Nashville, TN (2000)


  1. In The Flesh
  2. The Happiest Days of Our Lives
  3. Another Brick in the Wall, Part II
  4. Mother
  5. Get Your Filthy Hands Off My Desert
  6. Southampton Dock
  7. Pigs on the Wing, Part 1
  8. Dogs
  9. Welcome to the Machine
  10. Wish You Were Here
  11. Shine On You Crazy Diamond


  12. Set The Controls For The Heart of the Sun
  13. Breathe
  14. Time
  15. Breathe (Reprise)
  16. Money
  17. 5:06 A.M. (Every Stranger's Eyes)
  18. Perfect Sense, Part 1
  19. Perfect Sense, Part 2
  20. The Bravery of Being Out of Range
  21. It's A Miracle
  22. Amused to Death
  23. Brain Damage
  24. Eclipse
  25. Comfortably Numb


  26. Each Small Candle


From zoomga (Chat Zone 6/7 10:48 AM)

The stage set the tone for a nifty night of subtle theatrics. Guitars and drums were at stage right, keyboards and 3 backup singers were stage left. The singers had two cheap hotel-style sofas (complete with lamps and end tables) to sit upon when they were not performing. Roger's mic was front and center, and at the rear center of the stage was a dining room table and four chairs. Beside it was a TV and more lamps, continuing the cheap hotel theme. The TV was on throughout the show. During the first set it showed a black and white Kirk Douglas war film, and during the second set it broadcasted "2001: A Space Odyssey."

Each song was punctuated by huge, very effective rear screen projections. Most of the projections were either variations of the album graphics of the songs, or were images from the old Floyd stage films from the Seventies. The songs from "The Wall" featured images of the characters from the songs, "Dogs" had multi-colored shots of urban decay, and during the long drums/keyboard section of the song, Roger and the guitar players went back to the table and played a few hands of poker. "Wish You Were Here" was highlighted by a heavy mist and a projected collage of shots of Syd Barrett. "The next song is dedicated to one of those whom we REALLY wish were here," said Roger as an introduction to "Shine On You Crazy Diamond", which was accented with a psychedelic pulsating color light show that segued into more shots of Syd. The song ended with the ascension of a swirling, multi-surfaced flower-shaped mirror that reflected thousands of criss-crossing beams of light into the crowd. A surprising highlight of the show was the lengthy second-set performance of numbers from "Amused To Death." The album has always seemed to be a bit sterile, but the songs really came to life on-stage and proved to be far more powerful than the studio versions. Throughout the show, Roger was jovial, funny, and shockingly animated, and seemed to be having a genuinely grand time. After a set-closing "Comfortably Numb", a beaming Roger said "Thanks for coming, and thanks for LISTENING. It does make a difference."

This WAS a show to be listened to. The sound from the stage was sent to the audience via a fantastic quadraphonic speaker system, and the music literally SWIRLED around the crowd. The echoing "Stone...stone...stone" from "Dogs" seemed to creep up from all sides, and the "Floydian" sound effects all had their familiar "headphone power" intact. Above all, this was a show that truly captured what makes the music of Pink Floyd (and of course, Roger Waters) work. Where the David Gilmour-led Floyd shows are entertaining, they are ultimately about stadium-sized bombast, fists in the air, and explosions. By contrast, the Waters show is about quieter moments, where songs can drop to a whisper before roaring back in an intense burst of sound. It's the little things that make Floyd so special, and Waters understands this far more than his old bandmates. The one new song of the night, the Amnesty International-inspired "Each Small Candle," may have been a little lyrically heavy-handed at times, but was still a nice way to end the evening, and it perfectly demonstrated the power of the more subtle side of Roger Waters's show. As the last note of the song ended sharply, Waters flicked on a single lighter and held it aloft as all the other lights on-stage went out. A powerful moment, and in its own way far more memorable than the huge pyro displays that Floyd doles out these days.

From Simon Hyatt (Email 6/9)

The opening words, "so ya thought ya, might like to go to the show," cast the inevitable thrill of confusion. A cool summer evening, June 6th marked the first time in my life to have the privilege of seeing the greatest musician/lyricist in the world, in live performance! The band was phenomenal, carrying the support for Roger as well as the boys of Pink Floyd ever did! Snowy White took the stage very admirably and rocked the house! Roger also took the controls during several songs and showed to the world, that yes, he can make that guitar scream too! The days of having Syd Barrett tune his bass, are long gone, Roger Waters is a very accomplished musician today!

"In the flesh," at 8 o'clock sharp sent chills down my spine! It was real; Roger and his band fit the scene perfectly! All dressed in black, the stage was primarily black and the bright metal hues from the instruments. It had the appearance of being a classic phenomenon in the making! The sound system was excellent and turned up to the max from the beginning. "The Happiest Days of our Lives," which this was preformed flawlessly as was the rest of the concert! The projection screen was full of vivid animations, and psychedelic colour.

"Another Brick in the Wall (pt. 2)," got the placid crowd, on their feet and singing along! The crowd was disappointing and consisted mostly of older folks! The back-up singers were excellent; Along with the entire presentation for that matter. During this song, some really awesome new animations were shown. A very wild looking metallic monster and many hidden faces with in the projection. Two video screens offered views of the musicians. "Mother," was performed brilliantly with very familiar animations from the Wall and some great new stuff! The songs from the Final Cut were astounding and definitely beckon listening to that recording a few more time! "Dogs," was wonderful. Snowy White and Roger Waters fit together perfectly! The dogs echoed around the amphitheatre magically! "WYWH & Shine On," offered some classic shots of Syd Barrett and memories to the band, Pink Floyd! And shots of the MIR Space station, with the Pink Floyd WYWH music being played aboard.

Having dropped the KAOS excerpt from '99's show the Second Set was opened with a lovely cut from Saucerful of Secrets. Absolutely astounding! This performance was better than studio! SO, SO loud! Flawless! The cuts from Dark Side of the Moon were filled with awesome projections of the prism and colors! This was just the extreme of what Roger has written over the years. The moon was hanging in the sky the entire show, and you could actually see the dark-side of the moon, as the bright side was obscured in to a small fingernail shape! It was quiet fitting. "Every Strangers Eyes" was absolutely lovely! Roger offered a tribute to the American Indian on the projection screen and pictured three American Indians on three horses. The song really made you feel like Roger cared for his fans.

The Amused to Death songs were the highlight of the show in a way. The showed the pure power of rock and the excellent style of Roger to create music for the mind! Roger seemed to really enjoy the performance, and was dynamic in the production. During Amused to Death he squatted on stage looking at people right up front. At the end of the Second Set, Roger offered "thanks for listening, it really does make a difference!" And the band joined hands and bowed for the crowd.

The band left the stage and headed off, but the call of the crowd came, and the encore of "Comfortably Numb" was preformed and spectacular! They faked a move and headed off stage again, but the screams could be heard and Roger came out and preformed "a new one" -- "Each Small Candle". Blown away, we went back to the campsite and continued to listen to the recordings! My wife and I had the pleasure of attending the concert with a group of 4 guys and 1 girl all from New England. We had to be the most excited about being there in the flesh! Much celebration commenced! They had all attended at least 3 shows last year. Absolutely Spectacular! Flawless musically! Truly, "the greatest show on earth".

From Zoyd (Chat Zone 6/8 9:23 AM)

It was a beautiful, cool night, and darkness did not fully descend until the middle of the first set, despite the fact that Roger started about 8:20 or so. The sound here was both louder and clearer than Atlanta, (we were in approximately the same position) and the music was pristine. I looked over at one of my buddies at one point during Dogs, and he just had his head tilted back and his eyes closed. "It was all I could do," he said later, "the music was so good, I couldn't even look at the stage; it was overload just listening..."

On a couple technical notes: the screen during the 2nd half of the show malfunctioned, producing some off-focus images occasionally. It was interesting to see that, because it indicated that as many as 4 or 5 slides are actually being projected at any given moment (rather than 2 or 3). I also thought the liqui-slides were more "cool" this time, more colorful & varied. The stage (& screen) appeared slightly smaller than Atlanta, and the couches & lava lamps were absent in favor of a sort of cheap looking table, at which the round of hearts/spades was played during the Dogs break.

Regarding the hired local musicians: for Set the Controls, Roger had what looked like Garrison Keillor come out and play *trumpet* which was both cheesy and, well, awesome because the guy was a really *great* trumpet player; Roger later introduced him as a member of the Memphis Horns. What was funny though was that the guy wouldn't quit playing when his break was over and the guitarists started their part--he was still playing over the top of them! Rog leaned over and repeatedly gave him the across-the-throat kill signal, but the guy was really into it and Rog finally had to give him The Tap. The guy who played the sax break on Money was unfortunately mixed down and his solo was indistinct (hence not much to say about it).

For once in my life I did NOT have THAT GUY in front of me--the one with the white baseball cap turned backwards, dead drunk, taking his shirt off during intermission, going WWWWWWWWWOOOOOOOOOOOOOOooooooooooo the whole show. He was nowhere in sight, so prayer does work, PLS! Anyway, the audience was a bit older, and even the college-age guys & gals around us were not the screamers & whistlers that were in Atlanta & elsewhere. (I was told later that Nashville is a town that appreciates its music no matter what it is, hence at the end of the show when Roger was saying his Thank Yous, he leaned over and pointedly said "And thank you for *listening*" which says a lot right there. This was probably the best audience I've ever been a part of (speaking for section 102 anyway).

From CDNOW.COM (6/7 1:10 PM)

Roger Waters Relies On Pink Floyd Tunes On In The Flesh Tour

Roger Waters was more than halfway through his set Tuesday (June 6) at the AmSouth Amphitheatre in Nashville before he played one of his solo songs. On the third night of the current leg of his In the Flesh tour, the former Pink Floyd bassist concentrated on material from his old band. He played Floyd tunes as old as Saucerful of Secrets' "Set the Controls for the Heart of the Sun" and as recent as The Final Cut's "Southampton Dock"

Waters split the nearly three-hour concert into two sections: During the first, tunes from The Wall dominated the set list - "In the Flesh?," "The Happiest Days of Our Lives," "Another Brick in the Wall Part 2," "Mother" -- though Waters also tapped into The Final Cut, Wish You Were Here ("Welcome to the Machine," "Wish You Were Here," "Shine On You Crazy Diamond"), and Animals ("Pigs on the Wing [Part 1]," "Dogs").

After a brief intermission, Waters opened the second set with "Set the Controls," then hammocked several of his solo tunes, including "Every Stranger's Eyes," "Perfect Sense," and "Amused to Death," between numbers from Dark Side of the Moon.

Waters' nine-member band included the core trio that has played with him during most of his solo career - drummer Graham Broad and guitarists Snowy White and Andy Fairweather-Low. Guitarist Doyle Bramhall II, keyboardists Jon Carin and Andy Wallace, and three female background singers completed the lineup.

Like Waters, who appeared austere in his tailored suit and collarless shirt, the entire band dressed in black, and Waters played down the head-trip visuals in favor of vintage slides from early Pink Floyd tours. Sonics, of course, were a different matter: Surrounding the seats of the amphitheater with speakers allowed synthesizer solos and sound effects to pan around the amphitheater, pinging from right to left and from back to front. During extended instrumental passages - like the middle section of "Dogs" and the intro to "Shine On You Crazy Diamond" - the musicians who weren't needed sat at a table toward the back of the stage and played cards.

Of all the bandmembers, Bramhall played the most prominent role. Playing a red, left-handed Stratocaster for most of the night, his Texas-blues-based solos provided roots for Waters' more esoteric musical flights. He also filled the David Gilmour role on the Pink Floyd material, taking the lead vocals on tunes like "Money" and "Breathe," while sharing vocal duties with Waters on "Time" and "Comfortably Numb," the closing song of the second set.

Waters also brought out two local guests, trumpeter Wayne Jackson and saxophonist Andrew Love of the Memphis Horns. Jackson played a solo during "Set the Controls," while Love played throughout "Money." He closed with a new tune, "Each Small Candle," which set dark music against hopeful lyrics that retold the Good Samaritan story with a Serbian soldier and a wounded Albanian woman. After singing the song's refrain - "Each small candle lights a corner of the dark" - Waters flicked a lighter as the stage went dark, prompting a similar response from thousands of fans throughout the venue.

From gmjz (6/10 11:02 PM)

Instead of a full review from the Nashville show I'll just list a few things:

Nashville Mistake: PP sang And the germans kill the jews and the jews kill the arabs and THE GERMANS KILL THE HOSTAGES

Doyle's Guitar string broke on Comfortably Numb. He played through it with an excellent five string lick.

The sound was louder than the 99 shows and the quad system was used more effectively.

My overall opinion is the band is tighter and should improve further as the dates continue.

Hard to believe, but ITF2000 is much better than ITF99.

Thanks Rog!

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