It's Only Rock'n Roll
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It's Only Rock'n Roll |
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Stones
NEWS |
Tell Me Forum |
Hackney Diamonds |
Tour 2024 |
Mick Jagger |
Keith Richards |
Charlie Watts |
Ronnie
Wood |
Show start : 8:44pm Show end : 10:55pm
Live pre/post show comments:
Charlotte show live updates - Thursday 30-Sep-2021
Someone asked security about masks. "There is no mask mandate", security said. I will assume may be one to two percent i.e. one or two out of one hundred in the crowd had masks, while that number was five percent or so in St. Louis, where there actually was a mask mandate. I had my mask on. I am one to two days of long intercontinental travel away from home, many flights, and I have still many shows to follow, many travels, many friends to meet, I don't want to risk blowing all my savings at an unspecified hospital in USA, or to loose a show or not getting home at all, because some fan in some city wanted to hug me, take a selfie or simply sing JJF loud into my face. Luckily most people around me in the crowd do respect my choice of masking up, they would not know if I have a health issue, why I wear a mask, and having the respect around me makes it easier to enjoy the show. I hope it will stay that way.
"Street Fighting Man" opening the show, just like in St. Louis. Great and strong. The crowd going wild every night. Perfect opener, I guess it will stay there for a while, may be for the rest of the tour.
"Let's Spend The Night Together" was new, replacing IORR from the last show. Great song, not played so often, but I just love it.
Then they walk up front stage, just the three of them. I wish I could sink into the ground during this moment, because I know this will be emotional. It is sad, but it has to be done. Sure we had the Charlie Watts drumming intro at show start, with the many great pictures of Charlie up on the screen. But... It has to be said, a moment remembering Charlie. Ronnie is walking a bit here and there. Keith is holding on to Mick. Then they are together, Mick says how much they miss Charlie, he is speaking for the band, and also for us. An important moment, I am glad they keep it into the show, early on, it is painful, but every city every show every crowd is new, this is the best way to do it.
"Tumbling Dice" is right on, played many times, no worries. Then another new song - "Trouble's A Coming. Great song, great live version, much better than the outtake which is on the Tattoo You deluxe release. Mick said it was released today.
"Let It Bleed" was the "vote song", Mick with an acoustic guitar, the third new song vs St. Louis. The crowd is great, the stadium is finally filled up, I wonder where all those people were during the first few songs, because there were quite a few empty seats all over during the start of the show, not just the first song.
The rest of the show is made in power mode. No changes vs the St. Louis show, except Keith, replacing "Happy" done in St. Louis, with "Before They Make Me Run". I am happy with both, and I am even more happy with "Slipping Away". This time I was able to enjoy "Slipping Away", rather than missing Charlie's drumming. It made it easier to concentrate on the song, and to enjoy Keith's great guitar playing, rather than the sadness I felt in St. Louis during that song.
Sure there were glitches, like on 19th Nervous Breakdown, Keith and Ronnie had a great laugh, and it made the song more enjoyable. Or when Mick was about to start singing a bit too early later on, but no worries, I never aim at perfection, then I would have followed another band.
During "Sympathy For The Devil" Keith was out on the walkway to the B-stage, doing his solo. As he was about to return to the main stage, an Argentina flag was flying towards him, but it made it too short. Keith asked for it, the nearby fans passed it on to Keith, and he brought it back on display in front of the drums. Great gesture from Keith.
My walk back from the show was with joy and pleasure. I was tired, but happy. Until now, I have been holding back on plans after Los Angeles, in case it would be too hard to stay on the tour. Now I think I will look into the rest of the tour details, soon I will be half way into this 92 days travel, it is getting more fun, not so much sadness anymore, more friends are arriving, the band sound great, I would not miss any moments with this band.
Let’s Spend the Night Together Second show of the Stones in Charlotte for “No filter Tour 2021”. Slight changed the track list and stage premiere of the new song "Troubles a Comin '" within hours of his worldwide appearance.
After the images of Charlie Watts, in this second meeting, the Stones repeated "Street Fighting Man" as the opening act. What can a man do besides play in a rock and roll band? The answer lies upstage with Keith and Mick off to a sweeping start.
Exile's single “Tumbling Dice”, which stars Ronnie's guitar solo and Karl on sax in several passages, was preceded by “Let's Spend the Night Together” which no longer shocks anyone with its chorus, but always it is good that it returns to the set list.
"Are you having a good time?" Mick asked before the premiere of the new 'Troubles a Comin' gem. The second letter of introduction to the album "Tattoo You Remix" was one of the few novelties of the night. The sixties moment was represented by “19th Nervous Breakdown” and two songs post Brian Jones: “Let it Bleed”, chosen by the public vote and with Jagger on guitar, and “YCAGWYW” with Matt Clifford on the French horn.
Like the opening show in St. Louis, "Living in a Ghost Town" was the only song of the new millennium. Despite its sloppy beginning, its incorporation into the repertoire does nothing more than consolidate it not only as a novelty but as a song that can become a good resource. "Start Me Up" and "Honky Tonk Women" close the first half of hits.
For his intimate and "lonely" set, Keith brought back, accompanied by Ronnie, "Before They Make Me Run" and repeated "Slipping Away", the only representative of the stormy decade that almost wiped out the band.
On "Miss You," Mick approached bassist Darryl Jones, as he was soloing on his instrument, and then stirred the crowd with Ronnie on the catwalk. On stage, Karl Denson and Tim Ries brought their own with their saxophones.
Beyond his stealthy movements, in Midnight Rambler, Jagger intoned a threatening sound on his harmonica. Ron and Keith's guitars come forward, while Steve Jordan sets the beat from his stool. Mick then shakes his hips on the catwalk and Keith paraded his guitar to the applause of those present. Shouting "oooooouuuu yeeeeeaaaah!", The stadium responds to the singer's game. The old wolves know they have the public "under their thumb" and they have fun. The song picks up rhythm and everyone present accompanies with their palms. Steve punctuates the tempo and creates great weather accompanied by Ronnie and Mick. The "wanderer" at its best.
To the sound of "woow woow", "woow woow", the red lights set the stage. Jagger no longer wears the quirky galley suits of the '90s, much less giant dolls appear accompanying the occasion. Does the stage catch fire? Yeah! ... but no. Before that, “Paint it, Black” was played with the intro by Keith Richards and Ronnie with his electric sitar imitating the classic sound he inherited from Brian Jones.
Sasha and Bernard Fowler accompany with their voices during “Jumping Jack Flash”. With a shout or a wave of the hand, Jagger always sets the rhythm of the song. Despite running and dancing, he seems tired, but he does not lose the elegance of connecting with the public. Keith continues with his routine, he knows that the flashes of mobile phones are looking for him to freeze some rockstar figure. He ignores them, but they know they are there for him.
The intro to "Gimme Shelter" starts off dirty. Sasha Allen knows that it is his time and he does not waste it. Her voice reached every corner of the stadium. The applause is unanimous. The final acting took place on the small stage, Mick corners her like a prey, and both sing "we are a kiss away."
Almost sixty years have passed… Jagger doesn't get Satisfaction? Although the ending sounds trite, the old theme was a note of color from the second show.
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Original ¨Spanish version by Agustín Soria, Argentina
Let’s Spend the Night Together
Segundo acto de los Stones en Charlotte para “No filter Tour 2021”. Leve cambió en la lista de canciones y el estreno sobre el escenario del nuevo tema “Troubles a Comin’” a horas de su aparición mundial.
Después de las imágenes de Charlie Watts, en este segundo encuentro, los Stones repitieron “Street Fighting Man” como acto de apertura. ¿Qué puede hacer un hombre además de tocar en una banda de rock and roll? La respuesta se encuentra arriba del escenario con Keith y Mick en un comienzo arrollador.
El single de Exile, “Tumbling Dice”, que tiene como protagonista un solo de guitarra de Ronnie y a Karl en saxo en varios pasajes, fue precedida por “Let’s Spend the Night Together” que ya no escandaliza a nadie con su estribillo, pero siempre es bueno que regrese al set list.
“¿La están pasando bien?, preguntó Mick antes del estreno de la nueva gema “Troubles a Comin’”. La segunda carta de presentación del disco “Tatto You Reload” fue una de las pocas novedades de la noche. El momento sesentista estuvo representado por “19th Nervous Breakdown” y dos canciones post Brian Jones: “Let it Bleed”, elegida por el voto del público y con Jagger en guitarra, y “YCAGWYW” con Matt Clifford en el corno francés.
Al igual que el show de apertura en St. Louis, “Living in a Ghost Town” fue la única canción del nuevo milenio. A pesar de su desprolijo comienzo, su incorporación al repertorio no hace más que consolidarla no solo como novedad sino como una canción que puede llegar a transformarse en un buen recurso. “Start Me Up” y “Honky Tonk Women” cierran el primer tiempo de hits.
Para su set íntimo y “solitario”, Keith recuperó, acompañado por Ronnie, a “Before They Make Me Run” y repitió “Slipping Away”, única representante de la década tormentosa que casi acabó con la banda.
En “Miss You”, Mick se acercó al bajista Darryl Jones, cuando realizaba el solo con su instrumento, y después agitó a la multitud con Ronnie sobre la pasarela. En el escenario, Karl Denson y Tim Ries aportaron lo suyo con sus saxos.
Más allá de sus movimientos sigilosos, en Midnight Rambler, Jagger entonó un sonido amenazante con su armónica. Las guitarras de Ron y Keith pasan al frente, mientras Steve Jordan marca el ritmo desde su banqueta. Acto seguido, Mick sacude sus caderas en la pasarela y Keith desfiló con su guitarra para el aplauso de los presentes. Al grito de “¡oooooouuuu yeeeeeaaaah!”, el estadio responde al juego del cantante. Los viejos lobos saben que tienen al público “bajo su pulgar” y se divierten. La canción toma ritmo y todos los presentes acompañan con sus palmas. Steve acentúa el tempo y crea un excelente clima acompañado por Ronnie y Mick. El “deambulador” en su máxima expresión.
Al son de “woow woow”, “woow woow”, las luces rojas preparan el escenario. Jagger ya no luce los estrafalarios trajes con galera de los ’90, ni mucho menos aparecen muñecos gigantes acompañando la ocasión. ¿El escenario se prende fuego? Yeah!... pero no. Antes sonó “Paint it, Black” con la intro de Keith Richards y Ronnie con su sitar eléctrico imitando el clásico sonido que heredó de Brian Jones.
Sasha y Bernard Fowler acompañan con sus voces durante “Jumping Jack Flash”. Con un grito o un movimiento de mano, Jagger siempre marca el ritmo de la canción. A pesar de correr y bailar, se lo nota cansado, pero no pierde la elegancia de conectarse con el público. Keith sigue con su rutina, sabe que los flashes de los teléfonos móviles lo buscan para congelar alguna figura de rockstar. Los ignora, pero saben que están ahí por él.
La introducción de “Gimme Shelter” comienza sucia. Sasha Allen sabe que es su momento y no lo desperdicia. Su voz llegó a todos los rincones del estadio. El aplauso es unánime. El acting final se llevó en el pequeño escenario, Mick la acorrala como a una presa, y ambos cantan “estamos a un beso de distancia”.
Pasaron casi sesenta años… ¿Jagger no consigue Satisfaction? Aunque el final suene trillado, el viejo tema fue una nota de color del segundo show.
Once at the venue, Paul wanted to see what kind of tickets I got. He never knew about LD tickets & I told him there was the possibility we may end up with Pit tickets. Imagine my joy when the lady at the window handed me our tickets & they were Pit 1 on Ronnie's side. I never had Pit tickets before. Since my wife can't stand for long periods, she and her cousin took the upper deck seats & Paul & myself made it down to the Pit. Paul was astonished & couldn't believe we got so lucky to score Pit tickets. Once we settled into position, I ran into one of the iorr.org members that I met in St Louis. What a coincidence that was!!
It was only minutes & the Stones were on. I didn't take too many pictures as I wanted to enjoy the moment. I still was reeling from the shock that we got the Pit & kept having to shut off my brain & enjoy the present moment. Besides, my friend Paul took some great pics & video. The Stones changed up the set list a bit & instead of playing IORR for the 2nd song, they played "Let's Spend The Night Together". Keith exchanged "Happy" for "Before They Make Me Run". They also played "Trouble's A 'Comin", which was fantastic. Mick smiled a lot during the concert. Everybody on stage were enjoying themselves. I couldn't believe how close we were to the stage. And Mick. What can you say about him? A force of nature. He is in such good shape for his age. He ran more up & down the catwalk this time around than in 2019 after he had his heart procedure. At one point he ran from the catwalk to the front of the drum riser & sat for a moment. I'm not sure if there was a bit of tiredness there or it was by design. I would like to think it was more by design. There were a couple of hiccups, but no matter. It only added to the fun of the show. Soon it was over much too soon. I am so happy to be in the Pit . My friend Paul was equally amazed at what an excellent concert it was & we had Pit. For a face value of $27.50 per ticket, what a great value for the money.
I finally got into bed & slept until 2:00 pm. I was tired & my feet hurt, but it was worth it. This memory will stay with me for the rest of my life. That's why I am so late with this review. My next show is October 17th in LA. I have LD for those shows as well. Maybe, I'll get lucky again!
P.S. it does seem like this time around the LD holders are getting Pit or lower concourse.
It took a 14 day stay in Canada for me to comply with the Presidential order that still bans non-US citizens from entering the US if they’ve been in the UK (and other places) in the past 14 days. Many fans don’t have the luxury of time and won’t be able to travel to the US until sometime in November, so no complaints from me.
The first show after a break is always a bit emotional, this year more than many. For a long time I was thinking that Miami 2019, drenched from a tropical shower and awaiting a hurricane, really would be the last time. Its’ hard to get started after a long break, and time waits for no-one. Then the sad news about Charlie. So standing in the Pit, listening to Charlie’s drumming and watching his face on the big screens was a very big moment.
North Carolina’s Covid rules are a mixed bunch, and I am still not clear whether masks were needed indoors or on the floor at the stadium. A few wore them; most did not. The crew and stadium staff had them on, but they meet many, many people. It seems to be accepted now as a personal choice. Anyway, the doors opened over 30 minutes late as the Support sound check overran.
I’d read about slow ticket sales, but walking around the downtown area there were many Stone shirts. It felt like normal, and inside the stadium looked pretty full. People were there for a great time, and in great voice. Security was low key entering, and helpful when needed. I think they call this southern hospitality. I certainly felt welcome – and it felt so great to be back at a Stones show after almost 25 months.
My overall impression was of a band playing very tightly, very strongly, very well in all sense. Emotionally they were strained at the Charlie tribute after the second song, but otherwise it was all smiles. No bag of nerves on second nights (or third nights depending on how you count shows on this tour!). Mick and Keith were as close as I’ve seen. Ronnie also. Lots of laughs, smiles, faces-pulled at the odd snafu. Funniest for me was when Mick ran back from the centre stage late in the show, stopped by the drums and sat briefly to catch his breath. Keith smiled in sympathy for the big effort.
There must be stress for each person in the band. Still feeling the loss they all suffered. Needing to show that they can still play at the top level for over 2 hours on a warm Charlotte night, putting on a fantastic show. Getting used to a new drummer. Having to keep away well away from most people for 3 months to ensure the tour can complete without illness. Not being able to enjoy each City; meet local and travelling friends; the list goes on. But you’d never know that from the show we heard. I think they are as excited as the fans – obviously earning money again, but mostly it’s about playing their music, and just being out and about. Keith repeated his oft-used comment (I think from British comedian Max Miller): “its good to be here, it’s good to be anywhere”. Somehow that took on new meaning.
I love shows starting with Street Fighting Man. It is powerful, short, punchy, everyone knows the chorus and shouts it out. It is also slightly menacing and reminds the audience this is the Stones up there. Classic start. Then Let’s Spend the Night Together – controversial in its day (hard to believe that now), and the show is off to a rocking start. Lots of energy created on stage and shared with the audience.
Then the three core members get together for Mick to say a few words about Charlie. Keith holding Mick in support (I was reminded of his close support in Oslo – the first gig after L’Wren passed away); Ronnie very close. They should keep this brief statement of respect and love. It will be hard to ensure it doesn’t become a well-rehearsed statement. I felt from the out-pouring of emotion from the crowd that it makes a fine memorial.
Then back to two more well-known songs, Tumbling Dice and 19th Nervous Breakdown (played at 1960’s pace, not the 1990’s amble). Playing great on both. Then, for me, it got interesting. Trouble’s a Coming. It starts a little slow, but works well on stage. Mick commented that it was “released today” – it has been many, many years since he could say that about a song at a show! Brave to bring in a new/old song to 50,000 people. It worked well. Let It Bleed got the vote – the choice was a hard one: mostly rare; keep the song choice full of rare ones please.
YCAGWYW seemed to stretch out a bit, no choir, Ronnie solo, Mick on guitar to start. Nice version, not too different from recent tours. Then Living in a Ghost Town – so two new songs in one show for me. Fantastic. Mick encouraged a sing-along; the latter half almost got into a funky-style jam – great fun to watch and listen.
Start Me Up and Honky Tonk Women brought us to Band Intros. Both were concise, played well, great piano from Chuck. Another mention of Charlie being a friend of Steve, and apparently Ronnie will be in the lobby signing set-lists after the show! I love the teasing from Mick like that.
Keith played very well all night in my opinion. After such a long break, the 4/5 weeks of rehearsals, limbering up the fingers and exercising the muscle memory worked well. I thought his singing was as good as I’ve heard. BTMMR was accurate and tight. Slipping Away was sublime – such a delicate, beautiful song, delightfully played.
Miss You changed a bit because, after the Mick/Darryl interplay over a bass “solo” (very nice one today), we got “duelling saxes”. Both Tim and Karl, exchanging licks. Without this Karl would not have had a “solo” song, but the price is we miss some of Tim’s soaring solo.
Rambler maintains it’s position as a new classic blues/rock song. Great playing and singing and dancing. The tempo changing close to the end is still led by Keith; Steve picks it up if anything faster than Charlie. More Robert Johnson lyrics from Mick. As with all the numbers, lots of smiles and nods between band members. More input from Matt Clifford than I remember before on this and other numbers.
Paint It Black I thought missed a bit of the “Spanish/Moorish” tempo towards the end, but the crowd loved it. Sympathy is now without backing rhythm track (I think). Steve starts it off with strong percussion support from Bernard through most of the song. Jumping Jack Flash was tight and high energy.
The pre-encore pause seemed to go on forever. But then we heard an interesting variation on a theme as Shelter started, a bit slow as well, but it soon picked-up and Keith appeared from behind his amps to drive the song along. Sasha’s mic was not switched on fast enough so we missed the start of her great “solo.
Finally Satisfaction, and the show is over. The final bow was very poignant with only 3 people. 2 hours and 12 minutes or so and my 94th show was over.
If you have any doubts about whether it is too sad, or not up to the high standard we expect. If you think there will not be as much energy, or the changes or restrictions will damage the experience – think again. By the end I had forgotten Covid, forgotten 25 months between shows; Rock’n’Roll is back, doing major shows. It must have been a nightmare to get this show organised. The insurance, the Covid protection needed, the NFL season etc. etc. Thanks to everyone concerned but especially the 11 people on stage who deliver time and time again – and all the team who make it possible.
The two big talking points around the show seem to be concerning Steve Jordan and set-list selection. Steve is clearly a great drummer; the Charlie recommendations go back over 35 years. You can see and hear why watching him fill that illustrious seat. Not being a cover-band style imitator, but he was respecting the legacy. I thought he was giving a bit more edge and power at times, but not too high in the mix. He has a delicate touch when needed, but he isn’t a jazz man at heart I guess. 95% of the crowd would not have heard any difference. I saw and heard a few subtle nuances – bring them on!
For years I’ve heard big fans wanting fewer war horses, and I’ve heard lyrics evolve to reflect changing times. The omission of one war horse from the set-list is a continuation of that evolution, and allows more variety as well. Enjoy!
The stadium opened in 1996. Mick mentioned from the stage they were first concert at the stadium October 10, 1997.
A memory that really stayed with me- during the show I noticed 3 or 4 different local security ushers pull out phones and take a quick picture of the show. I never see this at other bands concerts. They knew they were seeing something special. So thankful to have Stones performing creating those lifetime memories that people will remember forever!
So with "Mixed emotions" I went to Charlotte with my daughter who now has attended 10 shows with me and was number 229 for me and WOW!!!!!! They NEVER cease to amaze me! The intense opening riffs of SFM gave me the goosebumps that I always get when Keith jumps on stage and so many pleasant surprises from Living in a Ghost town, LSTNT, Troubles a comin, LIB and the surprise of 19th Nervous breakdown which was so appropriate during these Covid challenging times as I probably had 100 such nervous breakdowns since the start of the pandemic just as other fans have endured too. The energy level was incredibly intense and the magnificent loving interaction between Keith and Mick and expressing their lifetime friendship since grammar school was quite obvious. It was overall a very emotional night for all the fans who have not been to a show this tour. Steve Jordan was a bolt of energy and strived hard to keep the legacy of Charlie alive.
So overall I was NOT disappointed and left this show extremely energized and now headed to Pittsburgh and look forward to many more shows on this tour and hopefully many more in 2022 and beyond!
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Bjornulf Vik
Photo by Jeff McCarthy
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Set list drawing by Ronnie Wood
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