The group devised ways to appear during the second half before the wall was torn down at the end - David Gilmour played his 'Comfortably Numb' solo on hydraulics, above the wall, and a hotel room with Waters brooding in a chair appeared during 'Nobody Home.' Nevertheless, the importance of the group, as such, was diminished. Originally, Waters wanted Floyd to perform behind the wall for much of the show, but during the development of the production, it was decided that the wall would be finished at the end of the first act - in other words, at the end of the first record of the double album-set. Waters had a brilliant idea for the show - an actual wall would be constructed across the stage, and then the band would play behind it as Scarfe's animations were projected on the wall and giant inflatable puppets danced on stage. And that's exactly what Floyd designed under the direction of Waters and with the assistance of such artisans as animator Gerald Scarfe and stage designers Mark Fisher and Jonathan Park. All of Floyd's showmanship culminated in The Wall, an album that wasn't only a story, it was designed to be a theatrical experience. They had model planes crashing into the stage, giant inflated pigs hovering around the arena and, of course, astonishing live shows. Throughout the '70s, the band earned the reputation as one of the best live acts in rock & roll - and not just because they delivered musically but because they delivered a full-fledged show. Pink Floyd's supporting shows in 19 for Roger Waters' narcissistic, nihilistic epic The Wall are the stuff of rock & roll legend.

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