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 |
Live pre/post show comments:
Atlanta GA USA show live updates - Friday June 7 2024 - The Rolling Stones Hackney Diamonds Tour
The Mercedes-Benz Stadium, almost S-Class in quality, had it’s roof open due to the not-too-hot weather and a desire for better sound. That worked, the sound near the front was excellent again. That roof opening was a show in itself, with an iris-like circular motion as the crescent shaped roof elements moved to create a circular hole through which the cooling Georgia sky could be seen. They moved until almost the whole of the circular roof was open to the heavens.
Why is the stadium so named? Well the US HQ of Mercedes is in town, and they have a huge factory 200 miles east in Alabama. I guess the brand advertising is more helpful in Atlanta than Tuscaloosa, or maybe the local Execs like the hospitality opportunity…. The organisation and security at the stadium was competent enough to meet the Mercedes reputation. In particular they acted with speed when a lady in front of me fainted during the show. The folks in Sindelfingen (look it up) should take note that the venue sponsorship is in alignment with their quality brand.
Atlanta has now seen 13 Stones shows, dating back to 1975, a late start. Two were at the tiny Fox Theatre, the second of which was the first show where “local” Chuck Leavell played with the band. I say “local” because although he was born in Alabama, he has lived for many years near Macon (pronounced may-con in these parts, not mac-on as in France). He had many guests present at the show this year: Chuck is a popular musician and arboriculturist in these parts, as well as a very decent individual. Mick mentioned Chuck as a local resident, and also that their first visit to Atlanta was during Ronnie’s first tour: “he’s still learning” was the quip.
It was around 9pm when the lights dimmed, the shadowy images of Mick & Co. appeared on the screens, and the dulcet (ish) tones of Matt Clifford announced the arrival on stage of the main attraction for the 60,000 people in the stadium. It was no surprise to see Keith stride confidently into the middle of the stage and hammer out the start of Start Me Up.
We’d had a hint of a change to the normal running order when someone saw a setlist before the Stones came on stage, and Keith was due to play three songs. I’ve seen, and heard, that Richards extravaganza once before. It was in Las Vegas in 2016 when Mick’s voice had been damaged by the dust of the California desert during the Coachella gigs. So we were watching Mick with very keen interest as he bounded on stage.
In the first few songs it was clear that Mick was struggling at times. I’m sure that the vast majority of the audience would not notice, but he was avoiding high notes and minimising his use of words at times. His face grimaced when heading back to his sniffle station, and he had to abandon his harmonica introduction to song vote winner Sweet Virginia. During the falsetto verse ending in Mess It Up he gestured to Chanel to deliver the notes alone. But most obvious to regular Stones watchers was the incredible support given by Bernard. He really worked hard at Atlanta, shadowing Mick’s vocals with the benefit of 40 years of experience such that you had to watch stage left to see it happen.
Remarkably Mick is such a great performer, and I guess has such stubbornness over delivering a great show, that the only other obvious sign of an issue was Keith’s extended section. Keith told us something like he was doing three songs “due to the Band’s request”. I am 100% convinced that they were protecting Mick’s voice. They also dropped Sweet Sound of Heaven. If anything Mick’s singing got even stronger as the show progressed – I hope he took enough care and is back to feeling 100% for the next gig.
So the set list was a little different in Atlanta. The four starting rockers of Start Me Up, IORR, Let’s Spend the Night Together and Angry set the gig off with its usual pace and power. More very strong guitar playing from Keith and Ronnie, and powerful bass and drums that felt a bit higher in the mix.
Then we had a country section. Sweet Virginia won the song vote, and the screen showed the numbers of votes for that winner and what I assumed would win: Wild Horses. I have never seen that before. I think that, as Mick noted, this was because there were exactly 11,000 votes separating those songs. I did wonder whether some attempted Georgia voting shenanigans were at play for a few seconds… some people do attempt to fix the vote in these parts, allegedly.
As I mentioned before, Mick fluffed the harmonica intro, threw said instrument away, and looked at his bandmates in frustration. Tim Ries did a great sax solo, and the band did that 1972 song proud. Then we got Dead Flowers, a slightly extended version, and lots of backing vocals with Bernard, Chanel, Chuck and Keith: all lending Mick a hand. Ronnie played a cracking solo and by this time I had to dig deep to recall that Mick was under the weather voice-wise.
Dice was a nice as ever, and this led into another rocking version of Mess It Up. YCAGWYW followed with the audience also helping on the vocals. There did seem to be a few empty seats at the back and upper sides of the stadium, but the cheering and singing and general response from the assembled masses certainly sounded as strong and enthusiastic as any this year.
The band was introduced with a special pat on the back from Mick to Keith, and a huge cheer for Chuck, Ronnie and Keith. Mick and Bernard had a special interaction, I guess of mutual respect. We then had great versions of Tell Me Straight and Little T&A. When Keith announced Happy there was a really big cheer, and it’s first outing this year was excellent: very good lap steel guitar playing from Ronnie and vocals from the riff-meister himself. Like several songs in Atlanta I thought they extended the instrumental parts a bit, to good effect.
After Sympathy, which Mick largely sang alone, and Honky Tonk Women, where he mimed more of the words, I was very surprised to hear the opening instrument duelling of Rambler. I assumed, wrongly, that we’d get a safer Miss You: wrong again! We heard another extravaganza of blues rock; lots of great harmonica, guitars and piano. A snippet of “Hellhound on my Trail”; perhaps a little less audience prompting than usual; and lots of rocking and dancing in the faster sections. The came Shelter, with Keith sitting at the start as is always the case now, and another superb Chanel/Mick duet.
It occurred to me that Keith was only offstage, or sitting, for perhaps 2 minutes of the 2 hour show. Such stamina: its not only Mick who is a physical phenomenon. Ronnie sat for a minute or so at one point, and again seems to be exercising his hands: maybe a bit more physio needed? Then the band raced into Paint It Black, which I noticed has a great light show reinforcing the pounding drum beat and sense of depression from the lyrics. There are so many elements to this show that it is easy to miss some.
Keith then hammered out the introduction to JJF, and the main set came to a rocking conclusion. I thought he was trying to get the band out of the chorus riff to the final verse riff towards the end, but the band was refusing to follow, and it needed a bit of a nod from Mick to trigger that final blast on the open-tuned Telecaster. Despite their 2 hours on stage the band seemed keen to continue.
The encore was briefer, with no Sweet Sounds of Heaven – I could understand why this was omitted, but I really missed it’s emotion. The audience had lit up their phones as if in anticipation, and we had to be content with Satisfaction.
Looking at the faces as the tens of thousands walked out of the venue, I think contented and satisfied would describe well the feelings of that mass of people. Another great gig had been experienced, which in my mind was all the more outstanding due to the points mentioned earlier in these notes. We have now had 39 songs played in 10 gigs: no fixed setlists here, even if we need more from Hackney Diamonds please.
The experience of this band shone through in Atlanta; their insistence that the show must go on; and the result was that any issues were more than overcome, which if anything highlights their collective and individual capability. A sincere thank you is due to everyone involved in another fantastic evening. The caravan now moves up the north east margins of the US to Philadelphia.
There was a rumour before the show about Keith doing three songs, which he don't do often, but some times. When Keith did three songs in Las Vegas 2016, it was due to "The situation in the band", like Keith said.
It was a warm and sunny day in Atlanta, luckily not so humid, like the previous days. Half an hour before The Rolling Stones went on stage, they opened the roof. It was a spectacular sight, I am sure there are pictures and videos of the procedure, it all took may be 5-10 minutes, and we could feel the fresh air and the humidity changing almost instantly. I had just catched the last part of the show with the Ghost Hounds, strange when the band change many members but still keep the name, but as long as the owner of the band is there I assume it is ok. For me they lost a part of their soul when the changes happened.
It was an early start, normally they are on around 9:20pm or so, now they had a curfew of 11pm, so they started at 9:04pm. "Start Me Up", Keith is up front, soon after Ronnie is out, Mick is may be a split second later than normal, we look for signs of any voice problems. We hear Bernard from behind the curtains helping out on "Start Me Up", and "Chanel" do equally help out on "It's Only Rock'n'Roll". Mick do still sound strong with his voice, even if he is avoiding pushing it on the high notes. This show was nothing like previous shows I have been to in the past, when Mick had problems with Laryngitis, like "Nuremburg 1998", "Melbourne 2014" and so on. Mick started off carefully, but most of the show his voice was great, strong, no complaints. He even sprinted back from the B-stage at the end of the show, I believe it was during "Jumping Jack Flash", so he was the usual energic Mick.
"Angry" was great, every time it is powerful and fresh. "Sweet Virginia" great, Tim Ries with a saxophone solo. "Mess It Up", Mick was struggling, but it still worked. Then Keith did "Tell Me Straight" and "Little T & A. Then he stayed front stage, no sign of giving space for Mick. Then Keth said something, I don't remember the exact words, but it was something like "due to pressure from the band, I am forced to sing "Happy" tonight, and so he did. So we got three songs with Keith, great for me, great for all others, I hope.
I was worried we would get just 18 songs, because there were talks about just one encore, but instead we got an eleven minutes energic version of "Midnight Rambler", a highlight of any show, no weak points in Mick's or any other band members performance. Just having the core band of Mick, Keith, Ronnie, Darryl, Steve and Chuck on stage, with a song so strong and full of life, blues and improvisation, it is a true bonus every time we get Rambler on this tour.
All in all, another great show, with a change, hopefully Mick is fully recovered in time for the next show, otherwise Keith will have to do three songs one more time!
Having attended Las Vegas, and having followed on IORR, I was generally familiar with the show, but knew that the band was playing well and coming up with surprises every night. Tonight was no exception. Start Me Up, IORR, Let’s Spend the Night Together and Angry all sounded great. The double whammy of Sweet Virginia and Dead Flowers was a great pairing. I’m always glad to hear new songs, and Mess It Up is great live. I was really happy to hear the audience go wild for Ronnie’s solo on You Can’t Always Get What You Want - well deserved.
For a few years it seems that Keith Richards can, in some ways, make or break a show. I always enjoy seeing him and the band, but like anyone, he has off nights. Tonight was not an off night. Little by little I could tell Mick was not feeling well (moving great, but not singing and talking in a higher register as usual). Maybe because of this, Keith sang a lot of backup, smiled a lot, looked happy and engaged, and sang 3 songs tonight. He had his eyes on Mick like I haven’t seen before.
If Mick didn’t feel well, it didn’t show on Midnight Rambler. What an excellent performance, with great harmonica, guitars, vocals, dancing. This was a highlight, especially since I much prefer this to Miss You.
I expected to hear Sweet Sounds, but after seeing Mick spit on stage all night, his lower vocal register singing, and Keith’s 3 songs, it made sense when they went into Satisfaction.
I was on the fence about going to this show - having just seen the Stones last month, and going to see them again next week - but I’m really glad I did, because this was an excellent show.
I could not find a setlist for the Harrisburg show, but the next day they played Carnegie Hall, so I suspect that setlist was pretty close to mine. The only thing my lying memory tells me, that I feel comfortable with, is the Stones opened with Not Fade Away and we sat in metal folding chairs on a concrete floor more often used by animals than humans. There were not that many people at that concert or at least not enough to impress my memory. This would have been the eighth concert the Stones played in the US. The Carnegie Hall show began with Not Fade Away, so I am guessing the rest of the concert was similar as well. If so, that setlist looked like this:
1. Not Fade Away 2. I'm Talking About You 3. I Wanna Be Your Man 4. Hi-Heel Sneakers 5. Route 66 6. Walking the Dog 7. Tell Me 8. Beautiful Delilah 9. Can I Get a Witness 10. I Just Want to Make Love to You 11. I'm All Right.
All cover tunes. I sit here on before Friday’s Atlanta show and wonder if I will hear any of those songs. So far, none of them have appeared on any setlist for this tour. Of course, they have a few more songs in their repertoire these days, since they started writing their own stuff. What would my 14-year-old self had said to someone who approached him that day and said, you will see the Stones over and over for the next 60 years? “Piss off you old fool”, had I been the kind of teen to say such things to a stranger—I was not yet that teen.
The Stones played the soundtrack to my life. They were there for all the highs and lows, often with a new set of songs. It is unheard of, really, to be a band for 60 years. And, well, to be a fan for that many years is a joy few will have.
So, 21,903 days later a new chapter begins at Mercedes Benz Stadium, which claims an impressive piece of Atlanta’s downtown skyline. The oldest Stones fans are disappearing from the concert crowds, first generation fans are few and far between, but they are still there in reduced numbers. The Atlanta audience is dominated by those who on-boarded in the 70s and 80s together with the children of first generation fans. The Stones have not achieved any DEI goals in their long career, this is a white crowd.
The crowd has a refreshingly “this could be a good time feel” rather than that cloying “this could be the last time” vibe. The men don’t dress for the Stones, but many women do. A number of women in their 60s and 70s really need a friend to say, you’re trying too hard, that ship has sailed; but, bless their hearts they are trying.
Despite the Mercedes moniker, field level, where my seat is, is Smart Car when it comes to amenities. Restrooms are spot-a-pots with trailers for my sensitive hygiene needs. Concessions are temporary. The entry to the field is through those concrete and cinder block hallways you see NFL players walking through as they arrive for a game. Inside, the seats are folding metal chairs, just like the first time. The only difference is they are zip-tied together, although this does not look like the sort of crowd that would throw chairs.
Merch is the reason gates open at 530 and the Stones come on after 9. Supply failed to meet demand, the lines for merch were incredibly long, with crowd control areas with winding pathways set up near the vendors. There had to be a two-day wait in those lines, but people got in them and no one was holding a gun to anyone’s head.
The Benz arena was impressive, huge, round, a gigantic dome, the bowl was lined with concourses mixed with luxury boxes and suites. But what grabs your attention is the Hackney Diamonds stage, in three sections, a main stage and two wings. The diamond pattern on the stage set that greats you is in blue, the Stones logo, one at each wing is Stones red.
The Ghost Hounds open with an energetic set of bluesy, rock very apropos of the early Stones, but no one is paying much attention. Opening for the Stones is a good gig, put the Ghost Hounds are unknowns to most of this crowd and that makes this good gig a tough row to hoe. The Benz roof opened like a gigantic lens aperture, a thing to behold, this garnered more attention than the Ghost Hounds, life is cruel for an opening band.
The Hackney Diamonds pattern changed color, the crowd was excited, false alarm. But, when the row of lights above the screen dimmed, it was on. Giant shadows of humans appeared behind the diamond patterns, no, not humans, it was one person and he has a guitar and is moving toward the stage. His shadow behind the screen was enormous. Then in a flash bang moment Keith is everywhere on the screen, which means everywhere in the stadium, and the opening notes of Start Me Up are as familiar as your mother’s voice. We have liftoff.
It is immediately obvious that the stage would be no small part of the show’s success. Picture a massive video screen easily the width of a football field plus. In the center of this screen is an alcove for the band. Behind the band is another screen that gives the effect of one continuous screen from a distance. This genius set up enables the Stones to present an entirely different stage for every song. There is a constant assault of camera angles, images, fluid and dynamic backgrounds, mind-blowing graphics and digital wizardry that proves the Stones stage sets continue to bleed on the cutting edge of technology. It was hard for the younger crowd not to watch the video screen even when Mick or Woody were just yards away on the stage that extends into the crowd. All the massive structures of past Stones stages could be produced and then wiped clean and replaced by a new structure within seconds.
A quick take on Steve Jordan, it was the first time I saw him perform. He was channeling Ray Charles visually with his hair, dark glasses, toothy smile and occasional head bobs, but he was also channeling Charlie sartorially as he came out in a natty suit complete with a color square. It did not take him long to lose his suit jacket as he did an almost seamless job of providing the rhythm sections platform. He maybe hit the kit a little harder than Charlie did but nothing about his performance will get in the way of your enjoyment. Back to the show, It's Only Rock 'n' Roll may be the Stones most under rated tune, it gets a crowd going and it is a great angst filled rocker I love to hear. Next up was Let's Spend the Night Together. I like the oldies and the only thing missing from the video background was Mick’s eyes on the Ed Sullivan show when he was forced to sing let’s spend some time together. Note to Stones producers--add that to the video show accompanying this song. Something old, something new, next up was Angry. I love the new stuff, but I gotta tell you this would have been a little punchless without the live video billboards from the video displayed on the stage created for this number. I missed Sydney Sweeney. The fans selected Sweet Virginia, I voted for Let It Bleed. I lost, until the song began, and then we all won. This was the song’s debut for this tour. It would be far from the only surprise. Meanwhile, Dead Flowers completed the country music segment of the show. I wish you could have seen how the stage changed with each song. Keith and Woody were doing a good bit of backup vocals early in the show and it is just very cool to see the band, for these two hours it was not Mick and Keith and Woody et al. It was the band with Darryl, Steve, Chuck Lavell, Bernard Fowler the brass and a new woman working with Bernard. The country segment rolled right over into Tumbling Dice, a crowd favorite and the first major sing along. The sax misses Bobby Keys. Mess It Up was a transition song, that for me may have worked better somewhere else in the placement. My generation is not used to video as our first exposure to a song and the videos associated with these Diamonds tunes create mind picturestoo strong to turn off. I come from the listen to the song endlessly to learn it generation and I am struggling with these video songs because they all come with pictures in my head instead of memories that I formed around them. Yeah, I know, I am a dinosaur. You Can't Always Get What You Want needs a flawless opener and this one stumbled but the boys soon got it back on track. Crowd participation feels a little forced to me, I like when it emerges organically rather than when it becomes a rote expectation but then the response of the first timers around me said this is a rite of passage they need, want and will remember.
Then came the biggest surprise of the evening, Keith embarked on a three-solo set. I do not recall that ever happening before. I would foolishly argue this is unprecedented in Stones history. Keith said something about needing to help the band out with another song, but I confess I did not catch that. He lead with Tell Me Straight, for my money the best of the new songs in this show.
Little T&A may be my favorite Keith song and if it is not, it would be Happy and we got both of them as the second and third songs. Then wham, here comes act two, when the stage set takes over and kicks off one of the better second acts I have seen. How long have the Stones been starting off Act II with Sympathy for the Devil? It just says fasten your seatbelt.
The stage goes red and a temple is built from the ground up by minions of Babylonian warriors, columns are constructed, snakes entwine the columns of the artifice and the Stones are in the center of it all, Mick featured most prominently with fabulous lighting effects on each repeat of “pleased to meet you.” As the song enters its endgame, fire consumes the set built at the outset of the song, very cool stuff, far out and outta sight also. Honky Tonk Women follows, ‘nuff said? Then comes the pièce de resistance, when a single note from a harmonica escapes from the stage that sends a shiver down the spine of anyone who has ever heard this clarion call before. Midnight Rambler was the showstopper. I cannot help hear the words to every song and to sing along with them, but along came another surprise when Mick went off script with the lyrics and threw in some unexpected lyrics from Robert Johnson's "Hellhound on My Trail". This is tripping stuff for fans hungry for new and different, Little Stones gems to tuck away.
Another surprise was coming our way and we would not have to wait long for it. Chanel Haynes, a Tina Turner impersonator and heiress to Lisa Fisher, owned Gimme Shelter, which the Stones knocked out of the park. She was not the Merry Clayton or the Lisa Fisher, threatened by the storm, she was the woman super hero who had survived the storm who was now ready to do battle with it, she was the storm and she nailed it.
For Paint It Black the screen behind the band went black with what looked to me like maybe a dozen or two mini-spot lights creating the perfect aura while the rest of the set went wild with gray-tone images. When Mick sang “no more will my green sea go turn a deeper blue” the stage did. Not a spectacular sight but a darn effective one. That stage set was out sight, be patient, I am old, I repeat myself. I am old, I repeat myself.
The final song of the show was my all-time fave JJF, so I cannot be objective, but had I died of the Benz I would have died happy. After a rather tepid crowd response the Stones came back to play the National Anthem of Rock ‘n’ Roll, Satisfaction. I loved the moment when Keith, wielding his yellow Strat playfully repeated the basic lick over and over late in the song when the camera was on him. Only one more song, to go, Sweet Sounds of Heaven, except it wasn’t. This was the last surprise and not a good one. Maybe we will learn the story later, was it related to Keith’s trio?
There was no way to imagine this show, this technology 60 years ago on June 19, 1964. My lying memory says there may have only been hundreds of us at the Farm Show Building but Brian, Mick, Keith, Bill, and Charlie had already stopped being a bunch of guys who got together to play music. They were already a band, not an overnight sensation, but a force to be reckoned with. Would that we’d all meet again in another 21,903 days.
An easy four and a half hour drive from where I live so we came over for two nights. Spent a day walking around downtown Atlanta, went to the Shidoobee party the night before and saw friends and fellow fans, found a good sushi place, ran into a friend I hadn’t seen in thirty years, and then saw another great Rolling Stones show.
My Lucky Dip results remain the same: I have yet to get Pit tickets with LDs (this was probably my tenth attempt over the years). But our seats were fantastic. Side of stage about 30 rows up, nice view of the band, comfortable chairs. I actually loved our seats, and have been in the Pit before, but just once I’d like to open the LD envelope and see “Pit” to know it’s possible!
The overall stadium experience was one of the best, in my top three for stadiums. Easy walk from the hotel, a well managed and easy to navigate facility, food prices inside cheaper than many places, and most importantly every staff member we interacted with was helpful and friendly.
There was one con: the sound where we were was a bit echoey. I heard someone say that the sound was great from front of stage, and it wasn’t bad enough to ruin my experience, but there were moments of not being sure what I was hearing.
The show itself, wow. I wasn’t concerned over the set list, or hoping they’d play something I’d never heard live, instead I was transported to a good old-fashioned rock n’ roll show. Guitars were strong. Ronnie was playful as all get out and very loose. Keith’s playing and singing sparkled, and of course the surprise of three songs from him was cool. His vocal on Tell Me Straight sounded like it was right off the album, and Happy was very sharp and rocked. The best part of the show — for me — was Midnight Rambler. I look forward to getting to hear Rambler at every show and am glad they played it. And Chanel Haynes is again worth a mention. Personally I think she continues to inject new and different life into Gimme Shelter.
Finally, an old friend I hadn’t seen in thirty years happened to be in Atlanta visiting family and we met at the show. He hadn’t realized the Stones were in town until I told him and on the day of show he found a ticket for $65, came and rocked out, and then after we hung out and caught up over beers until the wee hours of the morning. Good fun and music. Hope to do it again.
When announcing the vote song Mick said we thought we were going to do Wild Horses but we found 11,000 votes. With a graphic on the screen showing Sweet Virginia beating Wild Horses by 11,000 votes. This was a subtle reference to the former president making a call to Georgia election officials asking them to find 11,000 votes in the last presidential election. At the October 22, 2016 show fans were treated to both Midnight Rambler and Miss You but tonight just got Midnight Rambler. Also I guess the extra Keith song led to the decision to drop Sweet Sounds of Heaven.
Big difference in stadiums this week between Monday in Orlando with an outdoor stadium built in 1936 and on Friday with an indoor stadium with a retractable roof built in 2017 that is the 4th most expensive stadium built in the world. When the lights go down you get the Rolling Stones show in whichever city you are in and they might be close to where you live. But while you wait for the show you get to experience that city's stadium and Atlanta's stadium really stands out. From a nice climate control, to many food and beverage options with short lines. Atlanta's stadium is also famous for having some low cost options, $2 bags of popcorn, $2 hot dogs, $2 soft drinks with unlimited refills, $3 nachos with cheese, $5 for a small draft beer.
My seat was on the sideline and was leather with extra padding and also provided access to a lounge area under the seats with more food and beverage options. Similar to the Glendale show after the warm up band the large retractable roof was quickly opened. The stadium also has good access to mass transit that connects to Atlanta's airport, the busiest airport in the world. The large stadium had tickets starting at $64.50. Very nice night and a very good experience.
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
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Photo by Bjørnulf Vik
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Photo by Peter Washkevich
Photo by Peter Washkevich
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