Roger Waters, This Is Not A Drill, Utilita Arena Birmingham

When Roger Waters arrived in Birmingham, he had a lot to say. A considerable amount of negative press coverage had trailed the tour so far, driven by his outspoken comments on geopolitics. Waters met that controversy head-on before playing a single note. As he stated at the beginning of each concert, if you were there for the music but not the politics, you might as well "eff off to the bar."

Roger reads to the audience, Birmingham 2023

In 2023, Roger Waters and politics go hand in hand, so that was absolutely fine with me. Throughout the evening, Waters certainly had bones to pick with British journalists and statements to make in addition to his music. Yet behind the headlines and political friction lay a deeper philosophical thread. This Is Not a Drill was framed by Waters as a direct meditation on life itself, looking back at his formative years, the loss of Syd Barrett, and the inescapable realisation that life is not a dress rehearsal.

The giant LED at the opening of the show

Staging and Production: The In-The-Round Screen Design

As the lights came up, I was presented with an LED screen lying directly on the stage. I had intentionally avoided show previews, so I was genuinely unsure how this setup was going to work. Were the band going to walk around it? I had a great seat (lower tier Block 3, Row S), but would I be unable to see what was happening on the other side?

Those thoughts, coupled with a sombre retelling of Comfortably Numb drawn from the lockdown sessions, left me worried that this was not going to be a great show. How wrong I was.

As the screen started to lift, it all became clear, and it was very clever. With the stage positioned right in the centre of the arena floor, these huge panels gave Roger an incredible visual canvas without ever getting in the way of the musicianship. It also meant that virtually every fan in the building had an unobstructed view. Roger Waters' productions have become increasingly cinematic ever since his stadium revival of The Wall earlier in the millennium, and this setup took that ambition to a completely fresh level.

Now the staging makes sense!

Set List: Solo Rarities and Classic Pink Floyd

The set list contained a balanced mix of Pink Floyd essentials alongside deeper cuts from Roger's solo catalogue. Split across two sets and an encore, the evening drew heavily from the core four albums: The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall.

It was also great to see some solo tracks including The Powers That Be from Radio K.A.O.S. and The Bravery of Being Out of Range from Amused to Death.

As a big fan of those solo records, hearing them delivered at full arena volume with an exceptional touring band was a genuine highlight. Equally striking was how the first half paid homage to the band's earliest roots. While there was no Syd-era music played, Waters dedicated extended screen projections to Syd Barrett's memory. Moving straight through Have a Cigar, Wish You Were Here, and the soaring, brooding suite of Shine On You Crazy Diamond (Parts VI–IX) gave the middle of the first set real emotional resonance.

Standout Tracks: A Mesmeric Sheep and The Flying Pig

For me, the absolute standout track of the night was Sheep. I first fell in love with the live version of Sheep at the Desert Trip festival back in 2016, but this performance raised it even further.

It was almost mesmeric. The overhead screens filled with stark visuals of a legion of kickboxing sheep, driving home the allegorical punch of Animals with real bite. Seeing the iconic inflatable pig circling high above the arena floor with fresh political messaging was very, very good. Anchored by heavy basslines, searing guitar work, and Roger's snarling vocal delivery, it was easily one of the most powerful moments of the entire evening.

Any colour you like

Any Colour You Like

The momentum carried straight into the final section of the show. After working through In the Flesh and Run Like Hell, Roger shifted into the emotional heart of The Dark Side of the Moon.

Roger dedicated significant time to discussing mental health, openly reflecting on Syd Barrett's struggles and the fragile nature of human connection. That vulnerability flowed seamlessly into the music, moving through Any Colour You Like and Brain Damage into the cathartic swell of Eclipse as the lasers locked into the iconic prism overhead.

Finale: Two Suns in the Sunset

For the finale, Roger chose a striking, somber conclusion with Two Suns in the Sunset from Pink Floyd's 1983 album, The Final Cut.

Backed by stark animations depicting the flash of a nuclear strike against a family car journey, it brought the evening full circle to the core philosophy of the tour: life is fragile, and there are no second takes.

This was an exceptional concert. The combination of a top-tier live band, cinematic visuals, and a broad sweep of Pink Floyd material made for an unforgettable show. While he did not touch the Syd-era catalogue championed by Nick Mason’s Saucerful of Secrets, or the David Gilmour led tracks that DG delivered so brilliantly on his recent Luck and Strange tour, this was still a fantastic night that lives long in the memory.

I walked away from the Utilita Arena thinking this was an absolutely fantastic gig, and I am so glad I managed to see what could well be Roger's last major tour.

Roger Waters and band, Curtain Call

Dreaming of a Desert Trip 2016

One stage. Six concerts. Three nights. Desert Trip billed itself as a once in a lifetime event. Big words perhaps but with this line-up, few could argue with it.

Sharing the same location as the annual Coachella festival – leading it to acquire the nickname ‘Oldchella’ due to its contrast to its unbelievably-hip long-established sibling – Desert Trip was held at The Empire Polo Ground, Palm Springs, in the desert (unsurprisingly) of California from 7-9 October, with repeat performances a week later.

And boy did it rock.

Unlike similar events, Desert Trip had only one stage, hosting two full sets from rock royalty each night with proceedings kicking off at 6pm, providing a full concert experience – and home before 12. Unless Paul McCartney is playing.

We visited on the second weekend, staying nearby at the JW Marriott Palm Springs, so had an inkling of what to expect. But only an inkling.

Across the festival site, civilised was the watchword of the weekend, with the Polo Ground featuring a wide variety of entertainment before the night’s events kicked-off. Alongside the vinyl record store and the big wheel, billboard-sized album covers (Some Girls, The Kids are Alright, Highway 61 Revisited etc) provided a great photo opportunity for those with the patience to queue.

And once you’d done all that, you could grab a beer and enjoy the largest exhibition of rock photography ever assembled, in air-conditioned comfort. A perfect amuse-bouche before the feast of music each evening.

“Who was best?” is the question I’ve been asked by everybody since my visit; with the six artists setting themselves up for easy, direct comparison. Music and memories are subjective so all I can give you is my opinion.

Desert Trip night 1: Bob Dylan and The Rolling Stones

Day one started with Bob Dylan in enigmatic mode, what else to expect for a – then – soon to be announced Nobel laureate? Kicking-off with “Rainy Day Woman 12 & 35” (its refrain of “everybody must get stoned” being taken quite literally by many of the audience), it seemed we would be in for a classic greatest hits set. Oh how wrong I was…

What we got instead was black and white images of the band mixed with footage of the forging of industrial America and a tour of his deep and – for me – obscure back catalogue. Dylan fans would have been in Bob Heaven. I, as a casual observer, don’t consider myself one of those but will definitely investigate further after this crash course.

But then The Rolling Stones brought the party. In full Technicolour style. This was the first time I'd seen them since 1990's Urban Jungle tour so I was excited for my family to share the experience.

The band including Mick, Keith, Ronnie and Charlie gave the crowd what they were looking for – the hits. Though I could have done without them letting Keith sing! The first night finale, a choir supported version of “You Can’t Always Get What You Want”, with fireworks, saw us leave Friday on a high.

Desert Trip night 2: Neil Young and Paul McCartney

Day two arrived, and so did Neil Young with an acoustic set, a brave move in front of 85,000 people. Captivating with just guitar and voice, we enjoyed classics such as “Harvest” and “After the gold rush” before he was joined by current backing band “The Promise of the Real”.

After a stunning version of “Harvest Moon”, they turned the dial up to 11, rocked the desert audience and delivered a raucous crescendo of “Rockin’ in the free world”; picking up a raft of new fans and the ire of California lawmakers along the way

The stage was set for Paul McCartney and the rumours were flying thick and fast: especially after the content of his performance the previous weekend. A three hour set was what we’d heard, and Sir Macca delivered in spades.

Covering his catalogue from The Quarrymen, The Beatles, Wings and his solo work, McCartney regaled the audience with tales of hanging with Jimi Hendrix, dedicated songs to his wives (well, two of them anyway) and duetted with Neil Young on a few numbers.

After playing his oldest/first song he then introduced his latest song, with a special guest: FourFiveSeconds with Rhianna! The younger crowd members went wild as the she performed one number then left. You couldn’t fault McCartney for delivering great set. I suspect that was nothing unique but still a fantastic evening of singalong hits.

Closing Desert Trip: The Who and Roger Waters

The final day came around, opened by The Who, delivering their usual high-quality set. Occasionally struggling with the dryness, singer Roger Daltrey joked that singing in the desert was like singing “into a hair dryer… full of pot”.  Yes there was certainly a lot of it going around. Still. The Who’s show was great but nothing earth-shattering.

Roger Waters left the best til last;  boasting the largest quadraphonic sound system ever used in a concert incredible visuals and a tight band including Lucius. And it sounded like it. Combined with stunning visuals made this possibly the best concert I’ve ever been to.

Covering old tracks from Syd Barrett-era Floyd, through Dark Side of the Moon and Wish You Were Here, Waters then focused on Animals. And as he did, rising up from the massive stage screen came four chimneys and the ubiquitous flying pig. Battersea Power Station had come to the desert!

Two tracks from Animals took on renewed significance when accompanied by a shopping list of Donald Trump insults. The Republican Presidential candidate was ridiculed on the huge screen, with visuals mocking his speeches, dressed up as a lady, called a charade and generally lambasted verbally and visually. But the piece de resistance was a vast floating pig, rising up from the middle of the crowd. And decorated with anti-Trump slogans not repeatable to a family audience.

There’s already talk of another “once in a lifetime” event, such was the success of the inaugural Desert Trip. But who could top those performers?

Led Zeppelin perhaps? The band allegedly turned down a huge payday this year. Some form of Clapton/Baker Cream reunion? Maybe U2 (after all the Joshua Tree National Park is not far from here.) At this point these are only delicious rumours but if the event I attended is anything to go by,  Desert Trip will become a regular feature of the festival calendar – and a “must visit” for rock fans – before very long.

Desert Trip Bootlegs

Update - July 2025. Whilst on holiday in Aix en Provence I stumbled upon not but two Desert Trip bootlegs. In the days of streaming I hadn’t even considered the thought of bootlegs but I was happy to come away with the CD for the Rolling Stones and Roger Waters. Both say weekend 1 but I need to listen to check. I believe the second weekend (which I attended) Roger dropped Pings on the Wing 1 so that will be the ‘tell.’