try ps2 garage at 1130 s prairie. our entry was 3:30

i just added a complete video of the show and another very good looking and sounding video of the first 30 minutes to my post on page 2

and i've added additional clips of almost every song as well

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cyclist
Was hoping for some deeper cuts, but I had the best time with the Argentinians and Colombians around me. So grateful they brought the energy! Never lost my mind like I did tonight. Full workout.

This is what it's all about for me anymore. Sharing passion with others. And it doesn't cost money.

Thank you LA! You were an amazing audience! Let’s do it all again Saturday

[x.com]

Chris Pizzello/Invision/AP


Chris Pizzello/Invision/AP

Chris Pizzello/Invision/AP


Chris Pizzello/Invision/AP

Chris Pizzello/Invision/AP


Chris Pizzello/Invision/AP

Nice to see Steve wearing a suit - he's his own man but it feels like a little tribute to Mr Stylish Watts.

Well, that was simply a stunning show from start to finish. I pulled Section C248 for my Lucky Dips. Way off to the side, but honestly it was still a great side view of the stage and screens. For those of you going Saturday, enjoy!

I don't know about how others feel but the pit was packed at this show.

Ronnie has perfected the angry hornet nest distortion sound for his "solo" on SMU. I think I heard a woodchipper yesterday that sounded similar. LOL WHAT is he DOING!!!????

It will be interesting to see how much the setlist gets turned over for SoFi #2. Both New York and Chicago got many deeper cuts for their second shows.

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waterrats


-Fb-

What time was this?

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georgemcdonnell314
I don't know about how others feel but the pit was packed at this show.

Felt more crowded than Houston and Vegas. But it’s also an issue of who’s within a five foot radius of you. Can become a real drag.

Regular price pit tickets were on Ticketmaster all afternoon…

Wow!!! Thanks for those wonderful videos. And Flash is brutal!

Only Keith can play such an intro. Awesome.

[www.youtube.com]

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jumpingjackflash5
Only Keith can play such an intro. Awesome.

[www.youtube.com]

Practically life affirming. Tokyo to LA tomorrow. Can't wait for Saturday.

great videos stunning Gimme Shelter wow!

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drbryant

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waterrats


-Fb-

What time was this?

Before 7:30. Can’t say exactly when though.

(Once opening act comes out, the main scoreboard was blacked out. Also, rear GA and pits were appreciably fuller, even for opener…)

I see myself clearly in that picture with a friend (fellow taper) who wasvisiting. Likely about 7pm.

I agree who is around you makes a difference.

Met Life was awful in the pit. People brawling.

I'll take the two beautiful blondes next to me in Philly for the best company so far. They bought me 2 beers!

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cyclist

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georgemcdonnell314
I don't know about how others feel but the pit was packed at this show.

Felt more crowded than Houston and Vegas. But it’s also an issue of who’s within a five foot radius of you. Can become a real drag.

Regular price pit tickets were on Ticketmaster all afternoon…

The Rolling Stones, still as dangerous and vital as ever at SoFi Stadium

By August Brown
July 11, 2024


Gina Ferazzi / Los Angeles Times

It’s been a rough month for octogenarians refusing to leave the stage in the U.S. So let’s be grateful that the Rolling Stones still light up stadiums as ferociously as ever.

On Wednesday at SoFi Stadium, the Stones did just what they’ve done for decades: They hit the circuit in support of a new rock and ’n’ roll album, last year’s fresh and riffy “Hackney Diamonds.” They’d have had every right to make this round of shows an affirming nostalgia trip for fans, particularly in the wake of losing beloved drummer Charlie Watts in 2021.

But as America wrestles with a culture ruled by gerontocracy, the Stones refused to be sentimental about anything on Wednesday night. This band is performing at the highest octane, capable of startling and exhilarating moments onstage that have created history instead of pandering to it.

For all the decades of dark glamour and staggering excess, Mick Jagger, Keith Richards and Ronnie Wood still walk onstage to that famously modest introduction — “Ladies and gentlemen, the Rolling Stones.” Since the Johnson administration, it’s been the most sacred and reliable compact in rock ’n’ roll.

However, with the death of Watts — famed for his cool reserve and jazzy, steadfast style behind the kit — it was fair to wonder how long that deal would hold. Contrary to all evidence so far, the Stones will hang it up someday.

Well, keep waiting. From that klaxon riff of “Start Me Up” to the restless pulse of closer “(I Can’t Get No) Satisfaction,” the Stones roared and purred like a well-kept Aston Martin, reaffirming the dangerous pleasures of their catalog today as they did in 1964 and will be in 2064.

If you’re in despair about the world, be grateful for this, at least: We’re alive to see the mastery and vigor that Jagger brings to every stage. Those lithe little hip swings, shirt billowing in the night breeze; that perfectly clipped R&B enunciation on “Beast of Burden.” Don’t believe him when he jokes that “our first gig in San Bernardino was so long ago, some of you might think we’d been dug out of the La Brea Tar Pits.” He can still conjure that simmering lustiness just by shoving a microphone through his waistband.

Hold some special regard for Richards too. The most legendarily un-killable Stone was in fine form Wednesday night, using the limits of age to his advantage.

SoFi Stadium has become the set piece for every big pop spectacle of our time, a place where backing tracks are a prerequisite for the razzle-dazzle required. But we maintain that nothing sounds better in that venue than a gained-up, frighteningly loud, teeth-gnashing riff from Richards.

Wood gets all the fretboard acrobatics in the band these days, but when Richards leans into “Midnight Rambler” while Jagger howls about Robert Johnson’s hell hounds, he’s truly touching the flame. That stark, sad minor chord that opens the verses on “Wild Horses” sounded all the more arresting as played by those hands in 2024. When Richards sang “Everyone is asking questions, yeah / I got one too… Is the future all in the past?” on “Tell Me Straight,” you could feel him spitting back at the Reaper.

The hits — “Paint It Black,” “Jumpin’ Jack Flash,” “Tumbling Dice” — glowed with a geothermal power, age-old yet still searing. The band reveled in what “Honky Tonk Women” can bring out of a lightly sauced crowd, now spanning three generations.

Even the tracks from “Hackney Diamonds” showed how relentlessly the Stones push forward. There’s a reason they looked to young producer Andrew Watt, the boomer-whisperer of contemporary rock, for their first LP of original material since 2005. “Angry” and “Mess It Up” were perfectly calibrated for this moment in the Stones — seething licks and the devil-may-care attitude of a band extremely confident in its resonance.

Much credit is due to the malleable backing band the Stones have recruited. Drummer Steve Jordan inhabited Watts’ style with honor and power, keyboardist Chuck Leavell ripped exquisite piano solos and Chanel Haynes brought Tina Turner-worthy vim to the backing vocals. (So did the War and Treaty’s Michael Trotter Jr. and Tanya Trotter, who opened the set with regal Southern soul).

Even if we go to the Stones for the crushed velvet and silver jewelry, the sneers and pouts and the communal rituals of stadium rock, the band remains unsatisfied. No maudlin tributes, even to their own. No memory lanes to traverse. Just guitars and the devil, battling it out in the incandescent late years of the best rock band we’ll probably ever get.

[www.latimes.com]

Blondes and two beers. American girls. Could never happen in Scandinavia...

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cyclist

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georgemcdonnell314
I don't know about how others feel but the pit was packed at this show.

Felt more crowded than Houston and Vegas. But it’s also an issue of who’s within a five foot radius of you. Can become a real drag.

Regular price pit tickets were on Ticketmaster all afternoon…

In cities like New York, Chicago and LA you get a lot of friends of the band + other 'VIPs' who are handed wristbrands. Pits in such places naturally get more packed, the same with London.

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GasLightStreet
Ronnie has perfected the angry hornet nest distortion sound for his "solo" on SMU. I think I heard a woodchipper yesterday that sounded similar. LOL WHAT is he DOING!!!????

I have to agree. I dislike the heavy, distorted tone Ronnie has adopted in his solos (ususlly with his Les Paul) on this tour. It's not only sonically inappropriate, it's ditracting, and his solos have been lazy and unmelodic. Other than that, no complaints.



Edited 1 time(s). Last edit at 2024-07-12 01:09 by TornAndFried.

Rolling Stones Bring Back Octogenarian Pride, Rocking as Rousingly as Ever at SoFi Stadium: Concert Review

By Chris Willman
July 11, 2024


Gilbert Flores

The age question is suddenly America’s big question, as anyone who reads headlines can attest. Classic rock beat politics to the punch by at least a few years, in making that a crucial debate. There’s a general agreement that the president of the United States is not today what he was four years ago. But with the Rolling Stones coming into L.A.’s SoFi Stadium for the first time since 2021, with a lead singer who is only eight months younger than Joe Biden, can we say that this is the same group that it was three years ago?

Let’s just say that if George Clooney was in attendance Wednesday night, he will not be writing an op-ed for the weekend demanding that Mick Jagger step down.

Time remains on the Stones’ side, in every improbable, impossible sense, at least when it comes to Jagger, Keith Richards and Ron Wood, who continue to deliver the goods in a way that makes this outing a must-catch tour, even if you have heard them start a show up with “Start Me Up” a dozen times already. On paper, the essential brattiness that is a central part of the Stones’ ethos is not a good look for octogenarians. In ongoing execution, they wear it well. The only thing “diminished” about their show at SoFi was your own shrinking sense of skepticism about whether they can pull it off, or still should. With Jagger and Richards at 80, and Wood the baby of the core trio at 77, this is still a band in what can be considered a late-period prime. They’ll be back in Inglewood on Saturday night. If you’re in L.A. and you didn’t catch the first night, miss the second only if, like, you hate miracles.

The Stones themselves are not dodging the longevity issue, even if they address it only briefly, like the woolly mammoth in the room that it is. Few of us would have had on our bingo cards that they would allow this tour to be sponsored by AARP. Fewer probably still thought that the band would make a sight gag out of flashing an image of the LaBrea Tar Pits on the overhead screen. The context for that: “When we first came 60 years ago — 60 years ago! — to seek fame and fortune in Hollywood, like a lot of other people,” Jagger said, “what we actually discovered was, our first gig was San Bernardino.” (Steve Jordan did not add a rim shot.) “And then, we did this famous television show called ‘The TAMI Show'” — cue the image of Jagger on-set with a moptop. “That was all so long ago, some of you probably think we were dug out of the La Brea Tar Pits” — cue an illustration of tusks stuck in mud. “Whatever. I’d like to welcome you all,” he continued, citing attendees from local cities continuing all the way through the joked-about San Bernardino. And that was it for the Yes, we get it, we’ve been around content.

After a rousing opening set by the War and Treaty, there was the obligatory nod to dead men coming in the Stones’ opening number. (“Start Me Up” isn’t the leadoff batter on every Stones tour — in 2021, it was relegated to ninth position — it only seems like it is, or ought to be.) From there, the theme of rocking was quickly established, with “You Got Me Rocking” — a recurring “Voodoo Lounge” cut that, honestly, the band possibly loves more than the overall fandom — followed by “It’s Only Rock ‘n Roll.” As is typical with a modern-day Stones set, there are a few wild-card slots, mostly in the first third of the show, and among them, besides the last two aforementioned songs, L.A. first-nighters also got . On another night, they might’ve gotten “”Let’s Spend the Night Together,” “Bitch,” “Rocks Off,” “Bitch” or “Street Fighting Man.” The repertoire is deep when it comes to “surprise songs,” almost as deep as Taylor Swift’s.

The show highlight was “Brown Sugar”… sorry, just kidding, of course. (That choice is as firmly retired as Bill Wyman. Shed a wistful tear if you must for 2019, very likely the last time anyone will have heard that problematic pick in concert, though they could always surprise us with it again in 2027.) No one has yet parsed the possible issues of “Midnight Rambler” to the point of banishment, anyway — so that remains in its perennial spot as a great “11:00 number” (not quite literally, but in Broadway terms), extended as always with stops and starts so that Mick can get down on his knees at the end of the stage’s thrush ramp, and so that it can go into double-time with as much blowsy harmonica soloing as ever from Jagger and his apparently bottomless lungs. On this 2024 tour, “Midnight Rambler” is immediately succeeded by “Gimme Shelter,” sung as a duet on that same mid-floor ramp with Chanel Haynes, and you’d be hard-pressed to find a better classic-rock one-two punch. In fact, the whole last quintet of songs, also including “Honky Tonk Women,” “Paint It Black” and “Jumpin’ Jack Flash,” is as exciting a five-song run as you could put in any rock show. Even if you came to it with the hope of hearing more deep cuts, that last stretch of the main set counts as some kind of peak-level scientific/visceral programming.

What is different about the 2024 tour than the one that passed through the same venue in ’21? Not much, other than perhaps an increased level of astonishment on the audience’s part that we’re all still here and all the working parts are still so utterly well-oiled. One interesting distinction — not just from the previous tour, but even since the beginning of this one — is that Keith Richards’ traditional spot in the show as a lead vocalist has now been extended from one or two songs to a historically unprecedented three. Fans have theorized that this extension has been introduced to give Jagger more of a backstage breather an hour into a very physically demanding set. Whether that’s true or the extended Keith aside is just an act of greater humility on Mick’s part, it is never a bad idea to get more of Richards as a frontman. It helps that one of his three lead-singing numbers is “Tell Me Straight,” possibly the best of the four new songs the band performed from the 2023 “Hackney Diamonds” album, with a nervous poignancy to it that nearly counts as touching, in a catalog that doesn’t linger often on uncertainty… And “Little T&A”? Less poignant.

Another one of those “Hackney Diamonds” numbers was saved for a penultimate encore slot: the gospel-rock-flavored “Sweet Sounds of Heaven,” performed as nearly a duet with Lady Gaga on record, and turned into a second duet of the night with Haynes on stage. Jagger must obviously be sweet on Haynes to bring her to the fore twice in one night, and it’s not hard to see why: She is unabashedly Tina, for all intents and purposes. You’re thinking along those lines even before you remember, or look up, that Haynes was plucked for this position from actually playing Tina Turner on the London stage. Of course Ike and Tina opened for the Stones on tour in the late ’60s, but having Haynes so overtly recreate her image now across two different spotlight appearances doesn’t feel like a cheap nostalgic trip. Lifeforce is lifeforce, and Haynes has it to match Jagger’s.

Is anything diminished here, as the Stones push the envelope (as a man of a similar age and status, Paul McCartney, is also doing) beyond what was imagined possible? We could tell you that Jagger avoids hitting the high notes on a few times, either doing them a step down — as in the chorus of “Honky Tonk Women” — or relegating a very, very occasional chorus line to Haynes and Bernard Fowler. But his vocals remain forceful as well as cocky and playful across the board. Of course, as he ages, maybe it will turn out to be useful that he started out slurring. To say that a frontman doesn’t miss a step takes on extra meaning when someone like Jagger is getting his steps in literally every moment he’s on stage, never planting himself for more than a few seconds at a time. To see him skip down the ramp — or to see him teasingly lift up his T-shirt to reveal a flash of skinny torso — is to see breezy youth personified, albeit in an admittedly somewhat gnarled package; it’s an oxymoron you can waste time trying to unpack, or just find ongoing delight in.

Richards and Wood also have some built-in advantage to always having fallen on the side of “ragged but right.” Perhaps one day one of them will be more ragged than the other, but for now, they make enjoyably equal contributions as soloist on roughly alternating selections — with “Before They Make Me Run” providing a special opportunity for some twin lead playing, even as the tune is nearly as sax-section-driven as it is powered by multiple shredding guitars.

As for the encore selections, there’s something telling about the juxtaposition of “Sweet Sounds of Heaven,” a latter-day attempt at spiritual earnestness — and a song that, to be honest, skirts right up to the edge of being corny — with “(Can’t Get No) Satisfaction,” the ultimate expression of immaturity. The Stones have always had both sides to ’em, and that was even exemplified earlier in the show, when the decidedly horny “Beast of Burden” was followed by “Wild Horses,” which Jagger introduced as “something more romantical.” They’ve covered a lot of ground, but if juvenalia gets the last word in the show, that’s so very much as it should be for the Stones, a band that convinced generations they’d never have to grow up, much less grow old.

The husband-wife duo the War and Treaty proved a perfect choice for a Stones opening act, with serious dollops of soul, country and blues. And Tanya Trotter proved to be, besides Haynes, the other Tina soundalike of the night, joined by Michael Trotter, who answers the rarely-asked musical question: What if Ike had been a nice guy and able to belt it out as gloriously as his better half?

[variety.com]



Edited 1 time(s). Last edit at 2024-07-11 22:44 by bye bye johnny.

I was definitely very crowded I think there were many last minute purchases and giveaways to people in the entertainment business as it is LA. Many late arrivals but the place filled up fast at Stones show time.

Crowd was VERY quiet at beginning and ot took a while to get them warmed up. My LS's not Pit this time but was pretty low in Club Level left side of stage row 5 was actually good but could not see Steve Jordan or backing members. Was actually nice to have seats with room to move. Pit in Vegas was tough to stand for four hours but worth it right up front Pit A by catwalk.

Setlist lacked any surprises pretty vanilla. Brought a friend who had never seen them and he was absolutely blown away and love the setlist so it works for the casual fan.

Love Keiths intro sitting down for Gimmee Shelter and song overall great and Midnight Rambler awesome as usual. Mick great on harp and Ronnie tore it up. l

On Saturday Blink-182 used the big jumbotron and hung speakers off it so the people stuck way up high could at least have a decent experience. Though one of the members has season tickets there and already knows the place isn't really suitable for music. For as much as those tickets cost, Stones should have done the same. Thanks for the money, suckers. But a few people I know bought really cheap upstairs and got upgraded from 500 to 100.

The side views even at 300 just ain't bad. The speakers were pointed right at us even if we were a bit high. Section wasn't crowed and mainly filled with Lucky Dippers who were super chill, except for a family / group of 7, 3 generations, from Riverside who filled in the row in front of us right before lights out, probably last minute buyers. The kid (maybe ten) was totally rocking out to Rambler while wearing a new T-shirt.

I woulda moved but it was my girlfriend's first show and we are used to crummy / mid-range seats and she could enjoy it without worrying about the tap on the shoulder. I bought her just released Foo Fighters tickets between bands so during Wild Horses I leaned over and mouthed "the things you wanted I bought them for you."

Exact same ballads as the last SoFi show in 2021! Which ain't bad really just kinda odd when once upon a time they mighta shook it up a little bit. Maybe we will get Angie or a wild card Saturday or maybe it will be the same.

Her cousins who we rode with were first timers and really enjoyed the show and were raving afterward too.

But I was happy I could hear pretty decently as both of us pretty much swore off concerts at the stadium a while back. And if it ain't Charlie on drums it doesn't really feel like obstructed view.

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senecastj
Concurs with what I heard at soundcheck too. Inside at seat and geared up. Go #teamtaper!

Talking about the Midnight Rambler.. Good job nailed it again!

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jumpingjackflash5
Only Keith can play such an intro. Awesome.

[www.youtube.com]

How is it possible Keith is Rocking this hard, haven't seen this energy since pre head injury.

It's powerful man.