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| VoodooChileInWOnderl |
mmmmhhhh |
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| luxury1 |
Well, I dont know about that. The heat and pushing and shoving reported at some of the club shows would have me in a claustrophic panic for sure. I enjoy the show most when the band seems to be in a great mood--lots of smiles and hugs among "our boys"--and when I can get up-front. That always makes me feel like I am in a club--being so close so you can see their facial expressions and "eye-rolling" at their missed cues. And I even enjoy all those mis-steps by the band--especially when the band cracks up. Makes 'em human. THat makes a "best show" for me. Of course some rarities played always helps too. |
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| Boomhauer |
Is there central air in those theatre/clubs or are they just so old they never installed it? |
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| F505 |
You say the obvious voodoo. Of all the Stones shows I've seen the club gig (Paradiso 1995) was the best ever. They were more concentrated than normal and they didn't care disappointing people by playing unusual songs (lots of people would raise their eyebrows skyhigh when they play let's say Shine a light, The spider and the fly or Meet me in the bottom). They play for the real fans in the small venues! (although it's a pity there are always people who don't belong there...)
When the Stones come to Holland I'd rather visit one club gig in stead of maybe 5 or 6 stadium concerts. |
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| jb |
I realized more than ever this tour, that the rare stuff just doesn't work in arenas/Stadiums.....The casual fan just sits and has no idea of the song and the concert loses it's momentum....it's like those ass-holes on Fox Sports who said the Staples show sucked as they did not know 1/2 of the songs...thus, the theatres are the only places they can really pull out the rare gems....When they played "HSMLI" in Miami, virtually the whole audience sat down...sad, but true.
[Edited by jb] |
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| keefnmick |
The Roseland had the AC cranking and was very comfortable. I personally thought the crowd was well behaved. . .I saw only one fight and that was towards the end of the show. |
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| cocksucker |
Lots of people who go to a stones concert in a stadium are day-trippers. They are not interested in the music but just wanna have a enjoyable evening. You can meet them everywhere: Michael Jackson, Madonna, Tina Turner, Bruce Springsteen, U2, etc etc. |
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| sasca |
Living in Cape Town, I haven't had much opportunity to compare but it does seem that the club performances are preferable in one respect - that they concentrate on playing rather than on beating enormous penises. I love theatrical shows but the theatre has to be well integrated (like Bowie in '75) rather than existing because the performers want something fancy (Bowie in '85). The Stones were superb at theatricality in the sixties and early seventies but since...no. But, as I said, I haven't had the opportunity to compare the two. |
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| sonicrock |
yes the smaller the venue the better the show yes yes and yes |
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| Jaxx |
here's an odd opinion i found in the press:
Bigger and even better
Leave it to the larger-than-life Stones to sound stronger at Edison Field than in a venue half that size.
By BEN WENER
The Orange County Register
 Mick Jagger and the Rolling Stones rock Edison Field on Saturday in a show that defied rock-concert logic.
Photo: Kelly A. Swift / For the Register
Concert logic works like this: The smaller the venue, the better the show. Has to be, right? It's why every kinda Stones nut is all worked up about tonight's gig at the Wiltern Theatre, for which some surely would sell their children into slavery to attend.
Forget the inherent rarity factor, that this could be the night they play (insert favorite relic you've been waiting 25 years to witness live here). Concert logic works more fundamentally than that. It dictates that even if the Stones played the exact same set they offered Saturday night before 45,000-plus at Edison International Field of Anaheim, it automatically would be a better experience at the Wiltern.
Reason: Every fan would be within shouting distance of the band, thus the symbiosis between artists and audience would have to be more electrifying. How can freezing in the uppermost of the upper decks behind home plate compare with rubbing shoulders with fewer than 2,500, all of whom can probably smell whatever funk is emanating from Keith Richards' indescribable wardrobe?
Right?
Rubbish.
Ponder this one: What does it mean that the Stones were better at the Big Ed than they were at Staples on Halloween? I don't mean slightly. I mean remarkably better � and, mind you, that first show outdid any extravaganza they had brought to town in the past decade.
What it means, I think, is that like everything else about this ambitious Licks Tour, the Stones are once again bucking the odds, defying logic for the first time since, what, "Some Girls" proved punk hadn't killed them?
THE SETLIST
1. Brown Sugar
2. It's Only Rock 'n' Roll (But I Like It)
3. Start Me Up
4. Don't Stop
5. All Down the Line
6. Sweet Virginia
7. Angie
8. You Can't Always Get What You Want
9. Midnight Rambler
10. Tumbling Dice
11. The Worst
12. Happy
13. Sympathy for the Devil
14. When the Whip Comes Down
15. Little Red Rooster
16. Like a Rolling Stone
17. Gimme Shelter
18. Honky Tonk Women
19. Street Fighting Man
20. Jumping Jack Flash
21. You Got Me Rocking
22. (I Can't Get No) Satisfaction
There's an inspired vitality to these geezers now, a sincere exuberance, a determination, perhaps fueled by the sort of deep-seated devil- may-care attitude that only comes with age � something that barely could be detected amid the gloss of the Bridges to Babylon and Voodoo Lounge outings. Maybe it's because this time they aren't peddling anything but their storied legacy. And maybe that kicked them into overdrive: They realize we will no longer tolerate meager rehashes of classics as certainly as they know we'll politely stand for another airing of that limp new single "Don't Stop."
They have no choice but to damn expectations, prove that the Stones at 60 are as musically important as, oh, Muddy Waters or John Lee Hooker at 70. More so, actually: Those giants were constricted by genre, first of all, but more obviously, they wouldn't have had the first clue what to do with a stadium crowd.
What the Stones did for this sea of screamers, many twinkling in the dark via $10 flashing tongue pins, went well beyond requirements. They brought more spectacle than at Staples, sure � bigger video screens and vibrant backdrops on a stage wide enough to consume the outfield � but never so much that it overwhelmed the basics on stage. More Mick get-ups, that's a given, but none were outlandish, and everything he put on wound up ripped off in a moment of passion.
More hits, too, but also as much variety: Who expected three more "Exile" cuts, including a horn-blasted "All Down the Line" and a regal, raise-your-poison rendition of "Sweet Virginia"? At the stadium show?
Then again, more than half of the set list changed. Among the songs new to this SoCal stretch: a hard-charging "When the Whip Comes Down," a steamy and seamy "Little Red Rooster" and their rich redo of Dylan's "Like a Rolling Stone," all small-stage selections; "Angie," utterly lovely; "Sympathy for the Devil," replete with sky-searing fireballs and Jagger at his most theatrical; two different Keith choices, the self-deprecation of "The Worst" (a little too quiet to connect) and a grinning "Happy."
Far and away the highlight, though, was a majestic take on "You Can't Always Get What You Want," its glory glowing, leading into an unerring, instinctively muscular tear through "Midnight Rambler" that zapped Mick like he was a shocked monkey. I'd stack it against any version you've got in your bootleg collection.
Very little of the 22-song show missed, one great performance tumbling into another. In fact, the only predictable aspects were the opening ("Brown Sugar" into "It's Only Rock 'n' Roll" into "Start Me Up") and the finish ("Honky Tonk Women," abetted by Sheryl Crow, into "Street Fighting Man" into "Jumping Jack Flash" into "Satisfaction," with an Angels-praising "You Got Me Rocking" tossed in for good measure). Yet all of those tunes were delivered with more zest and punch � and, on Mick's part, sharper singing � than at Staples.
That, naturally, conforms to Stones logic, which is like no other in rock: They are larger than life, so of course they would burn hottest when at their most enormous. The setting makes them stronger, a wizened, done-it-all bunch empowered by the youthfulness of a band half its age. Ron Wood said before this tour began that they're playing better than they have in years. For once, that wasn't just hyperbole to help sell tickets.
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| nankerphelge |
Great review -- they got it! |
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