Roger Waters ‘Us + Them’ Tour

Dark Side of the Moon prism shining over the audience at Hyde Park

06.07.18 

Hyde Park

The experience of seeing a member of Pink Floyd is one I wasn’t sure I’d ever have; I remember telling myself when I saw ‘Easy Stars All Stars, does, Dub Side of The Moon’ live in Boomtown 2014, that this is the closest I would ever be to seeing the album performed live. Yet on Friday the 6th July I found myself standing among a sea of sixty-five thousand bearded hippies at Hyde Park for the Great British Summer Time sold out event featuring Roger Waters on his politically charged ‘Us+Them’ tour. We had already confirmed that the  set list would packed full of Floyd classics. 

The event itself also featured Richard Ashcroft, who I must say, as no major fan of indie rock, I wasn’t most excited about, but lo and behold as certain ‘The Verve’ classics rippled through the audience, I found myself just as jubilant as the side-burned rockers surrounding me. As well as this, comic disco duo ‘The Cuban Brothers’ gave me reason to dance and laugh hysterically whilst they delivered a top notch performance, MC-ing, DJ-ing, with some rather impressive dancing in between the main stage acts. It was clear to see around the 7:30 mark, when the smaller stages switched acts, that there wasn’t a single person in the arena who hadn’t been really anticipating this event, and this moment. Perhaps since they brought their tickets, or perhaps since they first brought Floyd’s first album ‘A Saucerful of Secrets’ in 1968.  A side note on the stalls: as you were only allowed to bring in one 500ml of unopened water into the arena, I can comment on the drinks available: the shining star was the Bacardi rum cocktail truck. They kept me hydrated, happy and they tasted like a summer party.

The main stage had two larger than life plastic trees that blended into natural back drop of the Hyde Park trees, creating the illusion the stage was emerging from nature. Also an pyrotechnical impressive screen that stretched the entire width of the stage making for some really cool projections. I couldn’t think of a better song to open the show, immediately connecting everyone in the experience together for moment of history as Roger Waters comes out, the audience hear ‘Breathe’, and reply in the thousands ‘breathe in the air’. 

KKK Trump

What proceeded was a musical orgy for any Floyd fan, with classic after classic bellowing from the stage in almost original perfection. Including the  stunning vocals of Waters backing singers on the ‘The Great Gig In the Sky’, the epic ‘Welcome To The Machine’, then a trio of Roger originals: ‘Déjà Vu’, ‘The Last Refugee’ and ‘Picture That’. To finish set one, we had a selection from ‘The Wall’ album: ‘The Happiest Days of Our Lives’ and closing the set: ‘Another Brick in the Wall part 1&2’ during which, Waters really hiked up the political activism in the show by being accompanied by a choir of children from the Grenfell Tower tragedy, clad in orange prison-like jumpsuits resonating with the story from Guantanamo, and the incarceration of many young black teens in America. My mind had already began to race at the imagery and iconography being used, then Waters wore a jumpsuit also with a hood over his head pretending to be tied up with his hands above his head like a torture victim, an incredibly arresting image. There was no going back from this roaring statement.

Inflatable anti-trump pig... Stay Human OR Die

During the interval, Waters showed politically riveting slogans urging the audience to see the truth of our political state today. Particularly taking aim at the Conservatives and Republicans. He made no secret his aim was to tackle Trump and May. 

Stay Human OR Die

The second act was incredible. Whilst the opening clatters of ‘Dogs’ echoed through the stunning surround sound, the famous pillars of Battersea Power Station arose from behind the stage, smoke and all, and to match, the epically large screen resembled the body of the station… complete with the iconic pig hanging from one chimney to the other as in the  famous ‘Animals’ cover. The audience went crazy. I went crazy, it was almost too cool. As well as this, in the second set, a huge inflatable pig flew over the crowd plastered with anti-Trump slogans and with the words ‘Stay Human /or Die’ as they began to play ‘Pigs (Three Different Ones)’. While immaculate Floyd songs satisfied each Floyd fan, flashing images of Donald Trump  wearing a Klu Klux Klan mask and Theresa May took residence on the screen with a selection of their most haunting quotes. 

Battersea in Hyde Park

The message was becoming as clear as a punch in the face, and if this wasn’t enough, Waters himself andt his band members, during ‘Dogs’, turned around wearing rather scary pig masks and climaxing with Waters himself holding a sign that read ‘PIGS RULE THE WORLD!’. This he then turned to show ‘FUCK THE PIGS!’. It really was astonishing. I wondered how many people might have tried to stop Waters plans in the making of this show, and I admired his spirit, soul and bravery. I also greatly cherished the political education he must be giving some people, plus the outright audacity to which he presented the points. It was simply enthralling, gobsmacking, and damn right BRILLIANT. 

Roger Walters Carrying a sign reading one side: PIGS RULE THE WORLD!, and the other 'FUCK THE PIGS'

"Resistance through together-ness” was the theme and I felt as though Roger Waters was speaking so loudly through the muted voice of thousands of people, whilst ensuring he resonated with their ideologies. Needless to say the execution of the songs were note-perfect, if not larger than life, due to the excellence in sound engineering with surround sound echoing around Hyde Park: the sounds of helicopters and roaring crowds bustled from one side of the park to the other creating a supper immersive experience. Set two reads like an activists ‘to do’ list in sign making: Dogs, Pigs, Money, Us + Them, Smell the Roses, Brain Damage and Eclipse. Before treating us to the finale (appropriately chosen ‘Comfortably Numb’, a sound reflection of the audience), Waters left the stage and came back with keffiyeh scarf. Here he said perhaps the most pertinent political statement of the show…   

Baby Trump

“I don’t know about you, but if you believe in the declaration of Human Rights 1948…void of age, nationality, race or colour, then I believe that this extends to ALL humans, and most certainly to our brothers and sisters in Palestine”.   He then took the scarf and told the audience it was made by Palestinian refugees and he wore it proudly throughout the finale. It was an almost shocking statement to hear in central London, where by the powers-that-be would seemingly prefer to create an illusion that nothing is happening to the Palestinians. 

It was nearly easy to forget the stunning show that was simultaniously unfolding: a feat of pyrotechnics as the 'Dark Side' prisom shone through the air in a fabulous light display potruding from the stage, and of course, a finale of fireworks erupting from Battersea, a spectacle indeed. 

I felt stunned, shocked and completely in love with Roger Waters performance. I could never ever have guessed that he would combine his philanthropy so intensely with his music. Not only that, he challenged an ever-growing and scary ideal that seems to spreading like wildfire, especially in Republican, far right America. All the while public figures are shying away from political subjects in order to keep the calm. However Waters preached humanity, civility and equality for around three hours to 65,000 ecstatic Floyd fans. I for one commend his character, his show and his priorities. 

Pink Floyd, who I had previously already thought to be among the best music there can be, got infinitely better, and a performance I had been longing for ever since I first heard ‘Wish You Were Here’ absolutely smashed my expectations musically, socially, politically and emotionally. Not only for a Roger Waters as ‘Pink Floyd’ performance, but actually as one of the best performances by ANYONE I have ever seen. 

HATS OFF SIR, thank-you for using your voice when so many do not. 

PEACE to ALL. 

Finale

Baba Zula

29.01.17 

Nells Jazz & Blues (South Kensington) 

I returned to Nells Jazz & Blues for the second time in a weekend. The first to see North West African traditional music, and this time, to see eclectic Turkish folk band Baba Zula. 

Periklie Tsoukalas of Baba Zula 

Nells Jazz a Blues

29.01.18 

Photo Sophie Darling 

Baba Zula formed as a band in Istanbul in 1996. They have since become the polar figures, pioneers and flag masters for Turkish psychedelic rock’n’roll. The eclectic mix of sounds and influences emanating from their high energy performances beams traditional oriental instruments:  sounds such Özgür Çakırlar beating the darbuka drums providing thriving rhythms throughout. The saz, mastered by Murat Ertel, reminds us of the Arab influences, and screams maqqam, however untraditionally electrified. The result; dirty, at times distorted rock’n’roll saz solos over chorus-esc male singing, often in small phrases, or one word exclamations. Traditional percussion provides the much needed foot stopping dance tones, whilst contemporary electronic instruments such as sample pads, percussion machines, theremins, oscillators, effects pedals and an array of experimentation adds the modern dance, dub elements. All in all, the performances Baba Zula produce comes served as a mixed disciplinary experience, often travelling through long psychedelic instrumentals, thrashing into Hendrix inspired lute solos channeled through a wah wah pedal. The energy bursts out of every segment of the songs, often building up to wonderfully long dancing, jumping conclusions. 

Periklie Tsoukalas is representing a similar look to the last time I saw the boys playing; steampunk circle glasses matched with multicoloured patched waistcoat and matching shoes, with orange trousers and a larger than life afro that bobbed to every beat. Periklies position within the band is playing the electric oud and vocals. The effects pedal at his feet becomes the most important part of the the musical make-up of Baba Zula. One minute the oud will be emanating renaissance-esc melodic phrases, then with a tap of the foot, the bass strings are creating heavy dubbed bass lines that dominate the energy of the song. With another tap, the oud becomes Jimi Hendrix’s Fender Strat’ with a 70’s wah wah bending the notes, shaping the vibe into a groovy funk dance. 

With Baba Zula you journey through genres, through sounds and through themes. 

Speaking of themes, the ideologies of the band members are clear throughout. With every moment of conversation between the band and the audience, they pursued the opportunity to promote a global peaceful vision. One of no borders, no discrimination and of a ‘one people’. Speaking to the audience they ask…

“Do you feel you are from a race? from a nation? Do you think you could be wrong? We can all be wrong? We are all mixed you see… 

You don’t know your great great great grandfather do you? Nooo. So you could be wrong! You do not know!

We are all mixed, we are all living, in this world, in this now. 

We can have and learn enjoyment”

…From here they jumped into the next grooving song, punching the peaceful energy around the room. Furthermore after every song, and in every moment of pause, the members of the band adorned the universal peace signs with their hands to the audience. 

Periklie frequently triggered a pop culture reference in my head… I felt as though I were being taken back to school…. ‘The School of Rock’ to be precise, and Jack Black was telling me to “raise my goblet of rock” before “melting” my face off in this light hearted, totally rock’n’roll character, as he points around the audience before shredding on the oud. 

Techno percussionist Levent Akman is known for vibing on the spoons, the maracas, all manner of mini percussions, symbols, pads, effects, whilst experimenting with electronic devices, that at times can become so overpowering the distortion can be felt from within. 

A slight disappointment came in that female vocalist Melike Şahin didn’t join the band for this performance, there was also no explanation as to why. 

The band came on stage around 8, and started the set jumping immediately in the deep end, opening with perhaps one of their biggest hits ‘Abdülcanbaz’, played for over 10 minutes, the eventual crescendo of the song opens the set and immediately creates the high energy reaction from the already dancing audience. Screaming in support could be heard the entire evening. 

The dancing did not stop for one moment throughout the evening as Baba Zula played hit after hit demanding audience participation, which they received with an raucous passion. At one moment, the entire venue could be heard chanting “PIRASA” meaning ‘leek’ in Turkish, or as they pointed out, a word that will be accepted all across the Balkans and in Greece also. 

Together the audience sung, clapped and danced the night away with Baba. 

At a number of points, the audience was very literally dancing WITH Baba Zula as they spent a good couple of songs within the audience, either dancing with us, singing with us, asking us all to join them on them crouching low on the floor quietly, whilst Periklie sings acoustic traditional Arabic melismatic vocals that echoed around the small venue, all the while building up the energy by punctuating his vocals with the single strum of an extremely high powered, slightly distorted oud. 

Murat Ertel also acted rock’n roll in many ways, from playing his electric sax solos  behind his head in  typical ‘Vaughan’ style, to traveling across the audience via chair tops, across the room to the bar, where he climbed, saz in hand, to solo on the bar top all while commuting from stage to bar whilst playing epic saz licks.

The evening at Nells was quite juxtaposed to the Saturday evening I had spent in the venue. The first evening I spent was very serious, almost silent and specialist. However this evening was quite the opposite, with upbeat dancing from moment one, the demographic seemed far more ‘excited’ than Saturdays crowd, with a high level of chatting in between songs, it was perhaps a little too loud in laughter for my liking. However, the same set up of the stage at Saturday: minimal lights and back drop ensuring upmost attention to the music and the artist. The 200 capacity at Nells really makes for an intimate show, one where you really feel as though you have seen, even met the artists. 

I thouroughly enjoyed my evening with Baba Zula, and would recommend their live performance to anyone into dancing, Balkans, Turkish, Psychedelia, Rock’n’roll, shredding solos and all manner of hooligan-ary and fun, and of corse, impeccable musicianship. 

Me and Murat Ertel

Baba Zula @ Nells Jazz & Blues 

29.01.18

BaBa Zula

27.04.17

Under the Bridge (Chelsea) 

Having never been to the venue ‘Under the Bridge’ before, I hadn’t realised that the location was placed directly underneath the Chelsea football club. Earlier in the day a friend had told me that the owner of the grounds, had a passion for music and have famously said “ I want to have the best sound-system in London underneath my club”. Despite being told this, I still took a double look when I realised the little blue dot on Google Maps was telling me I had reached my location; to look up and see a huge looming stadium shadowing over me. I enjoyed, for the first time, a look through history at previous players as we took the path around the stadium, past the in-house sports bar, and down following the flashing florescent sign that climbed up the wall. It’s immediate noticeable how glam and glorious this venue was. With she black shiny walls, and dim lights. Then in the main area there’s swanky booths and bar stools. The entire back drop to the stage meets with ceiling in rows of lights that create really immersive lights displays. Needless to say the entire place is decked out with high quality speakers everywhere, complete with two larger than life mixing desks. Decorating silver grating that separated booths and bars are multitudes of large framed photos each with live concert photos from all musicians imaginable. The atmosphere and decor made no secret of the glitzy money put into the place, but also showed a real love for music. 

The band came out and a whirlwind of wonderful craziness took over the next hour or so.

Travelling to Chelsea football club, to step into a venue with a demographic fitting for the location; it wasn’t what came to mind when imagining seeing a band who’s career is a whopping 20 years strong, and are pioneers in experimenting with instruments to span Turkish, psychedelic/rock, reggae/dub genres.  Despite the immediate dancing groves, the audience took a while to fill the standing areas. Baba Zula started with ‘Abdulcanbaz’ and jammed the song for over 10 minutes. Studying ethnomusicology it was with great pleasure that I watched as some truly magnificent instruments were played in such unique ways that it paid homage to the wonderful ‘Baba Zula’ sound.  

On the Baba Zula website, you can see their creative and quirky spin on music with their descriptions of the members and their tools; 

Levent Akman on spoons, percussions, machines, toys,

Murat Ertel on electric saz and other stringed instruments, vocals, oscillators, theremin,

As well as darbuka and percussion player Özgür Çakırlar, 

And Periklis Tsoukalas on electric ud and vocals and tMelike Şahin on vocals,

An electric ud makes for an absolutely transcendent sounds, especially hooked up to a pedal or two. A saz is an instrument traditional to Turkey, where the wonderful Baba Zula hail from. They told us actually of their travels, and not for the first time did we as an audience hear of their immense troubles traveling to England. Songhoy Blues, a sub-Saharan Malian band, had spoken of very similar troubles for their London based gig last month. They had had their instruments searched, been questioned, had belongings lost or held. Baba Zula said they had none of their own leads and pedals, nor their stage costumes. 

Not that any of this in the slightest showed effect on their performance. I was reminded a couple of times of how one can become completely lost in a rhythm, realising that for a few minutes, there were no other thoughts in my head except the rhythm and, amazingly, an electric ud soloing for 3/4 minutes, accompanied by nothing but a doumbek drum. Then hey burst back in, building tensions with the occasional vocals. Concluding in an exciting immersive explosion of groove. 

The end of the song felt like being splashed back into reality, becoming aware of your surroundings once more. I kept proclaiming my heightened love for them, absolutely intensified by a live performance. Whilst listening I was reminded of a bohemian gypsy music/Hendrix mash up. Referring to one another as ‘poets’ seemed fitting as they marched with their instruments militantly across the stage as percussion took the limelight. 

The evening was fun, groovy and absolute non-stopper. At one point the band took the somewhat intimate concert to the next level, and joined the audience in the standing area, they each came down, and continued to drum the repetitive beats, and solo saz. Together we all danced for a solid minute or two. As they re-joined the stage, the wonderfully exotic Melike Sahin joined, dressed in a stunning Turkish ‘Gatsby-esc’ dress dominates the stage and completes the powerful, colourful band.

Baba Zula blew me away with their infectious unique sound, and combine that with the genius lighting that leads from the stage floor , behind the artists, up and over the ceiling. The performance was stunningly psycadelic. One thing however, that must be said about the venue, is that it seems to have failed in completely shaking off the ‘sportsbar’ vibe, with an excellent chorus form the audience, somewhat echoes from the football field. However the real issue was with the staff, I stood at the bar whilst three elderly men were served wrongly before myself. Something that could have been an oversight, however felt more like as the only woman at the bar I was being severely ignored. Lastly, the gentleman in the audience seemed to struggle with the idea that I wasn’t readily available for their dancing pleasures. Nevertheless, after shaking off unwanted attention, and not receiving wanted attention at the bar, my evening was only slightly tainted. 

The evenings performance completely separated the world from that room. All my troubles were forgotten as I stood glued to the every beat. The audience going crazy, everyone jumping and jiving. 

I have come away from Baba Zula yearning to see them again, and desperate to buy their fabulous records.