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The Night the Rolling Stones Kicked Off Their ‘Voodoo Lounge’ Tour

The Rolling Stones opened their massive Voodoo Lounge world tour on Aug. 1, 1994, beginning what became the biggest and most financially successful rock tour to date.

The first seeds of what would come were planted in December 1992, when, after spending nearly 30 years in the band, Bill Wyman , the Rolling Stones' bedrock bass player officially announced that he was out . In a later interview, Wyman explained  the circumstances of his departure saying, “Playing with the Stones there was always such a lot of pressure,” he said. “The next album or single always had to be the best, or at least sell more. When we got together to play it was a great moment. Working with Charlie [Watts] was fantastic, and we’re still really close. But when I toured with the Stones, it would take a month to practice all these songs we’d been playing for 30 years.”

Almost immediately, speculation began that Bill Wyman’s departure presaged the eventual demise of the group as a whole. It was a notion the Rolling Stones put to rest categorically nine months later when they entered the studio to begin work on new music with bassist Darryl Jones, whom they announced as Wyman's official replacement a few months before the July 1994 release of Voodoo Lounge .

Wyman had it exactly right. Instead of folding, the Rolling Stones ultimately took it up a notch. “What the audiences want are a lot of lights and pizzazz with bangs and whistles,” Mick Jagger said in the book According to the Rolling Stones . “On the ‘Voodoo Lounge Tour’ we had this huge lamp-post structure stuck in the middle of the stage. It was very good-looking, but by the time we got 25 minutes into the show, and then an hour, the lamp-post was still standing there doing nothing. We had to invent a whole feature with these Mexican inflatables – done in a way that made them look as though they were dolls in some strange kind of religious shrine.”

All of this pageantry, Keith Richards said in his autobiography Life , grew out of the latent expectations that surround the Rolling Stones. “It wasn’t Mick any more than the rest of us who conceived these megatours: 'Steel Wheels,' 'Voodoo Lounge,' 'Bridges to Babylon,' 'Forty Licks,' 'A Bigger Bang,' he said. "It was basically public demand that expanded them to that size. People say, why do you keep doing this? How much money do you need? Well, everyone likes making money, but we just wanted to do shows. And we’re working in an unknown medium.”

Watch the Rolling Stones' Opening Night of the Voodoo Lounge Tour

Even with a performance of that scale, at the end of the day, it's still supposed to be a cohesive show with real thought behind it, which is something that matters a great deal to Jagger. "We always feel that the shows must make some sort of sense to us intellectually,” he said. “We don’t care if nobody else ever gets the concept, but it has to work for us, so that should we have to explain the staging to a real serious critic – someone who might come up and say, ‘OK, what is this show really about? What the hell is the lamp-post doing there? Then we’ve got the answer ready.”

The tour in support of Voodoo Lounge officially kicked off – lamp-post, inflatables and all – at RFK Stadium in Washington, D.C. After an opening set by Counting Crows , who were riding high on the success of their debut album, August and Everything After , the Stones took the stage.

They wasted no time in going right to the start of the story, opening with their first major British hit, a cover of Buddy Holly's "Not Fade Away." As the video from MTV News shows, however, the Rolling Stones quickly hit a snag as Keith Richards broke a string and needed a replacement guitar.

The set list shows exactly what you would expect from the modern-era Stones tour: a good dose of their classic hits, interspersed with key tracks from the new album, plus a few surprises. These came mostly in the middle, with one of their less-successful disco hits, "Hot Stuff," followed by a cover of the Temptations' "I Can't Get Next To You." And while those songs threatened to sink the show a bit, the rarely played "Memory Motel" and the surprise world premiere of "Monkey Man" – the latter of which featured an appearance by a stagehand in a surreal voodoo-themed costume – more than made up for it.

After two nights in the nation's capital, the Rolling Stones spent the remainder of the year and the beginning of the next winding their way across North America before taking off to every continent on Earth with the exception of Antarctica. Their stop at Joe Robbie Stadium in Miami was filmed live and saw release a year later on VHS as The Rolling Stones: Voodoo Lounge Live . It was reissued on DVD in 1998.

By then, the Rolling Stones' Voodoo Lounge tour had emerged as a success unlike anything that had come before it. Across two years and 124 shows, the band performed for 6.3 million people and raked in $320 million. Two decades later, it still ranked as the 10th highest-grossing concert tour of all time – and was the second most well-attended all time, bested only by U2 ’s 360 Tour.  

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

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“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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Rolling Stones in Cleveland review: 'Voodoo Lounge' tour at Municipal Stadium Aug. 28, 1994

• Updated: May. 17, 2013, 2:00 p.m. |
• Published: May. 17, 2013, 1:00 p.m.
• Michael Norman, cleveland.com

jagger-1994.jpg

Mick Jagger performs with the Rolling Stones at Cleveland Municipal Stadium on Aug. 28, 1994, as part of the band's "Voodoo Lounge" tour.

(Scott Shaw, The Plain Dealer)

In honor of 50 years of the Rolling Stones, we're looking back at the last half-decade of the band with a special online reprint of one historic review from Stones many visits to town in the last 50 years. We'll post one review each day leading up to Sunday, May 19, when we'll post several more AND unveil a big, special Rolling Stones section online and in Arts section of the printed Plain Dealer.

This review was originally published in The Plain Dealer August 29, 1994

By Michael Norman, Plain Dealer Music Critic

You can forget those wisecracks about the Rolling Stones and their "Grumpy Old Men Tour." The original bad boys of rock 'n' roll may look a little worn and weathered, but they rocked the Stadium last night like a band of 20-year-old punks blasting through their first great club gig.

After 30 years and 37 albums, the band that many consider rock's all-time greatest is showing no signs of slowing down. Their 2-hour show was a sweaty, exhilarating display of vintage raunch and roll - swaggering, provocative and supremely exhausting.

The Stones were in town to promote their new studio recording, "Voodoo Lounge," a stripped-down rocker that is one of the group's best albums in years. They mixed plenty of new cuts into the 22-song set last night, but also delivered a fan-friendly array of vintage Stones classics - "Tumbling Dice," "(I Can't Get No) Satisfaction," "Honky Tonk Women" and more.

This is a band with an uncanny ability to reinvent itself both in the studio and in concert. After spending much of the '80s sounding like a tired and jaded corporate rock band, they have recast themselves again as working-class, barroom rockers. The "Voodoo Lounge" album has a raw, unembellished sound akin to the down-and-dirty vibe of the Stones' 1972 masterpiece, "Exile on Main Street." And the band has adopted a similar stance on tour, focusing more on music and less on special effects and gimmicks.

Sept. 27, 1989: Municipal Stadium

Nov. 4, 1964: Public Hall

June 15, 1966: Cleveland Arena

July 1, 1978: World Series of Rock at Municipal Stadium

Nov. 16-17, 1981: Richfield Coliseum

April 1, 1999: Gund Arena

That may seem like an odd thing to say about a tour that features the world's biggest mobile Jumbotron, a 100-foot steel, cobra-shaped light tower and enough giant inflatable balloon characters to host its own Macy's Thanksgiving Day parade. But the props and the high-tech gadgetry never seemed to get in the way of the music. Pink Floyd could learn a thing or two from the Stones about putting on a great show without making the players seem like props in their own production.

The show opened with the roar of drums and a thundering synthesizer that literally shook the Stadium. Vocalist Mick Jagger, guitarist Keith Richards, guitarist Ronnie Wood, drummer Charlie Watts and their crew of five backing musicians were hidden in the shadows as green and blue lights bathed the futuristic chrome set.

A semi-circle of red flares lit up the Dawg Pound behind the stage, making the set look like a pagan temple as the Stones launched into a sizzling version of Buddy Holly's "Not Fade Away." It was an appropriate opening prayer for a group that's been written off for dead so many times in its career. The song was featured on the Stones' 1964 debut album, too.

From there, the band kept the heat up with a slew of uptempo blues-rockers, mixing new cuts such as "You Got Me Rocking Now" and "Sparks Will Fly" with old favorites such as "Tumbling Dice," "Shattered" and, best of all, "(I Can't Get No) Satisfaction."

Jagger, dressed in a green velvet shirt and black vest and tights, sang "Tumbling Dice" as he did his trademark rooster strut underneath giant speaker towers that resembled solar-paneled Skylabs. That was followed by a killer take on the raunch "Rocks Off" from "Exile on Main Street."

Jagger still gets around pretty good for a guy who just turned 51 last month. And Richards, who has more crow's feet than Mother Teresa, is no laid-back retiree on the guitar, either. Both seemed to come particularly alive during "Satisfaction," a song the band hasn't played live in years. Jagger stripped down to a T-shirt and twirled and danced around the stage as Richards launched into the song's memorable guitar riff. It was if both were transported back in time to the '60s - young punks once again looking for a little satisfaction.

They spiced the tune with a bluesy finale that featured Jagger doing a bit of Muddy Waters-style scatting.

The early set take on the new "Sparks Will Fly" was punctuated by a dazzling light show that lit the stage like a Las Vegas casino. Throughout the night, the Jumbotron displayed eye-popping computer graphics, using the band's famous lips-and-tongue logo as a centerpiece. "Honky Tonk Women" got a boost from a sexy video collage of femme fatale icons from Marilyn Monroe to Betty Boop.

Musical highlights included an elegant take on "Memory Motel," featuring a rare appearance by Jagger on keyboards. Richards and Wood cooked up some cool interplay on "Brown Sugar" and "Live With Me." Drummer Watts, looking as uninterested and understated as ever, was nevertheless rock steady throughout.

The band rolled into the meat of the show by slowing things down a bit. A sultry take on "Beast of Burden" was followed by several ballads, including "Memory Motel." Then it was time to rock again, with the band stomping through old and new tunes such as "I Go Wild," "Start Me Up" and "It's Only Rock 'N Roll (But I Like It)."

They capped the evening with more great vintage cuts - "Start Me Up," "Jumpin' Jack Flash," "Brown Sugar" and more. The show ended with a dazzling Fourth of July-size fireworks display.

Guitar rocker Lenny Kravitz gave the Stadium crowd a lesson in retro cool in a 45-minute opening set that included cuts from each of his three backward-looking albums - 1989's "Let Love Rule," 1991's "Mama Said" and last year's alternative-rock hit, "Are You Gonna Go My Way."

Kravitz borrows from everyone from Jimi Hendrix and the Beatles to Bob Marley and Sly Stone to cook up his neo-hippie, rock-and-soul groove. A talented multi-instrumentalist whose singing alternates between a soulful, Prince-like falsetto to a rock 'n' roll growl, Kravitz is capable of twisting his influences in interesting ways. But he tends to emphasize style over music in his concerts, playing the part of the post-modern flower child to the hilt and padding his sets with flashy guitar solos and overlong jams.

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• You Can't Always Get What You Want Play Video
• Song played from tape 2120 South Michigan Avenue Play Video
• B-Stage / Acoustic:
• Sweet Virginia Play Video
• Dead Flowers Play Video
• Sympathy for the Devil Play Video
• Honky Tonk Women ( followed by band introductions ) Play Video
• You Got the Silver ( Keith Richards on lead vocals ) Play Video
• Before They Make Me Run ( Keith Richards on lead vocals ) Play Video
• Miss You Play Video
• Paint It Black Play Video
• Midnight Rambler ( with "Hellhound on My Trail" (Robert Johnson) snippet ) Play Video
• Start Me Up Play Video
• Jumpin' Jack Flash Play Video
• Brown Sugar Play Video
• Gimme Shelter Play Video
• (I Can't Get No) Satisfaction Play Video

Edits and Comments

22 activities (last edit by espot , 31 Jan 2021, 05:59 Etc/UTC )

Songs on Albums

• Gimme Shelter
• Midnight Rambler
• You Can't Always Get What You Want
• You Got the Silver
• Street Fighting Man
• Sympathy for the Devil
• Sweet Virginia
• Tumbling Dice
• Before They Make Me Run
• Brown Sugar
• Dead Flowers
• Honky Tonk Women
• Jumpin' Jack Flash
• Paint It Black
• (I Can't Get No) Satisfaction
• Start Me Up
• She's a Rainbow
• You Got Me Rocking

Complete Album stats

More from The Rolling Stones

• More Setlists
• Artist Statistics
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• Kaleo Add time Add time
• The Rolling Stones This Setlist Start time: 8:50 PM 8:50 PM

The Rolling Stones Gig Timeline

• Aug 14 2019 Centurylink Field Seattle, WA, USA Start time: 8:55 PM 8:55 PM
• Aug 18 2019 Levi's Stadium Santa Clara, CA, USA Start time: 8:55 PM 8:55 PM
• Aug 22 2019 Rose Bowl This Setlist Pasadena, CA, USA Start time: 8:50 PM 8:50 PM
• Aug 26 2019 State Farm Stadium Glendale, AZ, USA Start time: 9:30 PM 9:30 PM
• Aug 30 2019 Hard Rock Stadium Miami Gardens, FL, USA Add time Add time

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The Rolling Stones Profile

The Rolling Stones are an English rock band formed in London in 1962. Their musical focus started in covering blues songs before shifting shifted to writing original material.

The Rolling Stones were at the forefront of the British Invasion of bands that became popular in the United States in 1964 and were identified with the youthful and rebellious counterculture of the 1960s. Rooted in blues and early rock and roll, the band started out playing covers but found more success with their own material; songs such as (I Can’t Get No) Satisfaction and Paint It Black became international hits. After a short period of experimentation with psychedelic rock in the mid-1960s, the group returned to its “bluesy” roots with Beggars Banquet (1968), which along with its follow-ups Let It Bleed (1969), Sticky Fingers (1971).

Exile on Main St. (1972), is generally considered to be the band’s best work and is seen as their “Golden Age”. It was during this period they were first introduced on stage as “The Greatest Rock and Roll Band in the World”.

The band continued to release commercially successful albums through the 1970s and early 1980s, including Some Girls (1978) and Tattoo You (1981), the two best-sellers in their discography. From 1983 to 1987 tensions between Jagger and Richards almost caused the band to split; however, they overcame their differences and rekindled their friendship after a temporary separation to work on solo projects.

The Stones experienced a comeback with Steel Wheels (1989), promoted by a large stadium and arena tour. Since the 1990s, the group has lost much of their mainstream relevancy and new material has been less frequent. Despite this, the Rolling Stones continue to be a huge attraction on the live circuit.

By 2007, the band had four of the top five highest-grossing concert tours of all time: Voodoo Lounge Tour (1994–1995), Bridges to Babylon Tour (1997–1998), Licks Tour (2002–2003) and A Bigger Bang Tour (2005–2007). Musicologist Robert Palmer attributes the endurance of the Rolling Stones to their being “rooted in traditional verities, in rhythm-and-blues and soul music”, while “more ephemeral pop fashions have come and gone”.

The Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989 and the UK Music Hall of Fame in 2004. Rolling Stone magazine ranked them fourth on the “100 Greatest Artists of All Time” list and their estimated record sales are above 250 million.

They have released 30 studio albums, 23 live albums and numerous compilations. In 2012, the band celebrated its 50th anniversary.

Since 2018, The Rolling Stones have been performing around the world on their No Filter tour. The 2020 dates were rescheduled due to the COVID-19 pandemic. In 2022, the group is heading to Europe on their SIXTY tour.

The Rolling Stones Upcoming Events: How to Buy The Rolling Stones Tickets

The Rolling Stones Sixty tour dates and locations are listed below! Use the links under the "Buy Tickets" heading to purchase your The Rolling Stones seats from Ticketmaster or StubHub.

Click here to book a hotel for your concert

All The Rolling Stones ticket links offered on our site, both official through Ticketmaster and resale through SeatGeek are 100% guaranteed and legitimate. Scroll further down this guide for The Rolling Stones presale codes and latest The Rolling Stones setlist 2024.

We have no VIP or special packages information for this tour yet! Get in touch with us on social media or comment below if you have more information.

How Do You Buy VIP Packages on Ticketmaster?

VIP Packages can be accessed by pressing the ticket icon on the same menu that shows ticket quantity, pricing, and wheelchair toggle. Simply select all of the VIP ticket options and deselect all regular options.

The Rolling Stones Setlist For Sixty Tour

The rolling stones presale codes: sixty presale tickets.

All of the latest The Rolling Stones presale codes for the Sixty tour are listed below. Check out the Ticketmaster or StubHub pages for this tour to find out the onsale date and time for tickets.

Rolling Stones Live Nation Presale Code

Live Nation changes their presale code monthly and all concert dates for that month have the same presale code. The LN Mobile code has been the same since the start of 2018. The Rolling Stones presale code for Live Nation is SHOWTIME  and the LN Mobile presale code is  COVERT . To use this presale code:

• Click here to buy tickets from Ticketmaster this tour.
• Scroll down to your tour date and click on MORE INFO
• When prompted, enter in the Live Nation Presale Code to access tickets.

Rolling Stones StubHub Tickets

As soon as the first presale begins, StubHub will have resale tickets available. These tickets come from concert promoters and bulk sellers and are 100% legitimate and guaranteed. If you don’t want to fight for a presale code, this is the easiest way to get concert tickets. To buy tour tickets from StubHub:

• Click to access the  StubHub  ticket page for this tour.
• Click on your tour date.
• Select your seats to the show!

Other Rolling Stones Presale Codes

The following Rolling Stones presale codes are unique for this tour:

• Fan Club Presale Code =
• Ticketmaster Presale Code =

The Rolling Stones Merchandise & Media

Save money by buying your t-shirts and artist merchandise before you go to the show! Check out the most popular The Rolling Stones merch on Amazon below.

Did we miss anything in our The Rolling Stones tour guide? If you know of any other The Rolling Stones presale codes or ticket details, comment below and let us know.

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The Rolling Stones Tickets: Frequently Asked Questions (FAQs)

How much are the rolling stones tickets.

The Rolling Stones tickets to the Sixty tour start at $31.50 and go up in price from there. VIP tickets can cost as much as $949.00 or more.

When do The Rolling Stones tickets go on sale?

The first The Rolling Stones tickets to the Sixty tour are on sale as of March 18, 2022.

How do you buy cheap The Rolling Stones tickets?

In order to get the cheapest The Rolling Stones tickets, compare prices on multiple platforms. Check out Ticketmaster and Stubhub links for The Rolling Stones and pay attention to the prices for each section. You will be able to save money on The Rolling Stones tickets by comparing prices before you buy.

Why are The Rolling Stones Sixty tickets so expensive?

The Rolling Stones ticket prices are caused by a number of factors, including the demand to see The Rolling Stones live, number of shows on tour, venue rental prices, and the amount of stage equipment, crew, and staff involved in making the Sixty tour happen.

Discuss the The Rolling Stones Sixty tour below!

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I’m so excited for the Rolling Stones presale code! I can’t wait to see their setlist and get tickets!

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** No presale code necessary on Stubhub

The Rolling Stones 2024 North America tour: Presales, tickets, dates, venues, & all you need to know

T he Rolling Stones 2024 North America tour is scheduled to be held from April 28, 2024, to July 27, 2024, in venues across the mainland United States and Canada. The tour, titled Stones Tour 2024 Hackney Diamonds!, is in support of the band's new album of the same name.

The band announced the new tour, which is being sponsored by AARP, an interest group dedicated to issues faced by senior citizens over the age of 50, via a post on their official Instagram page:

The presale for the tour will be available from November 29, 2023, at 12:00 p.m. PT onwards and can be accessed by registering at the official presale link available in the band's social media accounts or through UK UMG. Registration for the presale will be available until November 29, 2023, at 9:00 a.m. PT.

General tickets for the tour will be available on December 1, 2023, at 10:00 a.m. PT. Ticket prices have not been announced. Tickets can be purchased at the band's official website.

The Rolling Stones 2024 North America tour dates

The Rolling Stones released their latest studio album, Hackney Diamonds , via Polydor Records on October 20, 2023.

The gold-certified album has so far peaked as a chart-topper on the UK, Australian, French, German, Dutch, Norwegian, and Swedish album charts, respectively.

Now the band is set to embark on their first major tour to support their new album. The full list of dates and venues for The Rolling Stone 2024 North America tour is given below:

• April 28, 2024 - Houston, Texas at NRG Stadium
• May 2, 2024 - New Orleans, Louisiana at Jazz Fest
• May 7, 2024 - Glendale, Arizona at State Farm Stadium
• May 11, 2024 - Las Vegas, Nevada at Allegiant Stadium
• May 15, 2024 - Seattle, Washington State at Lumen Field
• May 23, 2024 - East Rutherford, New Jersey at MetLife Stadium
• May 30, 2024 - Foxboro, Massachusetts at Gillette Stadium
• June 3, 2024 - Orlando, Florida at Camping World Stadium
• June 7, 2024 - Atlanta, Georgia at Mercedes-Benz Stadium
• June 11, 2024 - Philadelphia, Pennsylvania at Lincoln Financial Field
• June 15, 2024 - Cleveland, Ohio at Cleveland Browns Stadium
• June 20, 2024 - Denver, Colorado at Empower Field at Mile High
• June 27, 2024 - Chicago, Illinois at Soldier Field
• July 5, 2024 - Vancouver, British Columbia at BC Place
• July 10, 2024 - Los Angeles, California at SoFi Stadium
• July 17, 2024 - Santa Clara, California at Levi's Stadium

A brief overview of The Rolling Stones' music career

zfied album peaked as a chart-topper on the Billboard 200 and French album charts, respectively.

The band's next major success was with their sixteenth studio album, Tattoo You , which was released on August 24, 1981. The multi-platinum-certified album peaked as a chart-topper on the Billboard 200 for Canadian, Australian, Dutch, and French studio albums, respectively.

The Rolling Stones released their seminal album, Voodoo Lounge , on July 11, 1994. The platinum-certified album peaked as a chart-topper on the UK, Australian, Canadian, German, and Dutch album charts, respectively.

The Rolling Stones had their last major album success with their twenty-third studio album, Blue & Lonesome , which was released on December 2, 2016. The multi-platinum-certified album peaked as a chart-topper on the UK, Australian, French, German, Dutch, Norwegian, and Swedish album charts, respectively.