Review: Has Mick Jagger slowed down? Are the Rolling Stones past it? Not yet

By Bob Gendron
June 28, 2024


Vincent Alban/Chicago Tribune

Mick Jagger beat the braggadocio boasts of “Start Me Up” to the punch Thursday at a packed Soldier Field. The Rolling Stones vocalist was already riled up and running hot before the resonant chords of the recognizable anthem signaled the opening of the legendary band’s first of a two-night stand at the lakefront venue. (The group returns Sunday.)

For most of the next two hours, Jagger nearly single-handedly carried the concert. He defied the limitations often associated with his 80-year age and refused to mail in a single verse. Questions about the Stones’ predictability, purpose and joyfulness aside, the physically fit singer continues to take performance as seriously as anyone in the business. He nailed his deliveries, projected enthusiasm, embodied determination and gave a master class in the art of animated dance moves. AARP, the tour sponsor, couldn’t have dreamt up a better advertisement.

Playing the 40th Chicago concert of their career and the first local gig without their late drummer Charlie Watts (who died in 2021), the Stones frequently needed the boost. The impossible task of succeeding Watts fell to the talented Steve Jordan, whose collaborative relationship with guitarist Keith Richards stretches back to the Reagan era. In a possible nod to Watts’ famously keen fashion style, Jordan sported a smart suit and black sunglasses. He knew the parts inside-out, though his approach — slightly busier and heavier, with less swing, glide and refinement than the jazz-leaning Watts — altered the rhythmic structures in ways obvious to anyone with a history of seeing the band.

Still, as they say, the show must go on. Nearly 35 years after they mounted a comeback trek that prompted some critics to crack wise about their ages in the context of rock ‘n’ roll, the Rolling Stones keep on keepin’ on, in spite of internal issues, health setbacks and mortality. In the face of endless, cliched stories that lazily incorporate their song titles (“The Last Time,” “It’s Only Rock ‘n’ Roll (But I Like It)”). Their persistence — along with their ubiquitous classics and iconic tongue-and-lips logo — have made the Stones the most widely identifiable rock group in history.

In many ways, the Stones are as much a brand as a band, and one that apparently never goes out of style. Modeled by chic young adults, the vast array of apparel hawked on their website gives fashion houses a run for their money. While Taylor Swift inspires headlines about boosting local economies and altering countries’ inflation rates, the Stones remain a box-office juggernaut that regularly grosses upwards of $10 million per gig. This after creating the blueprint for stadium tours in the late ’80s.

Lineup alterations aside, little regarding the Stones has changed since they released their last great album (“Tattoo You”) in 1981. The primary differences today concern the environment in which the group operates. The concept of selling out no longer exists. Rock ‘n’ roll ceded its dominance to hip hop and pop decades ago. Standalone artists overtook groups in terms of star power. Consider: You don’t even need all the fingers on one hand to count how many bands formed since the dawn of the 21st century can fill Soldier Field for two shows.

Indeed, the sense that the imitable combination of sound, interplay and chemistry that transpired on the grand if somewhat minimalist Soldier Field stage might soon be difficult to come by seemed lost on no one — including the last three core Stones themselves and their supporting cast, particularly longtime keyboardist Chuck Leavell and Chicago native Darryl Jones, whose full-bodied bass lines provided a steadying element when other aspects wavered.

Sticking to the center of the stage, tufts of white-and-gray hair struggling to emerge beyond his trademark headband, Richards occasionally appeared reticent and noncommittal. The 80-year-old looked as if he’d slowed. He struck noticeably sour notes on “Start Me Up,” adopted a perfunctory stance during his vocal lead on a flat “Tell Me Straight” and required several songs to find his footing. Yet Richards’ personalized technique — he navigated by feeling, read what the material demanded and reacted accordingly, ignoring timing and placement conventions — corresponded to a manner of disciplined improvisation that can only be shaped over decades of experience.

When it sparked, his rapport with fellow guitarist Ron Wood gave diehards visions of a more youthful past and newer fans a reason to savor the moments when the duo locked into a groove and held tight. Jabbing and scraping their instruments’ strings, Richards and Wood juggled decay and distortion and communicated with scuffed tones, squawking riffs and sharp, twangy fills. The grittiest of their output doubled as rude interjections (“Little T&A”), R&B rejoinders (“Tumbling Dice”), clarion calls (“Jumpin’ Jack Flash”) and booze-soaked lures (“Honky Tonk Women”).

As expected, the Stones leveraged familiarity to their advantage. Along with one fan-selected song (a watered-down “She’s a Rainbow”) and one dusted-off gem (a reggae-tinted “Get Off of My Cloud”), four songs from their recent “Hackney Diamonds” LP cracked a setlist anchored by the same hits the group has featured for eons. Nothing released between 1981 and 2023 made the cut. Yes, people pay big bucks to hear favorites. But why not tackle one of the other seldom-played numbers (“Bite My Head Off,” “Fool to Cry,” “She’s So Cold”) that lost the popular vote? Or toss a couple of known albeit deeper tracks into the mix?

Instead, the energetic and attitudinal antidote to the pervasive politeness stemmed from Jagger. Adorned in black jeans, and modeling an assortment of jackets and shirts, the livewire singer justified the presence of both the stage’s short runway and extended wings. He strutted, waggled, pointed, shimmied, shuffled, summoned, pouted, preened and vogued. His petite hips turned on an imaginary swivel; his loose shoulders flirted with joint dislocation; his restless hands flapped as if trying to shake off a tingling numbness.

Save for the 15 minutes he went backstage and let Richards handle the microphone, Jagger alternated between the roles as singer, cheerleader, MC, jokester — he deemed the evening’s presidential debate “Viagarapalooza” — and storyteller. He touched on the band’s first trip to Chicago in 1964 and fortune at meeting its idols (Muddy Waters, Howlin’ Wolf, Chuck Berry) at Chess Records. He failed to mention that the studio sat about a mile from where he currently stood, or that the Stones recorded a batch of songs while there. Too bad the group didn’t play one of them as a full-circle tribute.

The closest the Rolling Stones got to musically acknowledging the city’s blues impact on their fare arrived during a tease of “Sweet Home Chicago” amid a harmonica-laden run-through of “Midnight Rambler.” The circa-1969 tune emerged as one of the few that hinted at its original menace. Another, a long-fuse reading of “Gimme Shelter,” also of ‘69 vintage, benefitted from the fiery participation and soulful blare of backup vocalist Chanel Haynes.

“War, children,” Jagger and Haynes sang, conscious of the ominous warnings that followed. “It’s just a shot away.” For the briefest instant, all the years and wrinkles melted away, and the Stones were again ragtag British dissidents spreading and sounding an urgent alarm amid an ever-tumultuous global climate. Godspeed.

[www.chicagotribune.com]

Fantastic show, crowd was pretty good too. Disappointed but not surprised with the song vote.

The Rolling Stones are timeless — and ageless — as Soldier Field show proves

Like many of their previous visits to Chicago, it’s a homecoming celebration every time the iconic band returns.

By Selena Fragassi
Jun 28, 2024


Ashlee Rezin/Sun-Times

After nearly 20 years in the music business, the moment finally came for this writer to witness a Rolling Stones concert and understand fully why they are still considered one of the greatest living bands of all time.

Like many of their previous visits to Chicago, which have been nostalgically recounted by Sun-Times readers today — from ’64 at the Arie Crown Theater to ’94 and ’97 at Soldier Field — it’s been a homecoming celebration every time the iconic band returns to the city. While The Rolling Stones may have been born in England, the Brit rockers found their heart and soul in Chicago. And Thursday’s showstopper, part of the Hackney Diamonds Tour, found the band metaphorically and sonically retracing those formative steps while seamlessly diving into the new material from their 2023 album of the same name.

The two-hour, greatest hits-heavy set — their first concert here since 2019 and the first tour without the incredible late skinsman Charlie Watts — was padded with Mick Jagger’s frenzied moves on “Start Me Up,” Keith Richards’ scorching guitar licks on “Honky Tonk Women” and Ronnie Wood’s undying rhythm on literally every tune. But it also oozed the Chicago blues they’ve always worn proudly on their chest in a way that feels like they’ve been overtaken by the very spirits of those blues masters.

“This is our 40th show in Chicago,” the ever-affable Jagger proudly shared from the bare-bones stage, explaining how the young and eager musicians first came to the city 60 years ago on a mecca to Chess Records, wide-eyed at meeting their “teenage idols” like Muddy Waters and Howlin’ Wolf. It’s a fitting and respectful tribute that the biggest rock act in the world still pays homage to the masters they learned from and whose music clearly fueled the entire British Invasion.

Jagger and Richards are 80 years old, and Wood is 77, and though their current tour is sponsored by AARP, all three are still vibrant and hellbent on sharing the gospel from their own rock bible. For those out there who might deem them past their prime, seeing them live dispels all such doubts.

The Stones were born to be classics, and their seemingly endless, multigenerational appeal speaks volumes. The band re-entered the Billboard Top 40 this week (for their “Hot Rocks 1964-1971” compilation), showing the insatiable hunger for their enduring material.

The same could be said for the inimitable Bettye LaVette who opened the night with total panache, the 78-year-old sashaying down the catwalk runway in sunglasses and bare feet churning out originals and Bob Dylan covers. She is a treasure.

Jagger didn’t miss a moment to poke fun at the other septuagenarians and octogenarians making news on this night, dubbing the first 2024 presidential debate (airing just as the concert got underway) as “Viagra-palooza.”

“Tonight we’re missing the debate,” Jagger stated, eliciting jeers from the crowd, before volleying to some Chicago humor, “but the big thing to really talk about is: Is it deep dish or tavern-style?”

The November presidential election also came up earlier in the night as the band parlayed into the “fan-voted” special song, which turned out to be “She’s A Rainbow” (beating out “Bite My Head Off,” “Fool To Cry” and “She’s So Cold”). Though, for a song that was chosen by the people, the people in the stadium were lukewarm as the Stones delved into it with Jagger on acoustic, Wood on lap steel, and keys from long-time touring musician Charles Leavell.

The song fell amid the first seven numbers of the set, which had some false starts and slow moments (“Wild Horses”) as the band took until “Tumbling Dice” to truly warm up. Even Jagger noticed, asking the crowd, “Are you having a good time now?” as the energy shift suddenly became palpable when the near-capacity crowd shot up on their feet for “You Can’t Always Get What You Want.” The crowd remained enthralled until the three-song stand (“Tell Me Straight,” “Little T&A” and “Happy”), which Richards took over with a very rough vocal lead.

It was the last eight tracks of the night that were the sweet spot of what makes a Stones’ show worth its salt — and maybe even the ticket price. On “Sympathy For The Devil,” “Midnight Rambler” and “Paint It Black,” Jagger, Richards and Wood played to their strengths as the showman, the phenom and the glue that binds them.

But it was also their backing band that filled in the essential supporting roles, no more so than Watts’ handpicked replacement Steve Jordan, bassist (and proud Chicago native) Darryl Jones and backup vocalist Chanel Haynes. The one-time “Tina” musical lead nearly stole the show with her incredible pipes on “Gimme Shelter” (an amazing homage to Merry Clayton’s original vocals) and new “Hackney Diamonds” track “Sweet Sounds of Heaven” (taking over Lady Gaga’s recorded parts).

If the question is, “How much longer can the Stones keeping doing this?,” the answer is, “Who cares?” More power to Jagger, Richards, Wood, et al. for putting on a show few can top and smiling and strutting their way through it like they’re still having the time of their lives.

[chicago.suntimes.com]

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harlem shuffle
Keith fans always find their way to complaints about Jagger.But everything is so fantastic about a man who can hardly play anymore.Fantastic solo om Sympathy?Really?

and people who can't understand when someone compliments keith's playing nowadays they mean in the context of how he's been playing recently (not whatever year/decade you thought he could still play) always have to point out that keith doesn't play as well a he used to

i'm not a "keith fan" or a "mick fan" i'm a rolling stones fan and i'm not deaf i can clearly hear he's a shadow of his former self (literally everyone know this)

but i still enjoy what he's able to do (as do many) and his sympathy solos last night were very good compared to other recent ones (i dare you to find me a better one this tour)

as for mick i'm not complaining i'm stating reality he has slowed down the last few years (just watch the videos from there last visit to chicago in 2019) it's not a problem for me i still think he's great and i love his performances this tour

and he does stick to a mostly set routine onstage which is fine i like that too and it's been that way for a very long time

i trust that mick understands his body and knows his limits and is carful not to injure himself so he limits his movement and dancing onstage because he's a professional

he's still and outstanding and exhilarating performer that hasn't changed even at 80

complete show plus about 15 minute of bettye lavette's set

Gold Rings on Ya ProfessorWolf!

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keefriffhards
Well he can't have it both ways, show me another 80 year old charging top Dollar for tickets, for mega bucks the show should feel fresh and give an element of surprise.
For me it's getting a bit stale, can't Mick just get out of this routine, i know it works but come on, show us the artist not the workout.

no not really he's 80

it's amazing he can still perform like this at all asking him to change it up at this point just isn't very realistic in my opinion

you got a point about the price though

but most of the people paying top dollar aren't hardcore fans who have seen them a dozen times plus this is still fresh and exciting to them and they aren't complaining

they design the shows for the casual fans not us sadly

not that i wouldn't want to see them spice up the show too it's just to late

but they do have a new stage several new songs and a notably different setlist arrangement

i mean they actually drop miss you at some shows now, play a new song as a encore and keith does three songs that's not nothing

For anyone thinking of buying tix at the box office on Sunday, we were able to get good seats (Section 103, Row 4) last minute and saved $60 each with no service fees!

let me down easy - bettye lavette




it ain't me babe




things have changed






Edited 2 time(s). Last edit at 2024-06-28 23:49 by ProfessorWolf.

Apologies if already answered but does anybody know when the merch truck opened up Thursday? TIA!

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Topi

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SomeTorontoGirl
Bettye came through Toronto for Jazz Fest in 2018 and I was able to catch the show - terrific to see her again. And those other guys who played after her tonight.

Fun hanging with you in the back of the pit!

Yeah - it was a great night! And more to come.

I think a little after 3:00. There are several trucks and I arrived around 4:40. I walked right up, and waited in no line at all. Literally walked up and was asked what I wanted immediately. Only thing I will point out is that I never saw the actual Litho style city specific shirt. I bought a terrible one that simply had the Hackney Diamonds logo with the Chicago dates on the bottom. Nothing on the back. I hated that shirt even more this morning when I looked at it again. However, the litho is awesome. Even includes the artists name and info. A little bit better quality then years past.

Thanks!! Odd about the litho shirt not being available. I like the look of the litho so excited to get my hands on one! Does it say on it how many they make?

It does not. Already have mine framed and in the wall with all the others. I would imagine with them using the same litho for both shows they ordered plenty. Maybe they will havebthe a litho shirt on Sunday. The Chicago one they sold yesterday looked like a super generic rushed replacement for the ones that may not have come in.

Anybody know why the remove much of the equipment between shows?

They took all the chairs off the floor away, pulled tape off the floor containing cables, lowered the speakers and doing something with them, taking up the top layer of the stage floor. Was still going at it once I finally let the majority clear and left.

Bettye LaVette - wow! I don’t usually care much about opening acts but I’d be more than happy for her to be the opener at every show. Thanks to ProfessorWolf for posting.

T-shirts in Glendale also were not available at the show. You had to order. Has this been the case at all venues?

Kv2915-appreciate the reply. Interesting, I really wish I would have just bought the regular tour shirt.

Judging by the recordings only, I have to say this has to be the best "version" of the band since - at least - the Licks tour more than 20 years ago (exceptions like the glorious 2013 outing at Glasto not withstanding). Take SFTD for example, when was the last time the guitar parts - if played at all - were not awkward excursions but actually complimented the song? I could go on with HTW, GS (Sasha does not steal the show - Keith does that with his authority, infusing new flavours into this gem and exploring new nuances any given show over the past few weeks), and many more. Yes they look their age and - guess what - their moves on stage do not unleash a thunderstorm like in their 60s/70s heyday and yes, you will look in vain for flashy runs up and down the fret. Those of us who choose to nitpick their limitations that come with age are not only entitled to their opinions, they are objectively right. I will not ask those to "cut them some slack", as some have done: The Rolling Stones are not in need of that. I will not insult those either ("get a life"/"get over it"). Instead, I have an advice for you: maybe you are missing out on something. Maybe you should just listen and learn to cherish the art created by a group of individuals who know their craft and know how to use their remaining powers wisely. Maybe you will find out that holding past accomplishments of The Rolling Stones against their current output and performances objectively does not take anything away from the latter, but just diminishes the joy you personally could get out of it.

Agree with ya, but one correction, it's Chanelle Haynes not Sasha Allen this tour. She may not steal the show but man, Chanelle is certainly a highlight. Keith and Ronnie are on fire and the guitar sound is much louder at the shows, the videos for some reason don't make it appear that way. It's like most phones have built in equalizers that make it sound even.

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TumblinDice76
Agree with ya, but one correction, it's Chanelle Haynes not Sasha Allen this tour.

Yep you are so right mate, this goes only to show how the age thing creeps in even among us fans - but I reckon the "76" indicates you are a freshman comparatively ;-)

Tantekathe-you are correct! But not feeling like a Freshman today, the boys kicked my @ss last night. No idea how they do it, but I'm glad they do! Hope everyone on Sunday has fun!Tantekathe gild rings on ya mate!

tantekathe

very eloquently put and thought provoking

but i still think some slack might help

that was the first sftd that i've enjoyed listening to all the way thru in a while and iorr was pretty good too

and i would say best version of the band since 2017/2016 but we'll all place this differently the point is many hold the view that the band has improved and that's great

as to the loudness of the guitars not showing up in videos they must be really loud in person because they sound noticeably louder to me in the videos then recent tours



Edited 2 time(s). Last edit at 2024-06-29 06:28 by ProfessorWolf.

Not a totally bad day for a day off.

- Chess Records tour at Willie Dixon's Blues Heaven Foundation

- Tim Ries & Bernard Fowler at Martyrs'

- Meeting Buddy Guy at Buddy Guy's Legend's, getting his photo and his autograph

- New friends, old friends from all over the world. (Shout out to syrel)

My kind of town.







Edited 2 time(s). Last edit at 2024-06-29 09:21 by Topi.

Keith played a new guitar on She's a rainbow, havn't seen it before.

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TumblinDice76
I'm 48 years old, I am still wiped out from yesterday. I didn't sing or play a note. A 48 year old spectator is wore out, Can't even begin to imagine they all do it night after night. I will add one final comment about last night. All the "you can't judge a performance by videos" is 100% on target. After being there last night and waking up this morning and watching the videos...it's a night and day difference. I was actually surprised by Angry last night, I thought it had way more teeth in person than in videos. I thought it was a highlight and I enjoyed all 4 Hackney Diamonds Tracks. Keith was on fire last night. Good to see because I thought he was a tad off in 2019.

Shit, really? 48 y/o and watching a gig wore you out? Are you overweight? Do you work out? I'm 53 and would be alarmed if watching a gig "wiped me out".

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Tantekäthe
Judging by the recordings only, I have to say this has to be the best "version" of the band since - at least - the Licks tour more than 20 years ago (exceptions like the glorious 2013 outing at Glasto not withstanding). Take SFTD for example, when was the last time the guitar parts - if played at all - were not awkward excursions but actually complimented the song? I could go on with HTW, GS (Sasha does not steal the show - Keith does that with his authority, infusing new flavours into this gem and exploring new nuances any given show over the past few weeks), and many more. Yes they look their age and - guess what - their moves on stage do not unleash a thunderstorm like in their 60s/70s heyday and yes, you will look in vain for flashy runs up and down the fret. Those of us who choose to nitpick their limitations that come with age are not only entitled to their opinions, they are objectively right. I will not ask those to "cut them some slack", as some have done: The Rolling Stones are not in need of that. I will not insult those either ("get a life"/"get over it"). Instead, I have an advice for you: maybe you are missing out on something. Maybe you should just listen and learn to cherish the art created by a group of individuals who know their craft and know how to use their remaining powers wisely. Maybe you will find out that holding past accomplishments of The Rolling Stones against their current output and performances objectively does not take anything away from the latter, but just diminishes the joy you personally could get out of it.

What a wonderfully articulate post Tantekathe, pointing out the positives without condemning the people like myself that feel a little frustrated with the sameness of these tours.

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keefriffhards
Watching these shows year after year you soon notice that Mick does the exact same moves , Watching Gimme Shelter, at precise moments during the concert he walks in exactly the same direction making exactly the same moves . Is it about control or obsessive compulsive disorder.

The cool spontaneous moves pre 89' and exciting stage clothes are gone, each show is a carbon copy in every way, totally at odds with Ronnie and Keith who never play it safe, never play things exactly the same.

You’re complaining has now just become pathetic.

bobo.

Do you have something to say that explains why I'm wrong about my complaint.

Does Mick not make the exact same moves.

It's great, i still enjoy the shows but come on does evey catwalk with Chanel have to be exactly the same, it's so repetitive.

Worried About You-5 foot 10 and 160 pounds. In the gym 5 days a week. Worked half a day on Thursday, drove up 3 hours to the show, parked, hit the merch tent, hit sound check, up to the nose bleed seats, Bettye rocked, the Stones Rocked, Satisfaction ended, down from section 400, full sprint to the Waldron deck, in the car, sitting in traffic, more sitting in traffic, got home at 2:30 AM. Got up with the girlfriends alarm at 5:30 AM. Got the kids up and off to their camps, Replaced the brakes on my nephew's car and then back home to do yard work and listen to videos of the show and read reviews here. Yeah...I'm a bit wore out...fun but long day.