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Voodoo Lounge Tour

The Voodoo Lounge Tour was a worldwide concert tour by the Rolling Stones to promote their 1994 album Voodoo Lounge . This was their first tour without bassist Bill Wyman , and their first with touring bassist Darryl Jones , as an additional musician. The tour grossed $320 million, replacing The Division Bell Tour by Pink Floyd as the highest grossing of any artist at that time. [2] This was subsequently overtaken by a few other tours, but it remains the Rolling Stones' third highest grossing tour behind their 2005–07 A Bigger Bang Tour and their 2017–21 No Filter Tour . [3]

The Rolling Stones

Additional musicians, external links.

"There were lots of hacks out there who said we couldn't do it anymore", remarked Mick Jagger . "But maybe what they meant was they couldn't do it anymore. Anyway, once we started playing, all that died down. You can talk about it and talk about it – but, once we're onstage, the question is answered." [4]

Production design was by Mark Fisher , Charlie Watts , Mick Jagger and Patrick Woodroffe . Graphic design and video animation was by Mark Norton. Total attendance 6.5 million.

• Mick Jagger – lead vocals, guitar, harmonica, percussion, keyboards
• Keith Richards – guitars, vocals
• Ronnie Wood – guitars, backing vocals
• Charlie Watts – drums
• Darryl Jones – bass, backing vocals
• Chuck Leavell – keyboards, backing vocals
• Bobby Keys – saxophone
• Andy Snitzer – saxophone
• Michael Davis – trombone
• Kent Smith – trumpet
• Lisa Fischer – backing vocals
• Bernard Fowler – backing vocals, percussion

The band's set list at the first show at RFK Stadium in Washington, D.C.:

• " Not Fade Away "
• "Undercover of the Night"
• " Tumbling Dice "
• "Live with Me"
• "You Got Me Rocking"
• "Rocks Off"
• "Sparks Will Fly"
• "Shattered"
• " (I Can't Get No) Satisfaction "
• " Beast of Burden "
• "Memory Motel"
• "Out of Tears"
• "All Down the Line"
• "Hot Stuff"
• "I Can't Get Next to You"
• "Brand New Car"
• " Honky Tonk Women "
• "Before They Make Me Run"
• "The Worst"
• " Love Is Strong "
• "Monkey Man"
• "I Go Wild"
• " Start Me Up "
• " It's Only Rock 'n' Roll "
• " Street Fighting Man "
• " Brown Sugar "
• " Jumpin' Jack Flash "
• " Farafina " (tape)
• No Expectations
• All Down the Line
• Wild Horses
• It's All Over Now
• Doo Doo Doo Doo Doo (Heartbreaker)
• Stop Breaking Down
• Who Do You Love? (with Bo Diddley )
• You Can't Always Get What You Want
• Sad Sad Sad
• Rock and a Hard Place
• Just My Imagination
• Love in Vain
• Let it Bleed
• The Spider and the Fly
• Shine a Light
• Rip This Joint
• Sweet Virginia
• Respectable
• Still a Fool
• Down in the Bottom
• Jump on Top of Me
• Fool to Cry
• Black Limousine
• Like a Rolling Stone

• List of highest-attended concerts
• List of most-attended concert tours
• List of highest-grossing concert tours

Related Research Articles

Voodoo Lounge is a studio album by the English rock band the Rolling Stones, released on 11 July 1994. As their first new release under their new alliance with Virgin Records, it ended a five-year gap since their last studio album, Steel Wheels in 1989. Voodoo Lounge is also the band's first album without their original bassist Bill Wyman; he left the band in early 1991, though the Stones did not announce the departure until 1993. In 2009, the album was remastered and reissued by Universal Music. This album was released as a double vinyl and as a single CD and cassette.

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Voodoo Lounge Live is a concert video by the rock band the Rolling Stones. It was filmed on 25 November 1994 at Joe Robbie Stadium in Miami Gardens, Florida during the Voodoo Lounge Tour. The concert was broadcast as a pay-per-view special.

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América Latina Olé was a concert tour by The Rolling Stones, which began on 3 February 2016 in Santiago and made stops in La Plata, Montevideo, Rio de Janeiro, São Paulo, Porto Alegre, Lima, Bogotá, Mexico City and ended in Havana with a free show on 25 March 2016. The tour was chronicled on two video releases: The Rolling Stones: Havana Moon , which documented the final show, and Olé Olé Olé!: A Trip Across Latin America , a documentary following the band across the continent.

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Licked Live in NYC is a live album by English rock band the Rolling Stones. It was recorded on 18 January 2003 on the Licks Tour in support of their 40th anniversary compilation album Forty Licks . The tour grossed over $300 million, becoming the second highest grossing tour at that time, behind their own Voodoo Lounge Tour of 1994–1995.

• ↑ "Virgin Act Ends Highest Grossing Tour Ever" . Billboard . 10 December 1994. p. 45
• ↑ Dinka (6 October 2007). "Rolling Stones' Tour Breaks Attendance Records" . huliq.com.
• ↑ Cohen, Rich (3 November 1994). "Tour de force". Rolling Stone : 26.
• Mark Fisher's "Voodoo Lounge" gallery

Voodoo Lounge Tour

1994–95 concert tour by the rolling stones / from wikipedia, the free encyclopedia, dear wikiwand ai, let's keep it short by simply answering these key questions:.

Can you list the top facts and stats about Voodoo Lounge Tour?

Summarize this article for a 10 year old

The Voodoo Lounge Tour was a worldwide concert tour by the Rolling Stones to promote their 1994 album Voodoo Lounge . This was their first tour without bassist Bill Wyman , and their first with touring bassist Darryl Jones , as an additional musician. The tour grossed $320 million, replacing The Division Bell Tour by Pink Floyd as the highest grossing of any artist at that time. [2] This was subsequently overtaken by a few other tours, but it remains the Rolling Stones' third highest grossing tour behind their 2005–07 A Bigger Bang Tour and their 2017–21 No Filter Tour . [3]

"There were lots of hacks out there who said we couldn't do it anymore", remarked Mick Jagger . "But maybe what they meant was they couldn't do it anymore. Anyway, once we started playing, all that died down. You can talk about it and talk about it – but, once we're onstage, the question is answered." [4]

Production design was by Mark Fisher , Charlie Watts , Mick Jagger and Patrick Woodroffe . Graphic design and video animation was by Mark Norton. Total attendance 6.5 million.

Rolling Stones Push Back the Clock With ‘Voodoo Lounge’ Album and Tour

By David Fricke

David Fricke

“T hey come in different ways, so many different ways,” Mick Jagger declares with a melodramatic pleading in his voice, like he’s being forced at knifepoint to divulge some great private secret. Which, in a sense, he is — how he and Keith Richards write songs together. Not the old shopworn shorthand about the birth of “Satisfaction” or “Honky Tonk Women,” but how they really do it, from genesis to revelation.

“For instance, ‘You Got Me Rocking,'” Jagger begins, picking for today’s lesson a hard-boiled barroom boomer from the Rolling Stones ‘ new album, Voodoo Lounge . “It started off as Keith playing the piano as sort of a slow, boogie-woogie blues. And the form was, like, just the same thing going round and round and round. You never knew whether you were singing the verse or the chorus. And it was very fluid, good fun and all that.

“But then, when we went to play it with the band, it was like ‘Well, am I singing the verse here or what? What’s going on? Is this a chorus? Do we need another part?’ So we had to decide if we needed a bridge there, and if this was going to work. ‘I want to know when I’m finished singing the verse! I’ve got to know!’ Otherwise, it all sounded the same.

“‘Ah, it doesn’t matter,’ Keith would say. ‘Well, it matters to me!’ And, of course, he’s right. And I’m right. We’re both right.”

Jagger is warming up to his tale now, shimmying in his chair in the sun-dappled kitchen of his town house, on Manhattan’s Upper West Side, as the rhythm of the story, and the song, heats up.

“So we transpose it from piano to guitar — I was playing the guitar, Keith is playing piano and singing. And then I started playing slide guitar, and it started to sound like Elmore James. And then back to something else.

“Finally I said, ‘Keith, you’ve got to come off the piano and play guitar. I can’t hear what’s going on, there’s too much racket!’ Then the song had to take on the band thing, with everybody playing, so you start to codify it a bit, where the chorus is and so on. And it still doesn’t have a lyric, and I’m still messing with the melody. Keith had a couple of them he was using when he played. If it’s going to be a rock song, it has to have a definite chorus and melody.

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“So,” Jagger says with mock deathbed weariness, “I picked one.

“Maybe that’s not how Keith remembers it,” he concludes, with a playful poke at his alter ego, “but that’s how I remember it.”

Actually, Richards doesn’t remember a whole lot about it. He’s not much of a details man, anyway. What sticks in his mind is the vibe, the telepathic ’65-vintage ripple that runs around the room whenever the Stones start playing together — even if, these days, it’s only every three or four years.

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“It’s amazing to watch a song emerge from the barest little idea — the skinniest, scrawniest, barely visible idea — and watch these guys turn it into something,” Richards says with genuine amazement in his Manhattan management office. “You can talk about it all you want, but you only know it when you start playing. And then you know it in a minute. I’m tuning up, Mick’s getting ready, Charlie mopes in, ‘OK, let’s play such and such.’ And before the intro is over, it’s ‘Yeah, this is going to be cool.’

“You know it in the first few bars. But it’s not done by verbals. It’s not an oral communication. It’s body language, eye contact, the grinning, the little signals that go on between people.”

In fact, Richards points out, when the Stones were making Voodoo Lounge , co-producer Don Was had standing orders to just let the tapes roll, no matter how much or how little seemed to be going on in the studio. “It might appear that nothing’s happening,” Richards notes emphatically, from years of experience, “but that’s actually when it really happens.”

In many respects, Voodoo Lounge is business as usual for the Rolling Stones . The album’s mid-July release marks the halfway point in the band’s now-standard two-year activity cycle: new record, a world tour that opens August 1 in Washington, D.C., hoopla to spare. Like 1989’s Steel Wheels , the album was written mostly by Jagger and Richards at Eddy Grant’s studio, on the Caribbean island of Barbados, rigorously rehearsed by the band over several months and cut in a comparative flash — in this case, a blitzo six weeks.

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But Voodoo Lounge is actually an album of firsts. It is the Stones’ first album under their new megapaycheck deal with Virgin Records, estimated at the time of signing to be worth more than $50 million. It is the band’s first album to be recorded with a major outside producer, Was, since 1986’s Dirty Work (done with Steve Lillywhite) and, before that, the turn-of-the-’70s studio reign of Jimmy Miller. And Voodoo Lounge is the first album the Stones have ever made without bassist Bill Wyman, who had talked a lot about leaving the band in recent years and who finally cut the cord for good at the end of 1992. With the recruitment of 32-year-old Darryl Jones, a jazz-funk journeyman who’s played with both Miles Davis and Madonna , guitarist Ron Wood is now pleased to announce that — as he put it to Richards — “At least I’m not the new boy in the band anymore.”

T o Richards, this is also the first Stones album in some time — more years than he cares to count, anyway — that the Stones have worked and played like a band, not just an institution. “To not just sound like the Stones,” he says, “but be them. Like I told Mick, ‘You gotta play a lot of harp.’ Because with the Stones, that was one of the original instruments. And his phrasing is so uncanny on the harp. If that can roll over onto the vocals . . .

“After all,” Richards notes, cackling, “it’s just pushing air out of your mouth.”

Voodoo Lounge is certainly grounded in the tried and true: classic Richards guitar crank, Jagger’s rubbery yowling, Wood’s sweet and salty maneuvers on pedal steel and slide guitars. But it also rattles with a spirit of deviant inspiration and rhythmic chance that is much more Between the Buttons and Let It Bleed than Tattoo You . For every able-bodied bow to Sticky Fingers and Exile on Main Street archetypes, such as “Love Is Strong” and “You Got Me Rocking,” there are taut, smartly tailored left turns like the slinky, T. Rex-ish auto-erotica of “Brand New Car” and the tense, customized R&B mood flips of “Baby Break It Down.”

Sure, you’ve heard it before. “The Stones are back, they’re rockin’.” And you’ve been burned — by Black and Blue , Emotional Rescue and the overmanicured pop and groove filler that marred even strong outings like Dirty Work and Steel Wheels. But Voodoo Lounge is an album that the Stones were pressed to make, one that would argue hard and loud for their defiant longevity. It had to be the album that answered, once and for all, the nagging rock & roll question of the ’90s: After three decades in the fray, now minus Bill Wyman, with a median age of almost 51, why do the Stones still fucking bother?

Because, as Watts bluntly puts it, “it’s still a very good band when it’s going.” Which isn’t all that often. But to Jagger, that’s not a problem. It’s a kind of strength.

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“You can’t get off on it the whole time,” he argues. “It’s like you can’t be fucking the whole time. Because it spoils it for the times when you really want to do it. You have to work yourself up to the moment when you really give yourself up to the feeling. That’s what being in a band is all about, whether it’s been together 30 years or three weeks.”

“We’re out on this limb all on our own — nobody’s kept it together this long,” Richards declares with a mixture of pride and, he readily concedes, a bit of fear. “It’s like one of those old maps where there are dragons, and it says End of The World. Where is it? You don’t know. You’re supposed to fall off here.

“We have no road maps, no way of knowing how to deal with this,” he insists. “But everyone wanted to do it. ‘We can still show ’em a trick or two. And learn a trick or two in the process.’ I’m very proud of the career, as long as it’s gone. Still, it’s the old story — who’s gonna get off of this bus while you’re still feeling good about it?”

B ill Wyman didn’t feel good about it anymore. It was as simple as that. At a band meeting following the last dates on the ’89-’90 Steel Wheels /Urban Jungle Tour, Wyman informed the other Stones in no uncertain terms that he had had enough. The others didn’t believe him.

Jagger recalls his own reaction quite clearly: Wyman’s just tired, not serious. “I said, ‘Oh, Bill, if we say we’re going back out on the road tomorrow for another year, I can understand that. But we’re not even going to record for another 18 months. Relax. Think about it.'” Wyman never changed his mind. He didn’t even sign the new Virgin deal, according to Jagger.

“I was not really surprised,” Jagger says now. “He was so adamant. But I think Keith felt a bit rejected.”

The word Richards uses is devastated. “I was ready to kill Bill Wyman,” he says, laughing but with a hint of steam still coming out of his ears. “How dare you? Nobody leaves. Especially from that end of the band.

“I kind of appreciated Bill in a way, later,” Richards then says a little more generously. “He was being true to himself. He really didn’t want to do it. And it was a chance to put a new engine in down there.”

Have you ever wondered what it’s like to audition for the Rolling Stones? It’s quite simple, really. You play the hits.

“You come in,” confirms Jagger, “play ‘Brown Sugar,’ ‘Satisfaction,’ all that crap.” And that’s what the Stones did last summer in New York City for an entire week, four auditions a day, then again later in the year at Ron Wood’s home studio, in Ireland. In addition to Darryl Jones — whom Jagger had seen play with Sting and whom Richards had met through his X-Pensive Wino cohorts Steve Jordan and Charley Drayton — the Stones checked out about 20 top players, including Living Colour’s Doug Wimbish, NRBQ’s Joey Spampinato, Pino Palladino and even a woman, Tracy Wormworth.

Jones eventually made it through the whole drill; he plays on every song on the new album except “Brand New Car” (which features Richards on bass). “I tried not to get too attached to the outcome,” Jones remarks calmly. “After we did the record, Mick said he thought I did a good job, and Keith said he’d like to have me hang around again. But I didn’t really get the word, officially, on the tour until a couple of months ago.”

W as went through an audition of sorts himself. On Jagger’s invitation, he went to a band meeting to discuss production possibilities and was greeted with an extended monologue from Richards on why the Stones didn’t need a producer. Was says he walked out thinking, “At least I’ve got something to tell my grandchildren.”

By the time he was on the case at Windmill Lane Studios, in Dublin, Ireland, where the basic tracks for the album were recorded (mostly live), Was had set his own agenda. Jagger complains, half-jokingly, that Was is “definitely anti-groove. Charlie and I worked on a lot of groove tunes that never made it onto the record. That was the one thing I was slightly disappointed by.”

Was mounts a convincing defense. “I’m certainly not anti-groove, just anti-groove without substance,” he insists, adding pointedly, “in the context of this album. They had a number of great grooves. But it was like ‘OK, what goes on top of it? Where does it go?’

“I just felt that it’s not what people were looking for from the Stones. I was looking for a sign that they can get real serious about this, still play better than anybody and write better than anybody.”

Richards never had any doubt. “Innovations. A willingness to experiment. That’s what feels like the Stones,” he says. “It wasn’t like the other periods where — like everybody else — we were trying to sound like the Stones. We had to get over that. We already are the Stones.”

Just in case, Richards also had a good-luck charm. One night during the writing sessions in Barbados, he was cutting through an evening rainstorm on his way to the studio when he spotted out of the corner of his eye what looked at first like a rather large toad. Except that toads don’t say meow.

“It’s this little cat, maybe three weeks old,” Richards recounts with a surprisingly paternalistic gleam in his eye, “and it’s drowning. He’s the runt of the litter, and his mom obviously doesn’t want him. So I put him under my coat and took him to the studio.

“It looked like eyedropper time. He looked too young to feed. But we got a saucer of milk, dunked his head in it, and he licked it all up. At that point, I turned to Pierre [Beauport, Richards’ guitar tech] and said, ‘How goes this cat is how goes this album. It’s our job. If we nurture this fella, it’s gonna be a good album.'”

A year later, the cat is living large in Connecticut, the pride and joy of the Richards household. Meanwhile, Voodoo Lounge is ready for release, and the Stones are primed to run themselves ragged around the world behind it.

Don’t get too excited, though, about the gris-gris and booze-noir flavor of the album’s title. The first half of it comes from the cat; Richards named him Voodoo (“He was one lucky cat”). The other half comes from Richards’ habit of personalizing the recording studios where he works, usually with incense, a couple of scarves thrown over the lights and a handwritten sign that says Dox Office. “I’m the doc,” he explains. “It’s like a ritual, a fetish.” This time, in honor of the cat, he amended the sign to Dox Office — and Voodoo Lounge, complete with little drawings of musical notes and champagne bottles “like some cheapo bar.”

The real punch line, Richards goes on, is that until about three months ago, the record still had no title. “We agonized over it,” he says. “And it was staring us in the face. Finally, it was Mick who said, ‘What about Voodoo Lounge ? Why not? Kind of like Beggars Banquet. Right number of syllables.’

“I was really pissed with myself, though, after painting the sign and all. I’m usually the one with the cheap ideas, not Mick. His are usually real expensive.”

J agger purses his lips tightly and fidgets impatiently in his chair while his eyes roll skyward with undisguised exasperation. He’s ready for it. He knows it’s coming. But that doesn’t make it any less annoying. You wonder if he even wishes that he and Richards had never written the song that inspired it — the question that dogs the latter-day Stones every time they start their engines. Could this be the last time?

It’s kind of cruel, really, to ask it again. But you can’t resist it, just to see if he’s changed his tune since, well, the last time. No such luck.

“I just say no — because I don’t know the answer,” Jagger announces with a bored finality. Not that he believes anyone will really take the hint. “My thing about it is, I hate trading off it. I see a lot of bands do that. It’s not a new thing, either, it’s ancient. Like an old actor: ‘This is my last tour. I’m not doing Hamlet anymore. You’ll never see it again.’ It’s just something to sell tickets with.

“My personal thing is always 1 will do the next Rolling Stones record and tour. I am very happy. But I will not promise any more.’ Because I don’t want to promise something I don’t know I can really deliver.”

That’s pretty much how the Stones’ Virgin Records contract reads, too. The deal calls for three new albums but includes a money-back guarantee for only one; Virgin also gets the Stones catalog going back to Sticky Fingers as a nice, fat consolation prize. “If we make this one,” Jagger explains, “and then say, ‘Well, we’re too old now,’ we don’t have to do anything. You’re not on a hook.

“I know people might think I’m splitting hairs, but it’s so easy to use it as a selling point,” Jagger continues, drifting back to that question, “and I don’t want to.

“Of course,” he exclaims with a devilish glint in his eye, “whenever we play, it’s always the last time someone will see us. They might get run over by a bus the next day. For them, it was the last time.”

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This is a story from the July 14, 1994 issue of Rolling Stone.

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Voodoo Lounge Starring the Rolling Stones

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Voodoo Lounge

By 1994, the Rolling Stones were expected to record a studio album as the launch pad for a new world tour. The CD era demanded the group not skimp on material and the Stones were quick to oblige. Fifteen tracks, an hour’s worth of music, a double album in the vinyl age. Voodoo Lounge is the sound of the Stones finding the balance between the pop marketplace’s commercial concerns and their trademark sound without the help of their lifelong bassist Bill Wyman. “Love is Strong” kicks things off with a twist of blues harp, Keith Richards’ guitar snarl and Mick Jagger’s seductive pose. “Out of Tears” represents the melodramatic ballads popular with the MTV crowd. But tunes such as “You Got Me Rocking,” “Sparks Will Fly,” “Blinded by Rainbows” and “Thru and Thru” proves the Stones weren’t yet done adding to the catalog. No one will confuse this effort with their untouchable work from 1965-1981. But it’s still clearly the Stones in command.

July 3, 1994 15 Songs, 1 hour, 1 minute ℗ 2012 Promotone B.V., under exclusive licence to Universal International Music B.V.

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Rolling Stones / Voodoo Lounge Uncut

By Paul Sinclair

The Rolling Stones are next month issuing Voodoo Lounge Uncut,  the full unedited live performance from Nov 1994, previously issued in truncated form in the 1990s. The show was filmed by David Mallet on 25 November 1994 at Miami’s Joe Robbie Stadium, as the band were four months into their Voodoo Lounge world tour. This new version features 10 performances omitted from its previous release and the full show is now presented in its original running order. Additionally, all visual formats feature five tracks from an earlier date on the Voodoo Lounge Tour that weren’t performed in Miami – in an attempt to make this a definitive record of The Rolling Stones mid-1990s tour.

This is being released by Eagle Rock, so there’s the usual wide array of formats including 2CD+blu-ray, 2CD+DVD, 3LP vinyl and standalone blu-ray and DVD.

Voodoo Lounge Uncut will be released on 16 November 2018. For some reason most of the formats are unavailable via Amazon UK right now.

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Voodoo lounge 2cd+blu-ray.

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Voodoo Lounge - blu-ray

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Voodoo Lounge Uncut 2CD+DVD

1. Whoopi Goldberg Intro 2. Not Fade Away 3. Tumbling Dice 4. You Got Me Rocking 5. Rocks Off 6. Sparks Will Fly 7. Live With Me 8. (I Can’t Get No) Satisfaction 9. Beast Of Burden 10. Angie 11. Dead Flowers 12. Sweet Virginia 13. Doo Doo Doo Doo Doo (Heartbreaker) 14. It’s All Over Now 15. Stop Breakin’ Down Blues 16. Who Do You Love?

1. I Go Wild 2. Miss You 3. Honky Tonk Women 4. Before They Make Me Run 5. The Worst 6. Sympathy For The Devil 7. Monkey Man 8. Street Fighting Man 9. Start Me Up 10. It’s Only Rock’n’Roll (But I Like It) 11. Brown Sugar 12. Jumpin’ Jack Flash

1. Whoopi Goldberg Intro 2. Not Fade Away 3. Tumbling Dice 4. You Got Me Rocking 5. Rocks Off 6. Sparks Will Fly 7. Live With Me 8. (I Can’t Get No) Satisfaction 9. Beast Of Burden 10. Angie 11. Dead Flowers 12. Sweet Virginia 13. Doo Doo Doo Doo Doo (Heartbreaker) 14. It’s All Over Now 15. Stop Breakin’ Down Blues 16. Who Do You Love? 17. I Go Wild 18. Miss You 19. Honky Tonk Women 20. Before They Make Me Run 21. The Worst 22. Sympathy For The Devil 23. Monkey Man 24. Street Fighting Man 25. Start Me Up 26. It’s Only Rock’n’Roll (But I Like It) 27. Brown Sugar 28. Jumpin’ Jack Flash

BONUS PERFORMANCES FROM GIANTS STADIUM, NEW JERSEY:

1. Shattered 2. Out Of Tears 3. All Down The Line 4. I Can’t Get Next To You 5. Happy

Voodoo Lounge   Uncut 3LP vinyl

LP 1 1. Whoopi Goldberg Intro 2. Not Fade Away 3. Tumbling Dice 4. You Got Me Rocking 5. Rocks Off 6. Sparks Will Fly 7. Live With Me 8. (I Can’t Get No) Satisfaction 9. Beast Of Burden 10. Angie 11. Dead Flowers

LP 2 1. Sweet Virginia 2. Doo Doo Doo Doo Doo (Heartbreaker) 3. It’s All Over Now 4. Stop Breakin’ Down Blues 5. Who Do You Love? 6. I Go Wild 7. Miss You 8. Honky Tonk Women

LP 3 1. Before They Make Me Run 2. The Worst 3. Sympathy For The Devil 4. Monkey Man 5. Street Fighting Man 6. Start Me Up 7. It’s Only Rock’n’Roll (But I Like It) 8. Brown Sugar 9. Jumpin’ Jack Flash

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Voodoo Lounge Tour - Tour Dates

Read more about this topic:  Voodoo Lounge Tour

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