Roger Waters has launched a verbal attack on Metallica frontman James Hetfield, calling the guitarist a “complete prick” after revisiting comments Hetfield made about the use of musicians’ platforms for political messaging. Waters shared his thoughts during an appearance on The Katie Halper Show, where the former Pink Floyd member also criticized Hetfield’s past response to reports that Metallica’s music had been used during the torture of Iraqi prisoners.
The latest dispute follows Metallica’s October 10 performance at the Sphere in Las Vegas, where Hetfield addressed the crowd about the band’s approach to its shows. While thanking fans for traveling to see them, he made it clear that Metallica’s intention was to offer an escape from outside distractions rather than use the stage to influence the audience.
“Metallica is not here, like some other ‘entertainers’, to influence you with their bullshit, OK? We are here — no bullshit — we’re here to forget about all the outside shit, OK? Metallica’s agenda is love, energy and heavy music, baby!”
Hetfield’s remarks have been interpreted as a criticism of performers who incorporate political statements into their concerts, particularly amid recent debate surrounding artists such as Ed Sheeran and Macklemore. Others, however, have taken issue with the wording, viewing it as dismissive of musicians who choose to speak publicly about political and social issues.
Although Metallica have addressed political and social subjects in their music over the years, the band have generally maintained a less overtly political public profile in recent times. Waters, meanwhile, has remained outspoken on a range of political issues and has previously engaged in public disputes with other musicians, including Disturbed vocalist David Draiman over the Israel-Gaza war. He also drew criticism from members of Ozzy Osbourne’s family following remarks about the late musician.
During his appearance on The Katie Halper Show, Waters turned his attention to an earlier interview in which Hetfield discussed reports that Metallica’s music had been played at high volumes to Iraqi prisoners as a form of psychological torture during the Iraq War.
At the time, Hetfield reportedly responded with the following remarks:
“If the Iraqis aren’t used to freedom, then I’m glad to be a part of their exposure… We’ve been punishing our parents, our wives, our loved ones with this music forever. Why should the Iraqis be any different?”
Waters sharply condemned that response, connecting it to Hetfield’s more recent comments about keeping politics out of Metallica’s performances.
“He’s just showing that he’s a complete prick. He’s got an IQ of about three, and why we’re talking about him, I honestly don’t know, because he’s a nobody. He may have a few hundred million dollars or whatever, but he’s a prick. And he’s no musician. I told you, I heard them playing acoustic instruments and they couldn’t, it was appalling.”
Waters went on to say that he did not particularly care about Metallica, before arguing that Hetfield could have benefited from someone teaching him the importance of kindness and empathy.
He referenced Charlie Mackesy’s book The Boy, the Mole, the Fox and the Horse, recalling a passage in which a character is asked what he wants to be when he grows up and answers, “Kind.” Waters used the anecdote to argue that compassion should take precedence over musical spectacle.
“It’s a shame this prick [Hetfield] didn’t have somebody around him to explain that being kind is way more important than all that loud music and bouncing around and whatever.”
Waters then broadened his remarks to the importance of empathy and his hopes for the future of the Palestinian people, reiterating his belief that compassion needs to spread throughout the world.
He ultimately returned to Hetfield, making clear that he did not wish to dwell further on the Metallica frontman.
“So, I don’t know. I don’t care about him. I really don’t.”
Waters’ comments add another chapter to his history of outspoken criticism of fellow musicians, while Hetfield’s original remarks continue to fuel debate over whether artists should use live performances to address political issues or keep their shows focused on the music.
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