The Rolling Stones are unreviewable. There is no element of surprise with a live show like theirs: you know what you’re going to get. The only surprise comes from your own muscle memory, how these songs are part of your heart and brain, how you instinctively know every note and word. For me anyway, they trace the line of so much, including my relationship with my mother, who was trying to get me into Mick when she showed me the video for Dancing In The Street. She finally got me in 1990 when we watched the VHS of 25x5 until the tape was worn out. We saw them live on August 25th 1990 at Wembley Stadium – she would always tease me and say ‘you said Keith looked straight at you!’ Hey, I was 13, we were quite near the front, and I coulda sworn he had. They were her favourite band: they were our band. More than her other faves like Miles, Bob or even the Beatles – the Stones belonged to us.
I hadn’t seen them live since we saw them again in Sheffield in 1995 – they’ve toured several times since but I always said ‘they’ve had enough of my money’. When they announced a return to Hyde Park, for the first time since the concert they had played there following the death of Brian Jones, I did raise an eyebrow but it fell on the night of a Bowie party long in the planning. But then, when they announced a show the week after, it felt like I was meant to be there – following in mum’s footsteps, she had attended the 1969 show. When I got lucky with tickets, it was on.
Concert-going, in the pop/rock arena, is split into sections – young artists, who plough their debut albums in small venues; the mid-level bands on albums 3 or 4 doing the same in slightly larger, say Roundhouse-size, places, who throw in well-received tracks from their previous records. There’s your established acts, say aged between 30-45, who are probably big enough to play an arena but prefer a run of gigs at a theatre. The audience care about the new record but the band knows there’s a balance to be found. Then there’s that hideous phrase, the heritage act. With the notable exceptions of Neil Young, Robert Plant, Bruce Springsteen and a few others, new stuff is neither played nor wanted. A nostalgia party takes place. There’s a couple who don’t tour at all, like Bowie and Joni, but that’s rare, most want to fill an arena and relive their glory days. At the older end of even that scale the Stones stand alone – they don’t much care about new material, and neither does anybody else. They wouldn’t, they couldn’t, do a version of The Next Day; adding to the musical canon matters not. It’s about leaving something behind that people can actually see. It’s about the experience of being in their presence. The notion of retirement has always been a stupid question, for a different day. The blues guys they worship went on into their 80s (partly because they were ripped off and had to but that’s yet another issue) and nobody suggests that actors or painters or musicians playing jazz or classical music give it all up when they’re over 60. Pop music is certainly a young person’s game but if you can still deliver, why the fuck shouldn’t you? I watched what was allowed to be televised at Glastonbury the other week. They hit some high spots but honestly, it wasn’t great. However, many bands try and fail at that level, where you’re piloting into someone else’s stage, sound system, technicians, cameras etc. U2 fell a little flat when they headlined too, though to be fair to them that was more to do with torrential rain turning the stage into an ice rink, rendering them static and nervous. I’d seen a few clips of the O2 shows they did at the end of last year, and those were better. As such, at this level, and given the famed level of control Mick loves, when they’re on their own turf everything tends to come together.
Having said that, they are not, and have never been, polished. They don’t churn out perfect Fleetwood Mac style MOR and they don’t play note-perfect recreations a la Pink Floyd. Stay at home and listen to the records, if that’s what you want. They are a bit ramshackle, it could all fall to bits, there’s the odd bum note, but this is a band with Keith Richards in it after all, and he is the musical leader, so that can’t bother you. If it does, you don’t know your Stones history very well. Their shows might not offer the danger of yore, and their (or at least Mick and Charlie’s) approach might be super-professional, but you can still let go and see the sparks between them. They’re breaking this mould – there are no other rock bands who’ve been together for 50 years. Think about that time frame, think about how many generations have come and gone, how many challengers they’ve seen off. They’re not flawless, they’re a little bit dirty and messy, and that’s why I’ve loved them so much for nearly 25 years.
It was a beautiful, blue-skied day, and we sat in the sun for a few hours before the quite enjoyable Jake Bugg came on. He’s pretty great for a teenager. We’d smuggled rum into the venue in the back of our trousers (it’s not my first time) and this turned out to be a wise move. A few bottles of mixers were procured and we were set for the evening, having found a great spot by one of the screens. The pre-show warm-up tape was a bit of blues, as you’d expect, but then on came Milestones, the 1958 classic by Miles Davis. A second later a woman wearing a Star of David walked past me. It might sound like I’m full of shit but I had a little moment where I felt like my mum was right there. The show started with a brief film of the original Hyde Park show, right on time, on the dot of 8.25pm. Start Me Up! Then It’s Only Rock And Roll, and then Tumbling Dice. Big punches, thrown one after the other, they’ve got songs to burn. The energy and noise level started to rise and, despite it being the hottest day of the year, stayed sky high for the next 2 hours. It was a pleasure to hear the languid disco funk of Emotional Rescue, a bit of a surprise (played for the first time ever 2 months ago, this was its first European performance, amazingly), and I couldn’t help but smile as Mick’s perfect falsetto rang out across the grass. It’s a ridiculous song, a daft attempt at being on-trend in the Studio 54 era, but it also feels like an old friend.
The backing players are staples now themselves – bassist Darryl Jones, who has been playing with them for two decades, impressed hugely, and nobody gave a thought to the old Bill. Backing vocalists Lisa Fischer (incredible on Gimme Shelter) and Bernard Edwards, in their 25th year of touring with the band, are beautifully settled and woven in. Chuck Leavell, a Stones veteran of some 31 years, adds boogie-woogie piano that Ian Stewart would have been proud of. And of course, the tough Texan warhorse Bobby Keys has been playing sax with these old boys longer than Ronnie’s been in the band (on and off from 1970-81 but a constant from ’82 onwards). Mick Taylor had been asked to join in June ’69 after Brian was fired and, less than a month later, two days after Brian died, he was making his stage debut. Arguably, he’s the best guitarist that’s ever played with them, and certainly their highest creative points were reached in his years with the band (1969-75). He has been playing with them on this tour and, though I knew it was coming, what a pleasure it was to hear him play on a mindblowing version of my favourite live Stones song Midnight Rambler (pleasingly, he made another bow in Satisfaction, at the end).
Charlie is of course solidity personified, even if you know he’d rather be at Ronnie Scott’s playing some Art Blakey licks. It’s charming that he’s still so thoroughly unimpressed by the machinery of the rock music industry all these years later. He likes to complain about being in this band, but he always answers Keith’s call. Ronnie, however, I was left in no doubt, is the glue that holds it all together. He was always the social glue; he was hired, effectively, to give Keith a companion who’d keep up with him and then hold him back, as and when it was needed. But now, what with Keith’s arthritis, and his attached inability to play quite as solidly, or certainly as consistently, as he once could, it falls to Woody to hold this whole thing together. Keith still leads the band, as ever, but Ronnie circles him, musically and literally, and plays through everything. He is quite brilliant, and clearly, unlike in some previous tours, on the wagon – he couldn’t possibly perform like this if he was drinking.
On July 26th, in just over a week, Michael Philip Jagger will turn 70 years old. I want you to imagine what a normal 70 year old man is like. Perhaps he’ll be still working in a job he hates. He could be retired and filling his days with gardening or reading or going on a cruise perhaps. He might have a bit of middle-aged spread (as goodness knows a lot of the men in the audience did, and felt no compunction about showing off), or even an overflowing beer gut that clothing fails to tame. The once lustrous hair he had has started to thin or even made its escape completely. Then watch Jagger, howling it out, losing himself on harmonica, he never stops moving or working. And so, despite an undeniably wrinkly face, I cannot fail to marvel at what this particular pensioner puts in. He has a nice line in acting, all that mockney ‘Ar ya doin tonight Laandaahn!’ His voice, always a classic rock instrument, is in perfect nick, and just the sheer energy and approach of his performance is staggering. Morrissey always says he ‘appears’; he doesn’t perform. What he means is that he and his emotions are ‘real’ and his singing is from the soul, he’s not putting anything on. Mick is a performer in every sense. It’s so affected as to almost be cartoonish. He has always played this rock frontman character, which is a mile away from the cultured, yet bohemian, mischievous but whip-smart economist that he really is. What he does is a job. It’s a part he plays and my god, he plays it well. He prepares himself like a marathon runner, he trains and, on stage, he works his tiny little arse off. He runs miles and engages and communicates and it is his job to get the audience off, to never let the energy level drop. He’s one of the greatest and I felt lucky to have left it 18 years since I last saw him and for the performance to be better than it was then. Good genes (his dad was a PE teacher and both parents lived well into their 90s), hard bloody work and natural gifts make him what he is. It’s easy to take the piss, but you can’t watch him and be unimpressed. It’s impossible. I won’t go on about the songs because you’ll see the setlist below – it was all a highlight. Mick even found a smock dress to put on, in the same style as the one he wore for the ’69 show. And Ruby Tuesday (pardon my shaky, excited hand), played for the first time on this tour, took me back to 1990; I remember hearing it at Wembley so clearly. There were no low points, there was no filler (even new song Doom and Gloom sounds like classic Stones) and it made me want to see them again and again.
The whole experience was a magical blur and seemed to be over far too quickly. Nobody does this kind of thing better. Their songs are part of the fabric of this country and they have always been cooler and sexier than The Beatles ever were. The Beatles get you in the heart: the Stones aim somewhat lower. I’ve seen McCartney too and it is joyous, but not as passionate or visceral or real as it is watching the Stones. I couldn’t help think how happy mum would have been that I went to see her boys. She saw them in 1964 when she was 13. She took me to see them in 1990 when I was 13. And I saw plenty of kids the same age, whose grandparents are younger than the band, revelling in this extraordinary day, something they’ll be able to tell their grandkids about when we’re all gone. All except Keith of course, obviously. He’ll be around forever.
Start Me Up
It's Only Rock 'n' Roll (But I Like It)
Street Fighting Man
Doom and Gloom
Paint It Black
Honky Tonk Women
You Got the Silver
Jumpin' Jack Flash
Sympathy for the Devil
You Can't Always Get What You Want
(I Can't Get No) Satisfaction