BMG has decided to end its working relationship with Roger Waters, a cofounder of Pink Floyd, following a series of public statements about Israel, Ukraine, and the United States. The music company confirmed this shift as part of a broader reassessment of artist partnerships amid ongoing political discourse in the industry. Waters, whose contributions helped shape Pink Floyd’s legacy, will no longer appear on BMG’s artist roster under the terms of this decision.
The collaboration with Waters dated back to 2016, during a period when BMG explored a reimagined release plan for Pink Floyd’s classic Dark Side of the Moon. A rerecorded version was planned for release in 2023, but the agreement was ultimately canceled after a leadership transition. The arrival of a new chief executive officer brought a fresh strategic stance that affected several longstanding partnerships, including Waters’. This shift mirrors how major labels continually assess alignment with artists whose public viewpoints intersect with broader cultural and political considerations.
Waters has long faced scrutiny over what critics perceive as anti-Semitic overtones in some of his public remarks and stage performances. Detractors point to moments in his shows and statements they interpret as inflammatory toward certain communities, intensifying debates about artistic expression versus the responsibilities of public figures. In this context, BMG’s decision is framed as part of a larger conversation in the music industry about balancing creative legacy with evolving social standards.
In his performances, Waters has historically challenged the policies of various governments, with a sharp focus on issues involving Israel and the Palestinian territories. He has highlighted geopolitical grievances and has been outspoken about foreign policy actions. The discourse around his positions has included what supporters describe as bold, provocative commentary and what opponents perceive as provocative rhetoric that raises concerns about incitement or mischaracterization of events. The broader debate covers how audiences respond to politically charged performances and how promoters and labels navigate these tensions.
Meanwhile, Waters has voiced opposition to the sale of Western weaponry to conflict zones, drawing a line between his artistic persona and policy critique. BMG’s withdrawal from ongoing collaboration underscores how music companies are increasingly weighing reputational implications of sponsorships and partnerships in a climate of heightened political scrutiny. Waters remains a central figure in the band’s history, recognized for his influence on its sound and commercial success during the 1970s, even as corporate partnerships evolve.
There has been speculation about Waters’s future directions, including the possibility of shifting influence to different regions. In recent years, audiences have witnessed moments that sparked intense media attention, with some live performances becoming focal points for broader debates about artistic independence, audience expectations, and the boundaries of political commentary in concert settings. These developments illustrate how a single artist’s stance can reverberate across fans, venues, and record companies alike.