Bankers Life Fieldhouse (Conseco)
June 11, 2012
Since September 15, 2010, Roger Waters has delivered his most beloved work, The Wall, the only piece of Pink Floyd that he can call his, to masses that now cumulatively number in the millions. Though initial reported intentions were to take the show through Europe, North and South America over a six month period, it seems that the 68 year old bassist simply cannot put down what he knows to be a good thing.
To dub The Wall as a show or concert doesn’t do it justice. It is a production of the largest fathomable proportion. Flare like pyrotechnics blaze while pigs fly. Propaganda falls from the ceiling. Planes fly overhead. The animated teacher and “The Trial” characters that appear in the film are portrayed by massive puppets that stand over 30 feet tall.Â Oh, and over the two and a half hour performance, a massive Wall is erected, brick by brick as illustrative images, messages, and pictures of fallen soldiers (sent in by families) are projected upon it.
The point of it all: to draw each audience member into a place where he can let his guard down just enough to perhaps examine his own walls. The other point: to give Waters a platform to share his angry message from his pacifist mind and to allow him to demonstrate his own personal freedom from internal tyranny.
Waters is no longer the pissy bloke who reciprocated waged war with David Gilmour while crafting what is arguably the greatest album of all time, Dark Side of the Moon. He is the jovial chap that yucks in up with Jimmy Fallon. In short, he is what he prophesied and hoped that he could one day be when he wrote the piece: no longer a boy in a man’s shell still devastated by his father’s untimely WWII death; nor the egotist that was birthed by a need to not show a soft underbelly.
The Wall is a journey of epic proportions. Tears of joy (“Vera,” “Outside the Wall”) and pain (“Nobody Home”) flow as freely as the fist pumping that results from “Run Like Hell” or as the air guitar licks that Gilmour solos, played by G.E. Smith, inevitably cause.
The Wall is The Color Purple meets Lethal Weapon and everything in between. On top of that, it is the finest example of production ever displayed in a touring capacity and those who have had the opportunity to witness it are better for having done so. The only drawback is that there is not a show out there that truly compares. Just have a look at these photos from Indianapolis and see for yourself.
And if you would like, have a look back at Honest Tune‘s first trip inside The Wall in 2010.
Click the thumbnail(s) to view photos from the show by Aaron Lingenfelter…
— Honest Tune Magazine (@HonestTuneMag) June 20, 2012