It’s been a good couple of years for Pink Floyd fans, with Roger Waters, Nick Mason, and David Gilmour not only taking to the stage, but also releasing extensive documents of their live shows. Up for consideration today is Roger Waters’ This Is Not A Drill: Live From Prague, which is released across multiple formats.
This Is Not A Drill covers Roger’s 2022 – 2023 run of the same name (also dubbed, with typical sardonic wit, his “first farewell tour”). The tour suffered some small amount of controversy when Roger was accused of antisemitism – an accusation that very nearly led to the cancellation of a number of concerts in Germany, which required some swift legal action on Roger’s part to overcome. As he pointed out at the time, the tour – which is certainly heavy handed with the symbolism – does not fear or favour any particular group, with the optics pointing towards peace and unity as opposed to segregation. At the time, it was particularly odd to see social media accounts picking up on The Wall-themed elements as these have been a part of Roger’s performance since that album was released and are well recognised by all but the terminally stupid as satire. Nevertheless, what the furore did demonstrate, if nothing else, is how quickly social media can aid the deliberate skewing of a narrative, and how reactive an artist needs to be if they are to defend their stance.
Formats
Following on from 2019’s Us + Them live set, This Is Not A Drill offers a similar array of formats – double CD / quadruple vinyl covering the audio side; DVD and blu ray covering the visual. The blu ray boasts a Dolby Atmos mix, as well as Dolby TrueHD 5.1, and uncompressed LPCM stereo options, while the DVD offers 5.1 and stereo. Extras on both formats are somewhat scant, with only a pair of music videos (for Comfortably Numb and Two Suns In The Sunset) bolstering the content.
At present, there is no combined offering, which is a shame when you consider the excellent value represented by various Floyd box sets (Animals, TDSOT, AMLOR). So, for completists, it’s very much a case of selecting your various options and shelling out multiple times. Annoying, but with both the Floyd Pompeii set and David Gilmour’s live offerings adopting a similar approach, it does seem to be a sign of the times.
This review covers the quadruple LP edition.
The packaging
The last time we covered a Roger Waters vinyl release, we got burned. Despite a stellar crew supporting the tour (and famed producer Nigel Godrich at the helm), the vinyl edition of The Wall suffered from a boxy, flat mix and indifferent packaging – all of which conspired to take one of the most exciting and anticipated shows of that year and turn it into an overpriced and lacklustre release.
Advertised as a “box set”, does this release fare any better? Well, yes and no. The audio is undeniably better; the tracks delivered with a clarity and depth that you’d scarcely believe possible. More on that later.
The packaging, however, is a missed opportunity. Although promoted as a box set, what you’ll receive is a simple slip case with a hype sticker on the front. Inside, you’ll find each LP in a printed liner and an 8-page, 12” book which, if we’re brutally honest, is about the minimum that any major label band could possibly include in such a release.
The printed liners offer a selection of live shots and, in a nice touch, the lyrics for each disc printed on the reverse. The book, on the other hand, provides a handful of shadowy images that do little to capture the epic scale and sensory overload of Roger’s show. On the final page, liner notes are frustratingly printed in red, making them almost impossible to read for anyone over the age of 23, and it’s difficult to imagine flicking through it more than once. It’s simply lazy and feels somewhat like an afterthought. Compare this to, say, the lovingly presented Yoshimi Battles The Pink Robots box set (which came in at a similar price point) and you’ll see both how this could have been and just how lacking the packaging is for this release.
Frankly, fans shelling out nearly £60 (at current prices) deserve better and it’s difficult to justify either the price tag or the lazy packaging when independent releases offer so much more. Our advice would be to wait for the inevitable sale (it’s currently reduced by nearly 20% from its original £70 price tag over on Amazon) or grab the CD edition. For sure, this set sounds fantastic, but the bottom-of-the-barrel design leaves much to be desired.
The Audio
As much as the presentation may grate, we’re pleased to report that the audio is bang on. From the moment Roger’s gloriously grumpy introduction gives way to a radically reworked Comfortably Numb, it’s clear that this is a spacious and beautiful mix, providing a detailed rendering of the live show. Everything sounds immense – from the booming bass to the moments of fragility when Roger takes the lead on quieter songs – and the only moments where the audio suffers in any way is when the sound effects intrude (as they do on Us And Them). Otherwise, top marks for an excellent mix – and the vinyl is also impressively crackle free.
Disc one
While some fans may question Roger’s bravery in tackling as beloved a song as Comfortably Numb in such a different way, it’s actually rather wonderful to hear it given a new lease of life and, let’s face it, there’s no shortage of live renditions out there if that’s what you’re after. From there, it’s a brisk run through The Happiest Days Of Our Lives, Another Brick In The Wall Part 2 and Another Brick In The Wall Part 3, all of which remain faithful to the studio originals.
In contrast, the dark funk of The Powers That Be leaves behind the awful 80s production of the studio original to emerge as a snarling rocker that bridges the gap between The Final Cut (specifically Not Now John) and Nick Cave. It’s a strong opening to the concert, Roger deftly slipping between faithful renditions of Floyd and bold re-workings of familiar fare, but with an energy that belies his age. Indeed, as he snarls the vocals here, it’s more of a question as to whether his band can keep up with him – rather than the other way round.
The second side is no less impressive. The Bravery Of Being Out Of Range remains a highlight in Roger’s solo catalogue, although the subdued version offered here pales in comparison to the stinging rendition found on In The Flesh. Nevertheless, it sits comfortably next to The Bar Part 1 (a fantastic, Dylan-esque song that remains tragically unrecorded in studio form), although we could arguably do without the rambling monologue that precedes it. The first disc wraps up with a savage Have A Cigar, which has lost none of its vitriol since it was first laid down on Wish You Were Here. Overall, it’s something of a breathless opening to the concert, and it’s over all too quickly.
Disc two
Disc two kicks off with the ubiquitous Wish You Were Here. So far, so familiar – and it is a good version – although Roger’s decision to sing it a step down, while arguably the right one for his gnarled voice, means that it lacks the airy beauty of the original. Less expected is the decision to focus on the latter half of Shine On You Crazy Diamond, with this version covering parts 6, 7, and 5 – out of order and providing a subtly new look at a song that has been a Floyd (and Floyd solo outing) mainstay for fifty-odd years. Part 6, in particular, while capturing much of the spirit of the original, finds Joey Waronker (drums) really enjoying the opportunity to work his way around the kit with a vigour that is infectious.
The second side of the disc is far darker, plunging the audience into the misanthropic heart of both The Wall and Animals via Sheep, In The Flesh, and Run Like Hell. It finds Roger at his hardest and he comes clothed in heavy metal armour, the guitars of In The Flesh delivered with a fiery bombast that leaves the audience reeling. It’s also good to hear him resurrect his battle cry of “are there any paranoids in the audience tonight” during the intro to Run Like Hell, although the piercing screech heard on Is There Anybody Out There is sadly (if understandably), missing.
It’s a brutal conclusion to the first half of the concert, Roger machine gunning the audience during In The Flesh before demanding total obedience during Run Like Hell. It’s satire of course, delivered with a ferocity born of the ludicrous backlash evoked by those same songs, while the neo-fascist trappings of the stage show have taken on yet-darker undertones in the light of the recent MAGA rallies. A reminder, perhaps, that it doesn’t matter what symbol is painted on a banner – with the right populist rantings, people will still flock to it.
Disc three
After the fiery bombast of The Wall, Roger hurtles forward in time, to 2017’s Is This The Life We Really Want,to offer a lilting take on Déjà Vu. A rather lovely track, with its acoustic guitars and trembling strings, it comes across as the love child of Wish You Were Here and Every Stranger’s Eyes. He follows it with the title track of the same album, reminding us that, while his output could hardly be described as prolific in recent years, at its best it still has the capacity to rival Floyd. As if to ram that point home, it’s followed up with a lounge-infused of Money which, despite its lighter-touch musical treatment, only serves to highlight the common lyrical thread that runs through Roger’s work.
Having teased Dark Side Of The Moon with Money, Roger treats us to the final half of the album in order on the next side. First up is the gorgeous slow burn of Us And Them. Rendered much as it is on the original album, it remains one of the loveliest arpeggios in Floyd’s cannon, and it sounds utterly magical here, albeit slightly undone by some random sound effects which, presumably, make more sense when paired with the visuals. From there, Any Colour You Like, Brain Damage, and Eclipse wrap up this side – all played surprisingly straight, considering the advent of the Redux version – and, performed by Roger’s current crack band, all sounding as wondrous as ever.
Disc four
Kicking off the fourth disc, Roger delivers a short, impassioned monologue in favour of nuclear disarmament before leading his band (via the Doomsday clock) into Final Cut finale Two Suns In The Sunset. A heartfelt track, it’s gained greater poignancy in the intervening years, not only capturing the febrile atmosphere of today but also providing a stern riposte to those who foolishly wrote off the Final Cut as an inferior Floyd record. Indeed, such is the slow burning melancholy of this version, that you have to hope it will encourage those who missed out to go back and give it another shot – it’s worth the time.
The final side offers the closing tracks of this conceptual concert. First up, The Bar Part 2 finds Roger once more addressing the crowd – this time to offering a rather sweet dedication to his wife (who helped to inspire the lyrics), his late brother (who tragically passed away), and to Bob Dylan (from whom Roger lifted a handful of phrases). It’s a quieter moment amidst all the blood and thunder and, with the song a calmer, more reflective piece, it makes sense to segues directly into Outside The Wall, here expanded to allow for band introductions and a suitable sense of conclusion to such an epic performance.
As Roger himself notes at the outset, his shows are hardly for the faint of heart. You either get on board with it all – bombast and beauty alike – or you run screaming from the more confrontational elements, and this recording is certainly not an album for those who believe artists “should stick to the music”. However, for those willing to go along for the ride, This Is Not A Drill is a thrilling tour-de-force that not only highlights just how timeless the music is, but just how timeless many of Roger’s observations are.
Drawing together the narrative threads from DSOTM through to Is This The Life We Really Want and even allowing for an unreleased number as its conceptual framework, Roger does his best to promote his view of a common humanity – free from the symbols that he sees as sowing division and hatred. It’s an epic endeavour and, while it may be possible to simply sit back and enjoy the music, it is hard to imagine anyone opposed to Roger’s message being able to simply let it go and enjoy the tunes.
And perhaps the point. Roger would surely argue that the very act of creating music is political in nature – or at least inspired by the political circumstances of the artist – and, the message, therefore, must remain central to the performance – whether fans may care for it or not.
Final thoughts
In terms of both the audio quality and the set list, This Is Not A Drill is a worthy offering that captures Roger and his excellent band in full flight. Certainly, the mix is infinitely superior to the drab version of The Wall, and it really captures both the nuances of the quieter tracks and the screaming rage of the more theatrical numbers. With a strong political message showing that, for Roger, the underlying passion that informs his work remains undimmed, it’s a breathless 100-odd minute ride through a mix of classic Floyd and his own solo work, wrapping all the pieces carefully together within the conceptual framework of a bar in which all are welcome. It’s not for the faint of heart and some of Roger’s symbolism in the live arena can be pretty heavy handed but, if you’re on board with the message, it makes for one hell of a show.
Unfortunately, it’s not all perfect. Less impressive is the packaging which, with the set retailing at around £70 at time of writing, is pretty poor. Actually, it’s exceptionally poor. While for the fan it may not be a deal breaker, it’s the sort of thing that serves to grate – especially when the music has a strong socialist bent – and it’s impossible to argue that it’s done from a financial standpoint when you consider the smaller labels doing infinitely more in terms of packaging and at a lower price point. Simply, major labels have become increasingly sloppy with this sort of thing and, if the artist won’t step up and tell them where to shove it, it’s the fans who inevitably get screwed. It’s not good enough and, for that reason, we can only truly recommend the vinyl edition in the event of a sale.
Overall, for Floyd fans this is an exceptionally recorded, indifferently packaged release that is well worth checking out from a musical perspective, with the caveats noted above. Just level your expectations accordingly regarding the vinyl set.
Audio – 8.5/10
Packaging 4/10
It is ludicrous how you pretend the present Roger Waters is a good singer. He is not, his voice was never spectacular and it is spent for a long time. The singing in this album hurts anyone with good hearing.
The playing is nice, but far from incredible.
The lyrics some are also ludicrous: “… The trout in the streams are all hermaphrodites
You lean to the left, but you vote to the right
And it feels like déjà vu
The sun goes down and I’m still missing you”? What the hell is this? You need to be a bit … to believe this is good song writing. And this is one of the best songs.
I dont care what are his political beliefs or if they are contradictory regarding his actions (they are, he is a capitalist playing socialism), that’s his problem. What i do care is: most of the songs have stupid lyrics. You call these ludicrous lyrics symbolic, but they lack any intelligent symbolism. It’s just a man struggling with making art or sense of his political ideas. And political is boring. I prefer the bar.
Thankfully I did listen the album before going to buy, I almost bought it! The album is weak. The concert may be other thing, but the audio is bad. The beginning, for example, is torturing boring. Also, making songs horribly long isn’t the same as making good songs. Oh, man. I miss the old young Roger Waters. Thanks God Gilmour is still alive and kicking.
Dear David,
Thank you for taking the time to read our review and leave a comment. It is a shame that you, as so many on the internet today, have been led to believe that a person in disagreement with your opinion must be pretending. As the reviewer on this LP I can quite happily say both that I disagree with you (which is fine, because that’s what keeps the world moving) and that there was no pretence.
Allow me to elaborate. You happily repeat the trope that Waters’ voice is spent and you also suggest that people who disagree with this view have trouble with their hearing. While I readily concur that Waters’ voice was never what one might call traditionally great, and that years on the road have taken their toll (“gnarled” is the phrase used in the review), I disagree that it doesn’t fit the music. Like Dylan or Young – neither of whom have what one would call classically beautiful voices – I believe Waters deploys his vocals in the right way for his music. If you don’t like it, fair enough but, then, if you believe his voice to have been spent for all these years, what are you doing listening to the album and/or reading the review? You already have a fixed point of view, which suggests you came here simply to argue the toss rather than have a serious discussion about it.
As for the rest, I would argue (but then again, that’s all I can do, for music is subjective), that the band is exceptional – Waters has long had a good eye for talent and that hasn’t changed just because you’re not a fan. His lyrics are admittedly somewhat abstract in places, in other places incredibly incisive – again, this is hardly news. You will have known for years the type of lyrics Waters deploys. To hold that as a criticism against a live album you “almost bought” is baffling in the extreme – or did you imagine he’d change the lyrics to fit your view of what he should be?
Last but not least, if you believe political art to be boring, that’s fine. But, once again, I have to note that this is your opinion. You’d rather go to the bar, I’d rather hear artists engage with whatever fires their muse – cool, we’re two different people. The problem is that, once again, you paint it as a truth that “political art is boring” when all it is, at best, is your truth.
I’ll close with this. I’m delighted you came to the site, read the review, and left a comment. Constructive debate is a large part of being into music. Unfortunately, much of what you write is destructive. You pour scorn largely, it appears, because you do not like Roger Waters. That’s fine… to a point, but I have to wonder to what end. Or is it simply because you are so convinced of your view that you simply cannot understand that there are those (including the tens of thousands who go to Roger’s shows) who genuinely believe he still has something worthwhile to say and is good at the medium in which he says it?
Whatever it is, this reply is not to try to convince you of anything because a) I’ve said what I have to say about the album and b) it’s clear both from what you have written and how you have written it that you do not wish to be convinced. Nevertheless, if I have a hope, it is that when writing comments on whatever site in the future, you think about engaging in a discussion, not taking a didactic stance on something that will always be open to individual interpretation.