June
2 - The Ice Palace, Tampa, Florida (with Mike MacArthur on saxophone)
3 - Mars Music Amphitheater, West Palm Beach, Florida (with Ed Calle on saxophone)
6 - First American Music Center, Nashville, Tennessee (with Wayne Jackson on trumpet, and Andrew Love on saxophone)
7 - Blockbuster Pavilion, Charlotte, North Carolina (with Tim Gordon on saxophone)
10 - Woodlands, Houston, Texas (with Shelley Carroll on saxophone)
11 - Starplex, Dallas, Texas (with Shelley Carroll on saxophone)
13 - Alamo Dome, San Antonio, Texas (with Shelley Carroll on saxophone)
16 - America West, Phoenix, Arizona (with Don Menza on saxophone)
17 - MGM Grand, Las Vegas, Nevada (with Don Menza on saxophone)
19 - Coors, Chula Vista, California (with Don Menza on saxophone)
21 - Universal Amphitheater, Los Angeles, California (with Steve Tavaglione on saxophone)
22 - Universal Amphitheater, Los Angeles, California (with Steve Tavaglione on saxophone)
24 - Irvine Meadows Amphitheater, Los Angeles, California (with Steve Tavaglione on saxophone)
25 - Shoreline Amphitheater, Mountain View, California (with Norbert Stachel on saxophone)
27 - Rose Garden, Portland, Oregon (with Norbert Stachel on saxophone)
30 - The Gorge, east of Seattle, Washington (with Eric Walton on saxophone)
July
1 - Idaho Center, Boise, Idaho (with Eric Walton on saxophone)
3 - Fiddlers Green, Denver, Colorado (with Mark Harris on saxophone)
6 - Target Center, Minneapolis, Minnesota (with Steve Eisen on saxophone)
8 - The World, Chicago, Illinois (with Mel Collin on saxophone)
9 - Riverbend, Cincinnati, Ohio (with Mel Collins on saxophone)
11 - Madison Square Garden, New York, New York (with Mel Collins on saxophone)
13 - Madison Square Garden, New York, New York (with Mel Collins on saxophone)
15 - Nissan Pavilion, Bristow, Virginia (with Mel Collins on saxophone)
16 - Civic Center, Providence, Rhode Island (with Mel Collins on saxophone)
I am indebted to Vernon Fitch for supplying this information that came directly from Roger's Manager Mark Fenwick and Andrew Zweck
.gif)
Tampa Tribune 2 June 2000 Thanks to John in Tampa
The Miami Herald Published: Friday, June 2, 2000
Few musicians acquire the legendary
status of Roger Waters, founder of Pink Floyd and the man
many regard as Pink Floyd. His music is indelibly stamped in
the collective consciousness of generations, thanks to works
like Dark Side of The Moon (which has spent nearly 20 years
on the Billboard charts, an all-time record) and The Wall
(which has sold more than 23 million copies, according to
the RIAA). Now 56, Waters -- whose last album
was 1992's Amused to Death -- comes to South Florida
Saturday as part of his first national tour in nearly 15
years. Waters, who left Pink Floyd in 1983 after public and
acrimonious differences with his band mates, spoke on the
phone from England about the past and the present.
Q: What prompted you to go on the
road again? A: I did a charity concert for Don
Henley [in 1993] and I did a few songs for his band.
It was John Fogerty, Neil Young, Don Henley and me. And it
was a wonderful evening. I was very warmly received by the
audience. It encouraged me to go back to the stage and try
to rediscover the magic that I had felt in my first years
with Pink Floyd. I didn't know what was going to happen, but
I felt that I really rekindled a connection with the people
out there who had been listening to my songs all these
years. Q: How is what you're doing now
different from your work with Pink Floyd? A: It's very different. We became
seduced by our success in Pink Floyd and started playing
larger and larger venues. It's well-known that I became
dissatisfied by that, and by 1977 I had arrived at the point
where I couldn't stand it anymore. I felt the magic of music
and communication had been crushed beneath the weight of
greed and numbers. That's really part of what prompted me to
write The Wall. Q: In fact, you weren't too pleased
with the release of The Wall Live earlier this year, were
you? A: I was rather unhappy when I
heard about it because it felt like money grabbing to me. It
felt like scraping the bottom of the barrel. And I've
expressed that. My oldest son is 23 years old and I
expressed that to him. And he said, 'Come on, Dad, lighten
up. People will be interested in these recordings.' He's a
fan of an American band called Phish, and every single
concert they do is recorded by someone and people swap
[the tapes]. And the kid is absolutely right. No
one's twisting anybody's arm to buy it. I think [engineer James
Guthrie] has done a great job. I take my hat off to it.
I think the result is great. It's like, my son and everybody
else, they're right. This is a good piece of music -- why
shouldn't the live recording be available? Q: You're back on tour on your own
and performing material that you've recorded as Roger Waters
as well as old Pink Floyd material. What is the difference
now? A: We refuse to play big venues.
I've been asked to go to South America to play big shows
back-to-back in 50,000 seat venues and I will not play big
venues. I don't miss it at all. I hated it. Because it was
no longer about performance and our songs and our music and
our work. It was about the event. I think football stadiums
are good for football, but they're not great for rock and
roll. It's just too big and people get diverted, and they
shout and they scream and they throw up. Q: People all over the world
related very strongly to Pink Floyd and its music. Does it
surprise you that you've managed to have such an impact in
such a variety of places? A: No, it's not strange at all.
Some people I know went to Machu Pichu (the Mayan ruins in
Peru) and they saw 'Pink Floyd' written on one of the walls.
We're all human. One of the exciting things about being
alive in the '90s is we get to communicate via the Internet
through the explosion of technology. We no longer have to
sit on a boat for three weeks in order to communicate. And
it's no surprise to me that the preoccupations of a lot of
Colombians wouldn't be the same as the preoccupations of a
lot of English. Q: I know you have several musical
projects going on. A: I'm making a new album. I'm also
working on an opera about the French revolution called Ca
Ira. I've recorded the orchestral parts and that will be
coming out on Sony Classics. I'm also recording a new rock
and roll album. It's finding its own way. It's hard to talk
about because although there are a number of complete songs
in it, it's all a part of my story. It's still the story of
me searching for love. And I mean love in the broad sense of
the word. It's a good quest. Q: How did you end up working on an
opera? A: The guy who wrote the libretto,
Etienne Roda-Gil, who writes novels and pop lyrics, wrote
this libretto in 1989. And he showed it to me and it was
beautifully illustrated by his wife, who has since then died
of leukemia. And he asked me if I could set the piece to
music and I read it and I liked it a lot. I said, 'I've
never done this before -- why not?' So I called an engineer,
and I said, we're going to start work on an opera. I spent
six weeks doing a sketch, playing piano, synthesizer, and I
produced a demo of this thing that was a couple of hours
long. And I've been not refining it since then, because
[his wife] died and we shelved the whole thing. But
about three years ago we started working in detailing.
Q: Operas have traditionally been
the ultimate challenge for classical composers. Is it the
same with you? A: It's not more challenging than
anything else. In fact, in some ways it's less challenging
than the work where I need to look deep into my own soul to
figure what it was about. Q: Nothing is ever superficial?
A: No. I never write anything
superficial. Thanks to Jeff
Storm
Seating charts, locator maps,
and directions to venues HERE