roger waters 1985 tour

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Roger Waters – Pros & Cons 1984 – 1985

This is the tour book that was used for the duration of Roger Waters The Pros & Cons Of Hitch Hiking Tour tour that ran in two parts from July 29 1984 until march 21 1985. However an alternate version has turned up that was obtained at the Joe Louis Arena in Detroit March 19, 1985 .

This Tour Book was provided with thanks to Andrew Durham .

Disclaimer : The content posted in the ‘programmes’ section has been deliberately embedded to not allow downloading or reproduction. It is provided to the fans for digital reading and research purposes only.

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"Because ignorance of your culture is considered uncool"

Roger Waters – Radio City Music Hall – 1985 – Past Daily Soundbooth

• September 30, 2016
• 1980's , BBC , Past Daily , Past Daily Soundbooth , Pop Music , Popular Culture , Radio , Social Commentary , Society , The Press , Uncategorized , Vintage Recordings , World Stage

Roger Waters – in concert at the Radio City Music Hall , New York – 1985 – BBC Radio 1 In Concert –

Roger Waters tonight. In answer to several requests from readers for some later Floyd/Roger Waters concerts/sessions, I ran across this one, recorded in 1985, during his North American Tour , promoting his debut solo album, The Pros And Cons Of Hitch Hiking . The tour started in Europe in 1984, but was plagued by poor ticket sales and less-than-stellar reviews of the album. The North American potion of the tour was scaled back to smaller venues. But the American audiences (judging by this recording) were pretty enthusiastic. And judging by the reception during the North American leg of this tour, the album sold well and the tour was a success.

Waters mixes some earlier Pink Floyd material in with his then-current songs, and it gave the concert and his fledgling solo career some cohesion, particularly among fans who wanted to hear Pink Floyd and were slowly warming to his solo efforts.

As founding member of Pink Floyd, who became their chief writer and lyricist after Syd Barrett left, the loss of Waters put the future of Pink Floyd in jeopardy. But Waters was well into his solo career, which turned into a huge success by the time he was inducted into the Rock n’ Roll Hall of Fame in 1996.

In July 2005, the band reunited to perform at the Live Aid festival. But the reunion was short-lived and lasted only long enough to perform a 23 minute set, and closing the book on one of the pivotal bands of the 1960s and 1970s.

So this concert may not be the first recording from the debut tour, but it’s one of the better recordings from that 1985 period. Ironically, Roger Waters is slated to perform at the Desert Trip ( Coachella II) during the first and second weekends in October this year. Should be fun.

If you’re going, here’s a reminder – if you’re not going – here’s what you’re missing.

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A rebuilt Wall, Madonna's producer and an American academic: How Roger Waters saved himself

At the start of the 90s, Roger Waters was up against it. An epic concert of The Wall in Berlin was the first brick in rebuilding his career, followed by his third solo album, Amused To Death

In the end it was Sinéad O’Connor who drove Roger Waters to distraction. It was the summer of 1990, and the former Pink Floyd vocalist and bassist was putting together a one-off live staging of his magnum opus The Wall to mark the fall of the real Berlin Wall. The album’s themes of alienation, isolation and the futility of war couldn’t have been more timely. To stage it in front of 350,000 people near Berlin’s Brandenburg Gate at such a pivotal moment in history was nothing short of momentous. 

But there was another reason it was important. Waters’ commercial stock had fallen dramatically since he left Pink Floyd five years earlier. His two solo albums, 1984’s The Pros And Cons Of Hitch Hiking and 1987’s Radio K.A.O.S. , had failed to match the success of his old group. To make things worse, his former bandmates had won a bitter legal battle to resurrect the Pink Floyd name without him, to his eternal ire. This new restaging of The Wall was a chance for Roger Waters to remind people who he was. 

The show required months of military-precision planning. On the night, the cast of musicians that Waters had enlisted to breathe life into the crazed characters that populated the album – the Scorpions , Bryan Adams, Joni Mitchell , Cyndi Lauper, Tim Curry – did what was expected of them. Well, all except one. 

“Everyone was fabulous to work with,” Waters recalled in 1992. “All brilliant. Except for Sinéad O’Connor. Oh, God. I have never ever met anybody who is so self-involved and unprofessional and big-headed and unpleasant. She is so far up her own bum it’s scary.” 

According to Waters, the famously truculent Irish singer was worried the show wasn’t ‘street’ enough. He claimed she had suggested he should employ Ice-T to give one of the songs a hip-hop makeover. 

“She’s just a silly little girl,” he said afterwards. “You can’t just shave your head and stick it up your arse and occasionally pull it out to go: ‘Oh, I think this is wrong and that is wrong’ and burst into tears.” 

In the end, Waters won out. The show went ahead, with O’Connor grudgingly singing the stark ballad Mother . 

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Culturally, the event was a triumph. But it was an even bigger personal victory for the man who wrote it. It re-established Waters as a major force, banishing the memories of a turbulent few years and opening the door for one of his greatest artistic victories. 

Two years after his Berlin show, Waters released his third solo album, Amused To Death . That record placed him back on the pedestal he’d tumbled from a few years earlier. Its vast musical sweep and complex themes were, as he saw it, a reclamation of the legacy that had been stolen from him by his former Pink Floyd colleagues. Or, as an uncharacteristically pithy Waters put it at the time: “ Amused To Death is fucking, fucking good, isn’t it?”

The late 80s hadn’t been a great time for Waters. His second solo album, Radio K.A.O.S. , was released to a disinterested shrug from the public, and barely scraped into the US Top 50. To make matters worse, the David Gilmour-led Floyd’s new album, A Momentary Lapse Of Reason , released a few months later, hit the top three on a both sides of the Atlantic. 

“We were on the road in America with Radio K.A.O.S, and the Floyd were out at the same time,’” says Andy Fairweather Low, who played guitar in Waters’ solo band. "We would be in our hotel in Wisconsin or wherever it was, and someone would get the review of the Floyd show and shove it under the door for us to read. And you’d go: ‘Ah, I see what’s happening here.’” 

Fairweather Low first met Waters in 1967, when the band he was the singer with, Amen Corner, were part of a package tour that also featured The Pink Floyd and Jimi Hendrix . Fairweather Low joined Waters’ band for the tour of The Pros And Cons Of Hitch Hiking on the recommendation of mutual friend Eric Clapton , and remained there, on and off, for more than 20 years. 

“Roger is a very funny man, but he’s very to-the-point and doesn’t suffer fools,” he says. “But if he’s prickly, there’s a bloody good reason for it. It’s like an army, and he’s in charge. If anyone loses that level of respect for what’s going on, it’s not going to work.” 

Waters needed to marshal all his skills as a general on the Radio K.A.O.S. tour. While Floyd were pulling in the crowds, Waters was struggling to fill venues he would have sold out many times over with his old band. 

“I remember we played the Reunion Hall in Dallas, and there must have been a couple of thousand people in there,” says Fairweather Low. “And that’s an eighteen-thousand-seater. I’d say to people: ‘I’m out with Roger Waters.’ And they’d go: ‘Roger Waters?’ ‘Pink Floyd.’ ‘What, the guitar player?’ ‘No, the bass player – the guy who wrote a lot of the songs.’” 

With Radio K.A.O.S. seemingly a lame duck, Waters was already plotting his next move. In October 1987, during a break in the tour, he and his band travelled to the Bahamas to begin working on new music. “I was absolutely certain I would make it in absolutely bone-simple traditional methods, with real people playing real instruments,” Waters said in 1992. He had been unhappy with the previous record’s glossy, overly processed production, later insisting that he had been “sidetracked” by new technology. 

It was in the Bahamas, while the ironically named Hurricane Floyd raged around them, that Amused To Death began to take shape. According to Fairweather Low, many of the songs that would appear on the album were already in place, in rough form. “He had it all mapped out. He knew exactly what he was doing: it’s going to be this, it’s going to be this. We were looking for the right way to do it."

By the time the tour finished and Waters returned to the UK, the game plan had shifted. 

“He changed his mind about just having it as a raw band,” says Fairweather-Low. “He wanted to do a bit more work.” 

The guitarist would catch the train to Waters’ on a Monday and stay through to Friday, where he’d work on tracks. “Just doing whatever he suggested. I spent months playing different kinds of arpeggios on every guitar you could ever think of. To be truthful, I was getting tired. But not Roger. His focus was phenomenal on these songs.” 

Waters may have had a plan for the album, but he was searching for a producer who could help him realise his vision. There were a couple of failed attempts before he met the man who would help shepherd it to its conclusion. Patrick Leonard was an American producer best known for his work with Madonna on her 10-million-selling album Like A Prayer . If it seemed an unlikely musical match on paper, in reality it was perfect. 

“ The Lamb Lies Down On Broadway, Dark Side Of The Moon, The Wall – that’s what I grew up with and that’s what I dreamed of doing one day,” Leonard told Q magazine in 1992. “I was a big Gentle Giant fan. I was a huge Jethro Tull fan.” 

Leonard and Waters began shaping and reshaping songs. They bought in different musicians. Among them was Red Hot Chili Peppers bassist Flea, who played on It’s A Miracle . 

“It was a wonderful version,” said Waters. “But this very uptempo version didn’t fit within the dynamic context of the rest of the record. So the very last piece of recording we did was to re-record It’s A Miracle , and just Pat and I sat down at the piano one afternoon and redid it.” 

Other big-name musicians did make the final cut. Toto guitarist Steve Lukather played on Too Much Rope and the two-part Perfect Sense , Don Henley contributed vocals to Watching TV and Rita Coolidge did likewise on the title track. A key guest was Jeff Beck . Where Clapton had been a surrogate Gilmour on The Pros And Cons Of Hitch Hiking , Beck was given free reign to play whatever he wanted on two of the album’s key tracks, first single What God Wants, Part I and the politician-dissing The Bravery Of Being Out Of Range . 

“It was magical,” said Waters. “He arrived at the studio and he has a brand new guitar. He gets it out of the box, he doesn’t seem to tune it. He sits and leans with his bum on the studio multitrack and starts doing these magical things and kind of looks at you and says: ‘Is that the sort of thing you want?’ And you say: ‘Well, no it’s not.’ And then you tell him what you do want and he does that magically as well.”

Andy Fairweather Low’s work on the album was largely finished by the time Patrick Leonard came on board, but he recalls hearing some of the new material as it progressed and being impressed.

“Roger liked greyhound racing,” he says. “We’d go to the dogs, and coming back he’d play me a bit of what he’d been doing with Pat. And it all made perfect sense. Before, it had been search, search, search. Suddenly there was focus.”

Amused To Death might have taken several years to come into focus musically, but conceptually it was a different matter. In the mid-80s, Waters had come across a book by American academic Neil Postman titled Amusing Ourselves To Death , which suggested that the entertainment value of television was just another drug to be consumed. It was all grist to Waters’ mill. 

“I was working within the metaphor of a gorilla watching television, the ape being a symbol for anyone who’s been sitting with his mouth open in front of network and cable news for the last ten years,” Waters told Billboard . “The record explores the idea of television as medicine: it’s either healing us or killing us. The truth is it’s doing both: healing us as a target audience but killing off our respective cultures.” 

It was a typically intricate Waters concept, one which brought the whole album together. Opening track The Ballad Of Bill Hubbard features the voice of a World War I solider recalling the death of a fellow infantryman, recorded from a BBC documentary. 

“That original programme confronted the horrors of war and told the real story,” Waters explained. “It was an example of television taking its responsibilities seriously.” 

Inevitably, war, religion and politics – favourite Waters topics – hung heavily over the album. On the three-part What God Wants , he used the then-recent Gulf War to look at the “God is on our side claptrap” that partially prompted the Iraqi invasion of Kuwait and the subsequent US retaliation in the shape of Operation Desert Storm, all of it unfolding live on TV. On Three Wishes he returned to the subject of his father, Eric, who was killed during the Second World War, shortly after Waters was born. ‘ I wish somebody’d help me write this song/I wish when I was young my old man had not been gone ,’ he sang. 

Even Andrew Lloyd Webber didn’t escape his ire. The composer had aggrieved Waters by replicating the opening notes of Pink Floyd’s Echoes on the title song of his West End hit Phantom Of The Opera . ‘ Lloyd Webber’s awful stuff runs for years and years and years ,’ Waters intoned snarkily, before calling for an earthquake to put the offending composer out of action: ‘ Then the piano lid comes down and breaks his fucking fingers .’ 

Inevitably, Waters faced accusations of pretentiousness. Equally inevitably, he swatted them away without blinking. “If people want to call me pretentious and overambitious, believe me they won’t be the first and they won’t be the last. But should I go: ‘Oh, Christ, I’d better not record that song, somebody might say it’s pretentious or overambitious”? Fuck ’em.” 

Waters may have still been in conflict with Pink Floyd, but that didn’t mean he was running from his past. What God Wants, Part III nodded to Floyd’s Echoes, Breathe and Shine On You Crazy Diamond , while the title track began with the words ‘ Doctor, doctor ’, the same phrase that ushered in Piper At The Gates Of Dawn track Take Up Thy Stethoscope And Walk . Pink Floyd may have won the battle a few years earlier, but this was a war that Waters was determined not to lose.

Waters was in a better position when Amused To Death came out in September 1992 than he had been at the time of Radio K.A.O.S .’s release. Sinéad O’Connor aside, The Wall show in Berlin had served to detach him from his former band. Almost 20 years after The Dark Side Of The Moon, the penny had finally dropped: Roger Waters was the guy who used to be in Pink Floyd. 

Ironically, the success of the David Gilmour-led Floyd helped put wind in Waters’ sails. “Floyd were informing people about Roger,” says Andy Fairweather Low. “Just by the fact that they were playing his songs.” 

Waters himself didn’t see it that way. “When those people went out calling themselves Pink Floyd, it made me very, very gloomy,” he said in 1992. “I wrote The Wall as an attack on stadium rock, and there’s ‘Pink Floyd’ making money out of it by playing it in stadiums. Oh well, that’s for them to live with. They have to bear the cross of that betrayal.” 

Commercially, Amused To Death was a marked improvement on Radio K.A.O.S. , breaking into the UK Top 10 and narrowly missing the US Top 20 by one place. It may have done even better had Waters decided not to tour in support of the album. 

“I remember flying back from a guitar event in Seville with Roger,” says Fairweather Low. “We were on the plane and he said to me: ‘Got anything planned?’ And I said: ‘Van Morrison might be cropping up.’ And he said: ‘You should take it, because I’m not going to work now for a few years.’” 

Waters never explicitly said why he opted not to tour, although he reiterated the same contempt for huge rock shows that had inspired The Wall almost 15 years before. “Rock’n’roll in stadiums is genuinely awful,” he said. “These concerts are just like Tupperware parties with fifty thousand people, only they don’t buy Tupperware, they buy hot dogs and T-shirts, and occasionally look up to watch those disgusting video screens that are all out of sync and make you feel sick and torture you.” 

It would be another seven years before Waters toured again. When he finally did, it was as a returning hero. The In The Flesh tour, which ran from 1999 to 2002, was as successful as any of his former band’s earlier in the decade. It was the first time any songs from Amused To Death had been played live. Performed in a suite in the show’s second act, they sounded simultaneously graceful and snarling: the earthbound yin to latter-day Floyd’s ethereal yang. 

For Waters, it was vindication that he had been right all along. Floyd may have won the battle of the brands, but in the singer’s eyes at least, he had won the artistic and moral war. 

“My view is that I’ve been involved in two absolutely classic albums – The Dark Side Of The Moon and The Wall ,” he said at the time. “And if you haven’t got Amused To Death , you haven’t got the full set.”

This feature originally appear in Classic Rock 252, published in July 2018. 

Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock , Associate Editor on Q magazine and staff writer/tea boy on Raw , not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo , the Evening Standard and the totally legendary Ultrakill . He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.

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When Roger Waters Returned to the Stage With Eric Clapton

The year 1984 wasn’t exactly a time for dark, introspective prog-rock tales of adultery and fever dreams, as laid out on Roger Waters 's first solo album, The Pros and Cons of Hitchhiking .

MTV was broadcasting a steady stream of Michael Jackson , Prince , Madonna , Duran Duran and Culture Club while Waters completed an album originally conceived concurrently with his equally bleak opus  The Wall . Both were offered up to the other members of Pink Floyd , leaving the shelved Pros and Cons for Waters to release after the band’s breakup.

“I made demo tapes of them both, and in fact presented both demo tapes to the rest of the Floyd, and said, ‘Look, I'm going to do one of these as a solo project and we'll do one as a band album, and you can choose,’” Waters told the Source in 1984. “So, this was the one that was left over. Um ... I mean, it's developed an awful lot since then, I think.”

Eric Clapton plays lead guitar on the record and joined Waters for the 1984 portion of the Pros and Cons tour, which marked Waters’ first shows since he wrapped up The Wall tour with Pink Floyd in 1981.

The Pros and Cons of Hitchhiking tour started in Stockholm on June 16, 1984, and included a nine-concert European run that stopped in Paris, Birmingham, London, Rotterdam and Zurich. The first North American leg included just 10 shows and debuted on July 17, 1984, with two nights in Hartford, Conn., both of which included many empty seats. Three shows at New Jersey’s Brendan Byrne Arena sold out, as did a show at Philadelphia’s Spectrum. The run wrapped up with dates in Rosemont, Ill., outside of Chicago, two at Toronto’s Maple Leaf Gardens and at Montreal’s Forum.

Ticket sales lagged overall for the 1984 leg and reviews were mixed, if not downright savage. Waters has said the tour lost money, costing him almost half a million dollars. The band also included guitarist and bassist Tim Renwick, drummer Andy Newmark, bassist and organist Chris Stainton, keyboardist Michael Kamen, saxophonist Mel Collins and backup singers Katie Kissoon and Doreen Chanter. A second leg of the tour in 1985 included 17 dates with Jay Stapley taking over for Clapton.

Waters' 11-song performances touched on Pink Floyd staples from several albums, including Wish You Were Here , The Wall , Animals and The Dark Side of the Moon . He notably included “The Gunner’s Dream,” a rare live performance from The Final Cut . The second set was a performance of The Pros and Cons of Hitchhiking in its entirety, with visuals from longtime Waters collaborator Nicolas Roeg and animation from The Wall wizard Gerald Scarfe.

“It was clear that Waters’ heart was in the Hitchhiking segment, and that part of the concert showcased his most impassioned singing,” Boston Globe critic Jim Sullivan said of the first show at Hartford. But Sullivan, like many others at the time, dismissed Pros and Cons as bleak, meandering and mediocre.

“ The Pros and Cons of Hitchhiking is a colossal failure,” he wrote. “On record, it’s a disjointed, static bore. In concert it was a disjointed, static bore augmented by surreal visuals.” While Sullivan hailed the Pink Floyd portion of the show, he blasted Waters' new music, calling it “convoluted and dull.”

Liam Lacey of the Toronto Globe and Mail was equally harsh after the first Maple Leaf Gardens performance, adding that “Roger Waters’ music was really such an utter crock, a middle-brow and inept attempt to make a Big Statement. The all-star band did its best to keep the musical weaknesses from becoming too obvious. Looking at the faces of the players, though – and the face of Waters himself – it was obvious that no one seemed to be having much fun with the music.”

Lacey even blasted Clapton, writing that he “seemed positively bored. Although his stylish, technically perfect guitar solos were the most interesting musical portions of the show, there was never any indication of passion in his playing.”

Stephen Holden of the New York Times was a bit kinder, hailing the first New Jersey show as a “multimedia spectacle” that was “one of the year's most imposing displays of rock theatrics and technology.” Holden described Waters' latest song cycle as an “impenetrable dreamlike allegory” that included “only one solid melody ... but the melange of sound effects and surreal, occasionally gory visuals effectively maintained an atmosphere of theatricalized paranoia and alienation."

Not much footage is publicly available from the tour and what exists is low quality . Still, despite featuring one of Waters' less popular albums, the tour featured guitar work by Clapton that is nothing short of stellar – and The Pros and Cons of Hitchhiking is nevertheless defended in some corners.

It was a difficult and dark time for Waters personally as he rebounded from the messy demise of Pink Floyd. Coupled with the shiny, happy pop landscape of the time, and the massive burden of The Wall 's success, it’s not surprising critics were hard on his first foray back onto the world stage.

Regardless, it was an historic and bold return for Waters. To have Clapton along for the ride secured a visually and musically stunning performance, even if not everyone agreed on the results.

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Roger Waters|Pros and Cons Tour 1985 (live)

Pros and Cons Tour 1985 (live)

Roger Waters

• Released on 3/28/85 by Cult Legends
• Main artists: Roger Waters
• Genre: Rock

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About the album

• 1 disc(s) - 30 track(s)
• Total length: 02:12:49
• Composer: Various Composers
• Label: Cult Legends
• Genre: Pop/Rock Rock

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• March 29, 1985 Setlist

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• Wish You Were Here ( Pink Floyd  song) Play Video
• Pigs on the Wing, Part 1 ( Pink Floyd  song) Play Video
• Get Your Filthy Hands Off My Desert ( Pink Floyd  song) Play Video
• Southampton Dock ( Pink Floyd  song) Play Video
• The Gunner's Dream ( Pink Floyd  song) Play Video
• In the Flesh ( Pink Floyd  song) Play Video
• Nobody Home ( Pink Floyd  song) Play Video
• Have a Cigar ( Pink Floyd  song) Play Video
• Another Brick in the Wall, Part 1 ( Pink Floyd  song) Play Video
• The Happiest Days of Our Lives ( Pink Floyd  song) Play Video
• Another Brick in the Wall, Part 2 ( Pink Floyd  song) Play Video
• The Pros and Cons of Hitchhiking
• 4:30 AM (Apparently They Were Travelling Abroad) Play Video
• 4:33 AM (Running Shoes) Play Video
• 4:37 AM (Arabs with Knives and West German Skies) Play Video
• 4:39 AM (For the First Time Today, Part 2) Play Video
• 4:41 AM (Sexual Revolution) Play Video
• 4:47 AM (The Remains of Our Love) Play Video
• 4:50 AM (Go Fishing) Play Video
• 4:56 AM (For the First Time Today, Part 1) Play Video
• 4:58 AM (Dunroamin, Duncarin, Dunlivin) Play Video
• 5:01 AM (The Pros and Cons of Hitch Hiking, Part 10) Play Video
• 5:06 AM (Every Stranger's Eyes) Play Video
• 5:11 AM (The Moment of Clarity) Play Video
• Brain Damage ( Pink Floyd  song) Play Video
• Eclipse ( Pink Floyd  song) Play Video

Edits and Comments

35 activities (last edit by sicko , 10 May 2023, 08:19 Etc/UTC )

Songs on Albums

• Another Brick in the Wall, Part 1 by Pink Floyd
• Another Brick in the Wall, Part 2 by Pink Floyd
• Brain Damage by Pink Floyd
• Eclipse by Pink Floyd
• Get Your Filthy Hands Off My Desert by Pink Floyd
• Have a Cigar by Pink Floyd
• If by Pink Floyd
• In the Flesh by Pink Floyd
• Money by Pink Floyd
• Nobody Home by Pink Floyd
• Pigs on the Wing, Part 1 by Pink Floyd
• Set the Controls for the Heart of the Sun by Pink Floyd
• Southampton Dock by Pink Floyd
• The Gunner's Dream by Pink Floyd
• The Happiest Days of Our Lives by Pink Floyd
• Welcome to the Machine by Pink Floyd
• Wish You Were Here by Pink Floyd
• 4:30 AM (Apparently They Were Travelling Abroad)
• 4:33 AM (Running Shoes)
• 4:37 AM (Arabs with Knives and West German Skies)
• 4:39 AM (For the First Time Today, Part 2)
• 4:41 AM (Sexual Revolution)
• 4:47 AM (The Remains of Our Love)
• 4:50 AM (Go Fishing)
• 4:56 AM (For the First Time Today, Part 1)
• 4:58 AM (Dunroamin, Duncarin, Dunlivin)
• 5:01 AM (The Pros and Cons of Hitch Hiking, Part 10)
• 5:06 AM (Every Stranger's Eyes)
• 5:11 AM (The Moment of Clarity)

Complete Album stats

Roger Waters

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Roger waters gig timeline.

• Mar 27 1985 Radio City Music Hall New York, NY, USA Add time Add time
• Mar 28 1985 Radio City Music Hall New York, NY, USA Add time Add time
• Mar 29 1985 Spectrum This Setlist Philadelphia, PA, USA Add time Add time
• Mar 30 1985 Centrum in Worcester Worcester, MA, USA Add time Add time
• Apr 03 1985 Oakland-Alameda County Coliseum Arena Oakland, CA, USA Add time Add time

28 people were there

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• shieldknight
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• WayneBretzky

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Tour Update

Setlist insider: royal blood.

• Royal Blood
• Mar 19, 2024
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