Desert Trip, day 3. The Who and Roger Waters were the icing on the cake of an unforgettable party – Clarín.com

once more, as the first and, in part, also the second day of the Desert Trip, yesterday, starring The Who and Roger Waters, it was a night of contrasts. On one hand, the pulse visceral of rock’s most direct, though not without a careful preparation; the other, an approach to conceptual gender, of marked political significance, given with the precision of a machine of watchmaking. Both proposals, generously held by the public, which once more filled the capacity of the Empire Polo Club in Indio, in the valley californian Coachella.

In the first turn, when Sunday afternoon was transformed in the night, the riff, the I Can’t Explain was the starting point of a show of high-intensity, installed in the second half of the '60, followed up with The Seeker, a lit version of Who Are You, is The Kids Are Alright and that hymn generational that is My Generation.

A start of hits that made it clear that if there is something you don’t lack to the band of Roger Daltrey and Pete Townshend in his songbook are great songs. And the duo of original members, supported by a band with an arsenal of keyboards by John Corey, Loren Gold and Frank Simes, in addition of the second guitar, Simon Townshend, Pino Palladino and Zak Starkey -remarkable performance – in the key places of bassist John Entwistle and honored permanent Keith Moon on the drums, kept in high and in very good shape flags of the rock of direct action.

Two pearls, Behind the Blue Eyes and Bargain, with Townshend in voice and thousands of people dancing, while You Better You Bet brought up to the '80, to immediately return to the '73, and can be installed in one of the operas rock band, Quadrophenia: the I’m One and The Rock, the last, accompanied by a video with pictures of Richard Nixon, the death of Elvis, Keith Moon, punk, Bonus, and Mother Teresa, Thatcher, and Gorbachev, the fall of the berlin Wall and the Twin Towers traced the history of the last 50 years in three minutes.

The second rock opera by the group, Tommy, headed to the final straight: Amazing Journey, The Acid Queen, a very celebrated Pinball Wizard and See Me, Feel Me. A Townshend (71) with its huge domain of the guitar intact, which time and again drew a huge circle again and again to attack his guitar; a Daltrey (72) with a single button of his shirt fastened, and displaying a flow of voice, enviable, and the auction with the Baba O’riley and Won’t Get Fooled Again, with Starkey asserting their ilk.

then Time for Waters disembarking on the scene with a repertoire floydeano full of significant political, and with a set of images and lights of nature theatre, which, however, does not desentonó with the spirit of the meeting. the Speak to Me and Breath, Dark Side of the Moon, psychedelic Set the Controls for the Heart of the Sun and One of These Days, and return to the Dark Side, with Time and The Great Gig in the Sky, with its demanding load vocal shared between the two choristers of the large -10 musicians – and efficient band of Waters, who brought some attractive harmonies and a particular phrasing.

With the low-hanging, standing in one of the ends of the huge stage, at times it seems that Waters takes on the role of the composer, which looks from the outside, how is it interpreted his music. Only for moments, to connect with the public and resume his role as a singer, generously shared with his colleagues.

Its super low by checking the pulse of the Money, Us and Them with thousands of arms replicating in the air to each section of the battery, a rarity -Fearless album Meddle-, a surprise guest, associated with one of the social actions in which it is embarked Waters, that took the guitar to Shine On You Crazy Diamond, and a block dedicated to Animals, with a monumental start-screen, sounds, fired from different places of the land, a cavalcade of legends. Two shows: "The lives of black matter"; "If you’re not angry, you’re not paying attention."

Dylan sung Pigs on the Wing, with pigs flying and a defined target for their darts: the face of Trump with the word "masquerade" below; Trump holding a long penis in their hands; Trump with the body of a obese woman in bikini; Trump is Hitler; Trump with the body of a pig. "Ignorant, liar, racist, and sexist. Trump is a pig." Clarito, isn’t it?

Another Brick in the Wall Part 2, with the inscription "knocks down the wall in the t-shirt in the children’s choir", and thousands singing to the teachers of the schools to which they send or sent their children to be left in peace. Things rock. Beautiful and moving versions of Mother and Brain Damage, a poem framed in his protest against the occupation of Palestine, an acoustic version of Vera, other, rabid and synthetic, the Run Like Hell, the slow-and-gradual exodus of those who were leaving their places in the stalls to avoid the traffic jams at the exit, a new claim -Bring the Boys Back Home- and the eternal only end of Comfortable Numb as the end of a party that will have second -and last – return the next weekend.