That evening at Circus Maximus we, Roger Waters and seagulls

The concert of Roger Waters at Circus Maximus begins at 14h on July 14, although to define it as a concert would be more or less reductive as defining "piazzale" the Circus Maximus or Rome "a city". In Us + Them the title of the tour that today reaches its last and scenically most important European stadium, Roger Waters is more Richard Wagner than Pink Floyd.

Waters' is a proposal from Gesamtkunstwerk rock: a work of art so complete that, in no particular order, it includes: two flying pigs, one of which is bilingual, marked "Stay human" "from one side and" Restate the humans "from the other; the projection, by laser, of a three-dimensional prism on the public; a moving tribute to Razan al-Najjar, the twenty-one Palestinian nurse killed by an Israeli sniper during a demonstration; a glittering little moon, without dark sides, which lurks the public; a satirical musical comedy about Donald Trump; real fireworks from the chimneys of a flying factory; Twenty slides with Waters programmatic manifesto: getting together, practicing together a detailed series of forms of civil and cultural resistance.
The productive choices behind this show are so inherently multi-media and multi-disciplinary that they would make any other concert appear. a show like this is a simple Word document, with regard to the depth, subtlety, audiovisual generosity of the huge Keynote prepared by Waters. Moreover, the political appeal that is contained there is so sincere and sincere that every May day becomes a Negramaro concert.

There is not a minute that is both entirely entertaining and completely political, both Warhol in photography and visions that Orwellian in the themes and strength of the metaphors employed. Us + Them is a concert masterpiece because it is both educational for young people and very young, very rare, relatively self-directed for adults and children. great babies.

The other great merit of Waters is to cancel the distances between his audience. Who does not have the ticket from the pit and does not want to stay behind the scenes endless of a concert of more than 45,000 people and three generations (with a fourth, imagine, already in the pipeline), queuing at 11 o'clock in the morning. The hope is to grab a place in the sun, wait for the end of the evening and turn the screen behind the stage. In the meantime, anything can happen. A young man from Fred Perry of sector A is constantly talking with the most adorable shabby-chic girl in sector B. Piramo and Tisbe between the barricades, now hold hands, under the eyes of civil protection.

The aftertaste of I adore by Christian Dior rivals that of the reeds. The pit – which knows only two price ranges: the pit area and the rest of the world – and intergenerational, is also multi-income. Someone does not manage to camouflage himself. Unfortunately, they have not yet invented the figure of the Birkenstock ambulant. A couple of Hogan Interactive is also stressed, not so much as a sign of collusion with strong powers, because the physical stature of those who wear it, gross of the secret rise, prefigures future visibility problems. With the sun at its zenith, the race for those who wear the oldest Pink Floyd merchandising begins. 1973 beats in length 2011. As for the length of the boats in Porto Cervo, there is no limit to the ingarellamento: sooner or later there is always someone better placed than you . A woman shows off her t-shirt from the first tour (September 30, 1966). But here is a guy who reaches out, and, in Parioli's perfect Italian, smiles: "Pleasure, I know David Gilmour".

The first video throws a mysterious aura on the public. What will this beach say in full screen, while the quadranged speakers will reproduce the sound of the waves (double audio of the Romans: "Come to Capocotta!"), The worms of the seagulls ("Come to Piazza Venezia!")? Sitting back to us, a woman is waiting for something, her head covered with a veil. When the first coil of the drums by Joey Waronker bursts into the crates, and a chrome sphere (our moon without dark sides), a little "citing Melancholia by Lars von Trier, a little". ; making us genuinely take a breath, burst into the beach, sweeping the world with, cigarettes still burning, more or less witty comments. It is only then that begins the show

The common point between all parts of the show, big and small, is this little moon of money, which reflects everything, understands everything, does it all. If necessary, also from the eye of beef: during the solos, on the screen, it expands to frame the musicians, live and in high definition. When he finished playing all his roles on the screen, he came out and, in the form of an inflatable, throbs on the audience's head, reflecting on its surface Palatine Hill, Rome, the Romans , the lights of Roman telephone screens. This moon is the message of Us + Them . In the first scene he seemed to be attacking us, but in reality he was saving us from sinking. It's the symbol of what Waters means by a total art work.

In fact, the most political element of the show, in a high sense, is the relationship between the screen, the stage and the audience. Only God or Roger Waters (who, for the present, is the same thing) know how the workers could, Pharaoh, mount this screen. It is 66 meters wide and 12 meters high ("Ammappa is what Corviale"). The colors of the video are almost lights: when we light a new scene, we warn them on the body, loud like the bbad. Here, it must be said that the Circus Maximus does its part better than any Hyde Park. There is nothing better than a stadium, where the public has always been part of the show, to represent the fundamental concept of this tour: we can all do our part to resist. Even the guy who does not stop filming with the 12.9-inch iPad Pro Welcome to the Machine .

The most direct political moment of Us + Them in a lesser sense is anti-trumpet music. It is divided into two strands. The first is the visual grin, the same and contrary to Trump's narrative record itself, in which we make fun of Trump with lipstick on the lips, Trump 100% pig, Trump of the little member. Less interesting from the point of view of the content, resounding of the visual, with the many cartoons that seem to come out of Andy Warhol's factory, like the wigs of the singers, Jess Wolfe and Holly Laessig: the Lucius.

The second installment consists of a dozen slides with quotes from the American president that, combined with the music and lyrics of Pink Floyd, take on a surreal, communicative tone more effective than outrage.

To this is added a very Italian political note. There is a slide, one of those projected during the 20-minute break, which lists a series of personalities of international neo-fascism that must be resisted. There are: Trump for the United States, Orbán for Hungary, Le Pen for France, Kurz for Austria, Farage for the United Kingdom, Putin for Russia. A beautiful dream team. However, there are no Italian references. This, in spite of the compaiano video, under the title Money money Berlusconi and Monti. And despite that of the whale found with 20 pounds of plastic in the stomach (to which another slide is dedicated), and that of the badbadination of Razan al-Najjar, are almost contemporary news regarding training of our current government. A message of hope?