ROGER WATERS : THE DARK SIDE OF THE MOON REDUX (LIVE)

1. Speak to Me
2. Breathe (In The Air)
3. On the Run
4. Time
5. The Great Gig in the Sky
6. Money
7. Us and Them
8. Any Colour You Like
9. Brain Damage
10. Eclipse

Label : SGB Music / Cooking Vinyl

Venue : The London Palladium, London, UK

Recording Date : October 8 & 9, 2023

Release Date : April 12, 2025

Length : 47:50

Concert Review (Neptune Pink Floyd) : London West End showman Roger Waters has performed his Dark Side of the Moon Redux at a popular theatre in Soho. The London Palladium saw 2,286 people watching a very intimate show in a relatively small venue, much smaller than the 20k people who saw him down the river at the London O2 Arena recently. The first “set” featured Roger talking a lot, including reading long passages from his forthcoming memoirs which is more about his past pets rather than tales of the rock ‘n’ roll variety. Brain Damage reported that Roger said it is called “I’ll See You On The Dark Side Of The Moon: Memoirs Of A Lanky Prick”. Some fans may have been quite disappointed about having to sit through an hour of Roger rambling on about his pet duck Donald for 20 minutes plus other tales. He does tend to go on a bit at his arena concerts too, and is quite fond of telling the audience to “f**k off” if they don’t like it, something he repeated last night to one person disrupting his monologue. Perhaps he really has gone mad! Old Pink indeed! The Telegraph said, “he delivered bad Bruce Forsyth and Max Bygraves impressions. It was awkward, uncomfortable and very un rock’n’roll. A master of stadiums and arenas, playing the showbiz raconteur in a theatre he was, well, a fish out of water.” In terms of the music, the Telegraph reported, “During a focused performance backed by 14 superb musicians, he dug into the much loved songs with sombre gravitas, delivering an abundance of new lyric passages emphasising core themes of life as a battle between forces of good and evil, sanity and insanity, “US and Them”.

Concert Review (The Daily Mail) : Pink Floyd fans were left furious during Roger Waters gig at the London Palladium on Sunday night when he spent an hour reading from his unpublished autobiography instead of singing - and even told them to 'f**k off'. The band's former bassist spent an hour reading passages from his unpublished book from a laptop - instead of devoting the evening to just playing the iconic Dark Side Of The Moon songs as promised. The musician, 80, read out pages of notes about his pets, including a duck called Donald, which he discussed for 20 minutes - leaving audience members stunned. Waters had billed the evening as a chance to hear the entirety of his new album, Dark Side Of The Moon Redux. But the musician spent the first part of the night reading out his autobiography, and even told gig-goers to 'f**k off' at one point. He said: 'If you want to tell stories tell them in your own time to your own audience in your own f***ing theatre. By the way, if you can show constraint and stop shouting again.' Waters went on to impersonate the likes of Bruce Forsyth and Max Bygraves, in an attempt to deliver some stand-up comedy. One fan claimed on Twitter they were thrown out just after the interval for saying that the gig had been 's**t' so far and said that his phone had been 'confiscated' - although another said they were just put in pouches for the duration of the concert. They said: '£500 to hear a load of old waffle and slung out after the interval. Not good.' Other angry concert-goers also took to Twitter to slam Waters' performance at the event. One said: 'I am sorry to say but tonight's concert was such a let down. The actual songs were great but the self-indulgent c**p was interminable and finishing over 1 hour later than timetabled is inexcusable.' Another disgruntled ticket-holder added: 'When he sticks to his fantastic music he is brilliant. 'But 60mins of music over two and a half hours is barely a concert. The rambling nonsense ruined a wonderful last 50mins.' Waters was joined by a giant light-up triangle behind him and a huge lighting rig, which dominated the intimate Palladium. When he eventually did get around to the songs, 14 back-up singers joined him for the endeavour. Waters has a composition credit on eight out of 10 tracks from Dark Side Of The Moon, which is the fourth best selling album of all time and was Pink Floyd's principal songwriter. Prior to the gig he tweeted that he was 'excited' for the show, issuing a clip of him singing on stage. Earlier this year Waters was investigated by German police for wearing a Nazi-style black trench coat with a red armband at his concerts in Germany. He also pretended to shoot the crowd with an imitation machine gun during his hit songs In The Flesh and Run Like Hell. This month it emerged that Waters had visited WikiLeaks founder Julian Assange in prison. Assange, 52, has been confined in Belmarsh prison in London since April 2019 after being found guilty of breaching the Bail Act. He is currently facing extradition to the United States to face charges of conspiracy to commit computer intrusion. Waters visited Assange in jail, accompanied by the convict's wife Stella Assange, 39, and former Greek Finance Minister Yanis Varoufakis, who is best known for his role in the Greek debt crisis in 2015. This was the first time that the Pink Floyd co-founder, who has faced criticism for his controversially pro-Russian and allegedly anti-Semitic views, had visited Assange in prison. Just days before Waters was accused of singing that his agent was a 'f***ing Jew' in an improvised song, according to an account from the rocker's ex-producer in an explosive new documentary. Bob Ezrin, a Jewish man who produced hit Floyd albums including The Wall and A Momentary Lapse of Reason, told investigative journalist John Ware that the 80-year-old was a 'bully' in his eyes. He claimed that Waters, while in the studio, invented an offensive song about the band's then-agent Bryan Morrison, saying: 'I can't remember the exact circumstance but something like...the last line of the couplet was: 'Because Mori is a f***ing Jew.'' The performance was one of two intimate shows of the album - and Waters is due back on stage at the London Palladium on Monday night.

Concert Review (The Telegraph) : The old joke about Pink Floyd was “which one’s Pink?” Performing their greatest album live, Roger Waters wore a bright pink jacket, as if finally asserting that title for himself. But if he genuinely wants to be Mr Pink, he’s going to have to raise his theatrical game. Released in 1973, Dark Side of the Moon is 50 years old, the fourth best selling album of all time, made by a legendary group of which Waters was bassist, lyricist, co-vocalist and principal songwriter, who has a composition credit on 8 out of 10 tracks, and is the sole writer of three. Clearly if anyone has a right to revisit this music, Waters does. And had he just stuck to the business at hand, this opening night would have been an absolute triumph. But it turned out to be very much a game of two halves, that shifted from the slightly ridiculous to the utterly sublime. This was the first of just two intimate live performances of his new album, Dark Side of the Moon Redux. The last time Waters played London, in June this year, it was for two nights at the 20,000 capacity O2 Arena, in a production that featured giant screens beaming brain scrambling imagery and all his usual over the top production paraphernalia including dirigible flying pigs, lasers and fireworks. The 2,286 capacity Palladium is a very different kind of space, focussing the audience very intently on the stage, without much in the way of distracting visual extravaganza. Nevertheless, Water managed to squeeze in a huge lighting rig and giant Triangular prism that dangled ominously over the front rows of the stalls. During a focused performance backed by 14 superb musicians, he dug into the much loved songs with sombre gravitas, delivering an abundance of new lyric passages emphasising core themes of life as a battle between forces of good and evil, sanity and insanity, “US and Them”. Waters does like the sound of his own increasingly gravelly voice, though, talking through all the former instrumental passages. There is little of the space that once facilitated listener’s own imaginative responses on the original, as Waters drives his message home again and again. Never the greatest of singers, his voice has dropped so many octaves that it sounds as if Johnny Cash is channelling Leonard Cohen, but the glorious melodies, limber grooves, and some lush work from a six piece string section, otherworldly theremin and beautifully conceived female backing vocals kept it all on point. Such a beloved piece of music played with passion and panache meant the standing ovation from devoted fans was utterly deserved. To get there, however, we had to first sit through a slapdash hour or more of Waters the bad stand up comedian, making speeches, telling hecklers to “f___ off”, and indulging himself by reading (from a laptop computer) long passages from an unpublished autobiography focusing not on rock’n’roll tales but various domestic pets he has known, including 20 minutes on a duck called Donald. It had an unrehearsed air, with a tension exacerbated by Waters’s school masterly demeanour, as he sternly brooked no interruption. Perhaps carried away by the theatrical setting, he delivered bad Bruce Forsyth and Max Bygraves impressions. It was awkward, uncomfortable and very un rock’n’roll. A master of stadiums and arenas, playing the showbiz raconteur in a theater he was, well, a fish out of water. It is impossible, these days, to review a Roger Waters gig without confronting his politics, even if Waters made a point of steering clear of anything remotely contentious. He has lately faced accusations of anti-Semitism, which he has vigorously, articulately and comprehensively rebutted. Whatever the current sensitivity of his pro-Palestinian positions, there has never been evidence of bigotry and racism in his work, with the essential message of his music being one of amplified empathy and compassion. He made a point of thanking Andrew Lloyd Webber, the owner of the Palladium, for resisting calls to cancel his shows from lobby group Canpaign Against Antisemitism (or, as Waters called them, “Campaign Against Free Speech”). But he spoke loudest when he let this really extraordinary music do the talking.