It's Only Rock'n Roll
|
|
It's Only Rock'n Roll |
|
Stones
NEWS |
Tell Me Forum |
Hackney Diamonds |
Tour 2024 |
Mick Jagger |
Keith Richards |
Charlie Watts |
Ronnie
Wood |
Live pre/post show comments:
Monstrous Richards, the ravening beast, howls through triple throats like a mad dog over the spirits sunk in that foul paste of a pit. There was an infinity of firmest fortitude, a determinate, unsurrenderable willfulness in the fixed and fearless forward dedication of his glance. He stood before us with a crucifixion in his face, in all the nameless regal overbearing dignity of that mighty woe of craving.
Multiple bodies were dragged from the New Orleans crowd because they were either overwhelmed or exhausted. If only the band pushed the envelope further… I didn’t get what I wanted, thank lord, and walked from the festival saying with disillusionment, they’re dead.
Nevertheless, Richards’ solo on Angry made this grown man cry. For the very first time that day, I had fallen all the way into the groove and was listening to real authentic jazz. There’s something unusually mystic when his piece is spoken. The prison days, miss-meal blues, the heroine oblivion, the tangled nerves, the weed flights, the underworld hysterical debauchery. They were part of my education, had gone into my make-up until I was battered and bruised enough to stumble into the New Orleans idiom and have something to say in it.
I owe most of my listening pleasure to Mr Jagger and Mr Richards. Incredible writers and musicians. May 2nd was a triumphant victory. Waiting in line at the Trafalgar entrance and relaxing with the like-minded was a real treat.
Day of show we opted for the Jazz Fest shuttle and it worked great for us. Everything was well-coordinated and this experience was much smoother than the last Jazz fest I attended. We checked out some of the other music, but I knew the longer we waited the less chance we'd be able to get close enough to see, so at about 2:30 we planted ourselves on one side where we could see the screens, but also get in and out for bathroom, food etc.
It was difficult to see the band from our vantage point because the stage was a bit low and we were a couple hundred feet away, but sound was great and even watching most of it on the screens still made for one of my favorite shows.
Start me Up was one of the stronger openings I've heard this time, Mick was in great vocal form and energy. Other highlights for me were Let It Bleed, which surprised me to get, and the addition off Dwanye Dopsie was awesome. And hearing Time On My Side with Irma Thomas joining the Stones is in my top three music moments of all music moments.
Then of course there is Chanel Haynes. For me she is a breath of fresh air. Gimme Shelter was engaging and fun, even theatrical. I look forward to every show I hope to get to see with her. After the show we went to the Meters tribute which I can best describe as an extended, surreal jam that started at 10pm and lasted until 1:30 in the morning. The New Breed Brass band did a set to start and are the real deal.
When Dumpstaphunk, Cyril Neville, and Meters members Leo Nocentelli and George Porter Jr. took the stage it was the cherry on top of my day-of-music sundae. Couple hours sleep and then drove the seven hours home today. Yesterday was 100% what music is about for me, so even if you paid me I couldn't find anything to critique. Like I said, it was the whole vibe. I almost forgot! The Hackney Diamonds songs! I don't know how they sound being streamed, but hearing them live all three were solid and I hope to hear more. Whole Wide World rocked.
Third times the charm - after the Rolling Stones announced shows for Jazz Fest in 2019 and 2021 to then have both shows cancelled the Stones finally played the festival on Thursday May 2nd 2024.
A ticket for this show was very in demand with the cheapest General Admission standing tickets selling for $243 each with VIP passes in the thousands of dollars. After attending the last show in New Orleans on July 15, 2019 with a New Orleans local I asked him about his plan for this show. Since the show was sold out he planned to find a place to listen to the show from outside. This is only possible because the Fair Grounds is an outdoor race track in a residential neighborhood. Because the venue is so close to where people live the festival has a hard stop 7pm curfew because of sound and also no large lights are used. This also means a festival stage setup not the main touring stage.
Around 8am the morning of the show I took a drive around the venue to find ticket holders already in line at the gates hours before they opened. Getting back over to the venue a little after the scheduled 5pm start time I found people without tickets who were able to hear the show all around the venue-sitting in chairs in driveways, listening from parked cars, standing in front yards and backyards and walking around the venue. There was very light rain in parts during the later part of the show. Definitely a memorable experience for those on the inside and outside.
The weather was kind: pretty important at an open-air festival. Yes it was well over 80F (or 27C), and humid, but nothing like a typical Louisiana day – and the sun rarely broke through the clouds enough to really be felt. Not that this stopped there being plenty of folks who couldn’t take the heat, the excitement of such a momentous Stones gig, and maybe too much imbibing…
The Fairgrounds, site of the Jazzfest, is in a residential neighbourhood, and as a result has a 7pm curfew. So, unusually, the Stones set was scheduled to start at 5pm. Mick said it was their first matinee performance in a long time. They came on stage a bit after 5pm, and so their set was unusually short. It required truncating a couple of songs, so we don’t yet know if 2 hours and 18 songs is the new norm.
Lets start by saying this gig was the equal of Houston overall: in my opinion some bits were better, some less good. The audience were very, very happy. Many ecstatic. This was another great performance. It was not easy to adjust to the stage I’m sure – it’s much smaller, narrower. They were using all the festival kit: stage, PA and screens.
A catwalk runway had been added for the Stones, but the ground sloped so it resulted in people in line with it being unable to see the stage. However the lack of wings to the stage, and the huge standing crowd, resulted in Mick spending a lot of time at the end of the catwalk. This was very convenient to me – its where I was standing, although at the side so I could see “Keith’s side of the stage” pretty well.
This is a Stones review, but I’ll say little about the Jazzfest overall. A few things stand out. Firstly the entry security and process was very easy and efficient – many stadiums could learn from it. Secondly the non-music stalls we visited, mainly food, were excellent. Thirdly the security at the festival stage was friendly, but not well organised. It took ages to get help to people in difficulty (aka crashing-out), and the need for the security to help left the stage and performers exposed: the Stones own people looked a little concerned once or twice. Finally the exit was very slow and very congested – they need more exits.
The mostly standing Festival Stage area was rammed by a very friendly crowd. A couple of screens helped visibility, but I think an upgrade is needed for major attractions like the Stones. Many Stones shirts, but also many JazzFest shirts – a real mix of reasons to be there.
If anyone wants to learn Darryl Jones’ bass lines they should get an audience recording of this gig. The previous band had been Ivan Neville’s Dumpstaphunk, a funk band who carry the inheritance of the Meters (support for the Stones in Europe in 1976). The sound for much of the Stones set (Dice in particular) sounded to me like they had retained the bass-heavy mix. I could hear Darryl bass perfectly, and also Steve Jordan’s bass drum. This sometimes hid the guitars, except for Keith on overdrive. It wasn’t a major issue, but it did change the feel of things a bit. Maybe it was just me and where I was standing. It makes one realise just how good the normal Stones kit and sound team are!
Start Me Up did just that again in New Orleans and will, I now assume, for most of the tour. Other bands on this stage were introduced by Quint Davis who has run Jazzfest and created the institution that it now is. The Stones however stuck to formula and Matt C had launched proceedings. Steve J kept the drum engaged for Get Off Of My Cloud. What a rocking start.
Then we got one of several changes from Houston. Out of Time was next, Mick again semi-apologising for it not being a hit in the US in 1966 – it was across Europe for Chris Farlowe. This engaged the crowd nicely: lots of sing-along and educating the mainly American audience about this classic, but no reprise section. Then Angry, played better than Houston and again a great crowd reaction: this has established its place in the setlist. Ronnie on backing vocals again, Bernard on percussion, and Mick collecting a guitar part way through the song.
On to the first surprise: Let It Bleed, complete with award-winning Zydeco accordion player Dwaine Dopsie, who comes from a family of accordionists. Very sweet to hear the interplay between accordion, piano and laptop guitar (from Ronnie).
The rumour mill had been working overtime, and next as hoped it was Time Is On My Side with special guest Irma Thomas, the Soul Queen of New Orleans. The Stones heard this song from her single back in 1964 and recorded it at two of their popular early studios in London (Regent Sound) and Chicago (Chess). What is amazing, and a credit to the band as a whole, is they never rehearsed it. I’m sure there was a piano-led run-through back stage, but that’s it for a performance in front of over 70,000 people. And it was great, seeing and hearing Mick and Irma. Apparently they last met in the 70s… And they last played Time is on My Side live in Osaka in March 1998, and before that on the 81/82 tour – so a real rarity.
To complete three new songs to the 2024 setlist they moved on to Whole Wide World. Like in New York in the autumn this really rocked. Strange to hear lyrics about Fulham in New Orleans though. Both guitarists playing loud and intently. I hope this gets plenty of airtime this year.
Then back to some old favourites. Dice first, with the heavy bass mentioned before and a bit of a messy start to the solo, but overall great. I realised that this is the only Stones song that they have played every time I have seen them. Clearly a band favourite as well. Very strong horns from Tim and Karl.
Band introductions followed. No need to encourage Chanel onto the stage front tonight. Bernard got a very strong, well deserved, cheer. He does so much, almost under the radar. The horn players had to enter from stage centre and so almost missed their cues. All the were band smiling – they were enjoying the gig, the crowd and the soup-like Louisiana atmosphere.
Keith played Little T&A again, only one song. The guitar work was really fine, better even than when first aired in 1981/2 Tour. This only gives Mick a brief break, and he was back for Sympathy. Chuck leads this in, and the initial Keith chord on the first chorus seems a little less powerful this tour. Keith’s solo was excellent again.
The final run of songs heralds the end of the show in sight. Starting at maybe 10 minutes after 5pm, and with a very hard curfew at 7pm, this means fast versions. Mick, in his role as conductor, needed to hurry things along once or twice. Honky Tonk and Miss You followed the normal form. Harmonica, bass and sax solos on Miss You; Darryl bumped but didn’t seem at risk of losing his balance tonight. Both songs are clearly very popular down here in the south.
Shelter started with Keith sitting for the intro riff, standing only when it changes to a hard lead into the vocals – he did this sometimes in Europe in 2022. Another great version with, again, so powerful vocals from Chanel – really challenging Mick, which provides a super spectacle. Paint it Black benefited from the louder bass drum – did I mention that Steve is also on great form? Taking cues from both Mick and Keith must keep him very alert. JJF completed the main set: lots of singing along from the crowd.
The band sort of drifted off stage. It would be nice to see a more organised move off with more waves: this feels a bit like what it really is – stage exit for a couple of minutes break for a guaranteed encore. That break is longer this year, but then we hear the slow start to Sweet Sound of Heaven.
It was too slow for Mick who spent at least a minute encouraging Steve and Keith to speed it up – the ultra-slow start was nice in the sultry early evening air, but I prefer the normal pace and they needed a short version with no reprise to hit the curfew. The combination of Chanel and Mick again on this song was awesome; the keyboards creating such a great backdrop. I really hope this song makes most of the setlists.
Satisfaction brings proceedings to a close, Mick encouraging Keith to start it quickly, so they ended with one minute to spare, and the huge crowd roared its approval. When the big screens showed distant crowd shots it was a sea of faces and waving arms: more an ocean than a sea; and not a mass of grey and black and white – although many of these people are indeed the salt of the earth.
A couple of minor observations from the show. Mick strongly gesticulating to Ronnie to move out and do a solo, then grinning with Keith. Keith staying on the main stage, not really going onto the catwalk, perhaps to preserve his energy. When we had some large drops of rain (which my weather app predicted), Mick calling back that it was wet and slippery on the catwalk – I think to warn Ronnie and Keith. Mick kicking one of several inflatable balls back into the crowd, and also flashing his bare chest to a lady who was doing the same to him.
So, to summarise, I’m very pleased I didn’t miss this festival show. The whole experience was great, even though I should have spent more time there. The Stones and their team put on a superb performance, largely overcoming the constraints of using a different stage, sound and video set-up. I will always thank all those involved because those people do so much to make these gigs possible, and make them a great , and safe, experience. You know who you are!
We arrived by car from Houston. It was a great trip through the Louisiana swamps, through Baton Rouge, then finally New Orleans, the city of jazz. We stayed at the Sheraton, where shuttle buses left for the Jazz Fest on show day.
The Stones show was announced for afternoon time 5pm to 7pm, so we headed for the shuttles at noon. Half an hour of bus queuing, 12 minutes driving, then another 40 minutes of queue through security. We did still have another 3.5 hours until show time. First I walked around to see where the Stones stage was located, as there were several stages. Then I took a look at the places, what food they had for sale, what drinks, and where to rest. I found a spot where there was a little concrete edge, just so that I could sit down and relax. It was right next to shops selling drinks, so I loaded up with plenty of Powerade and water. I had my own private resting place, stayed there for an hour or so.
The pit was packed, may be 3-4 times normal pit size, and packed a lot more than any other pit has been packed. Before I entered the pit, I had checked the size of the crowd. It was endless, like the largest crowds I have been to in Europe (Prague 127,000; Hockenheim 100,000 etc). I wonder what the real crowd size was, at least 80,000 I would say, may be more.
The Rolling Stones were on at 5:06pm. Like in Houston, we got "Start Me Up" as opener, the band in daylight was a change, but still great. I had found a spot near the B-stage, Keith side, being tall helps a lot at such shows, with endless people all over. Mobile phones in the air all over, I wonder what kind of quality some of these videos are at, still memories I suppose.
Angry was strong, Keith was ruling on that song, very powerful guitar work!
Let It Bleed with Dwayne Dopise on accordion. What a great version! I have had the song live some times, but never with accordion, as far as I remember. It sounded as it had been with accordion always, such a perfect fit, and what a great accordion player!
Then another great surprise: Time Is On My Side with soul queen Irma Thomas on vocals. Again, it sounded like they had been doing it many times with her, it worked so great. The interaction on vocals between Irma Thomas and Mick, how they were singing, how strong Irma was on her vocals, it was worth the festival stress alone!
More surprises were to come. We got Whole Wide World from Hackey Diamonds, Ronnie was all over, it was like a punk song, great work on the guitar Ronnie!
Mick had a joke about the governor, he said the governor wanted to take us back to the Stone Age. I have no idea about Louisiana politics, but Mick had probably got some local info he was relying on.
SuperMick was all over, again, like in Houston, those at age 60-80 or even more watching Mick running up and down, side to side, singing, joking, acting, making faces, must be almost jealous of how fit he is, that is SuperMick, like father like son, his father was a teacher in gymnstics, I am told, so I guess Mick has been running around all his life, well as long as I have seen Mick live with The Rolling Stones, now 51 years and counting.
The rest of the show was rock solid, no weak points from my point of view. I tried to move around a bit, it was like swimming in clay, really hard. There are laws related how many people you may pack into a certain area, related to security. I assume these laws did not work for the pit at the Jazz Fest, luckily there were no panic or issues, except for some people being taken out due to dehydration during the show.
We got a few drops of rain during "Miss You", also some rain drops later in the show, but no worries, we did not get wet. The usual restart after the finish of "Sweet Sounds Of Heaven" did not happen, I assume due to the 7pm curfew. The show finished at 6:57pm, just 3 minutes before the curfew. It took us two hours to get into one of the shuttles back to the city, almost the last shuttle from the show. I could have walked the distance in an hour, but I would have needed directions.
Well done, great show, all the hazzle of getting in and out of the show is forgotten. The sweet memories of "Angry", "Let It Bleed", "Time In On My Side" and "Whole Wide World" are with me as long as I live. I use to say that I can not remember every song at every show I go to, but this Jazz Fest show was so special, unique, a show to remember.
So what is next, when will we be surprised once more? I hope soon, but when and where, only time will tell!
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bobby Childs
Photo by Bobby Childs
Photo by Bobby Childs
Photo by Bobby Childs
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Hendrik Mulder
Photo by Roderick Keur
Photo by Roderick Keur
Photo by Roderick Keur
Photo by Geir Greni
Photo by Geir Greni
Photo by Geir Greni
Photo by Geir Greni
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
Photo by Bjørnulf Vik
IMPORTANT! Reports and pictures are welcome, for editorial review/publication. Please send them as soon as possible after the show. There is a limit of approx 30 photos per report/show in order to speed up browser load time. Updates of the editorial reports pages will mainly be done within 2-4 days after the show has been performed.
For publishing details and policies see :
IORR editorial reports - pictures and reviews
This page will change over the next few days, as you and other fans send reviews, set lists and reports. Please send your e-mail to IORR. Thanks! For details and great photos from the Rolling Stones and their World Tour get the IORR magazines.
It's Only Rock'n Roll 1980 - 2024
© The Rolling Stones Fan Club IORR