The United States State Department spoke up about an escalating controversy surrounding a performance by Roger Waters, co-founder of Pink Floyd. The Department condemned the Berlin show, labelling it “deeply offensive to Jewish people,” and further criticized Waters for his history of using antisemitic imagery and themes.
The 79-year-old Waters has defended his performance, which took place last month and included him donning a black trench coat featuring a symbol resembling a swastika. He argued that the performance was a statement against fascism, injustice, and bigotry, dismissing any criticisms as “disingenuous and politically motivated.”
Berlin authorities reported they were investigating Waters for potentially inciting the public. Among the critics was U.S. Special Envoy to Monitor and Combat Antisemitism, Deborah Lipstadt, who labelled the concert “Holocaust distortion.” She also echoed a tweet from the European Commission’s antisemitism combat coordinator, denouncing Waters’ actions.
The State Department supported Lipstadt’s statements in an email, saying that Waters’ Berlin concert “contained imagery deeply offensive to Jewish people and diminished the Holocaust.” The Department further commented, “The artist in question has a long history of using antisemitic tropes in a derogatory manner against Jewish people.”
In response to further questions, the Department did not specify whether officials had personally watched the concert or discuss specific instances of Waters’ alleged antisemitic behaviour.
Photographs from the May 17 concert showed Waters, a renowned singer and bassist, aiming a fake machine gun at the audience while reenacting scenes from a film based on Pink Floyd’s iconic 1979 album “The Wall,” which critiqued fascism.
On Twitter, Waters claimed that his depiction of “an unhinged fascist demagogue” has been a constant feature of his shows since “The Wall.”
Known for his endorsement of the Palestinian-led Boycott, Divestment and Sanctions Movement—which targets Israel for its occupation of territories sought by Palestinians for statehood—Waters is a vocal critic of U.S. foreign policy. He had spoken earlier this year at the UN Security Council upon Russia’s invitation.
As the controversy unfolds, the fallout from Roger Waters’ Berlin concert underscores the complexities surrounding the intertwining of art, politics, and sensitive historical contexts. As Waters stands by his creative choices, critics argue for a deeper understanding and respect for the historical traumas they believe he has exploited. This event’s ripple effects will likely continue reverberating within the music industry, political spheres, and global discussions on antisemitism.
