rolling stones farewell tour 1989

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When the Rolling Stones Returned for the ‘Steel Wheels’ Tour

The Rolling Stones had spent much of the '80s on the sidelines. Despite increasing friction between Mick Jagger and Keith Richards, the band kept putting out albums – but to relatively lukewarm reactions. Touring, however, was another story.

By 1989, the Rolling Stones hadn't played a live show in seven years.

Their longest concert drought (before or since) officially ended on Aug. 31, when the Stones launched the Steel Wheels North American Tour at Veterans Stadium in Philadelphia. (Technically, the drought ended a couple of weeks earlier at a  warm-up show  in New Haven, Conn.)

This tour was named for their new album Steel Wheels , which was released to enthusiastic reviews two days earlier. Jagger and Richards had patched up things earlier in the year, then started to write and record a record that felt like "classic Stones." Meanwhile, Jagger (in his mid-forties at the time) was consistently pressed on whether this would his band's final tour – a line of questioning that seems increasingly ridiculous decades later.

Besides, Jagger, Richards, Ron Wood , Bill Wyman and Charlie Watts had a ready answer in the form of a marathon, 28-song opening date.

After kicking off the show with the one-two combo of "Start Me Up" and "Bitch," Jagger showed he could hold up better than the power equipment – which blew a generator during "Shattered," the third song of the evening. Within minutes, the power returned and the Rolling Stones regrouped, carrying on with the Steel Wheels  cut "Sad, Sad, Sad." But they'd superstitiously drop "Shattered" from subsequent shows.

The set list represented just about every Stones era, from early blues covers (Willie Dixon's "Little Red Rooster" from back in 1964) to psychedelic experimentation ("2000 Light Years From Home") to country rock ("Dead Flowers") and even some '80s material ("Undercover of the Night"). Richards gave Jagger a break down the stretch by fronting the band for a couple of his own songs ("Happy" and "Before They Make Me Run") before Jagger returned to take it home with wall-to-wall hits ("Brown Sugar," "Satisfaction," etc.).

Watch the Rolling Stones Perform 'Mixed Emotions' Live

This being the Stones' first big tour since 1982, spectacle wasn't sacrificed. The band took the stage amid crackling fireworks and roaring flame towers – both of which would become de rigueur on future tours. They also introduced what might be the most garish stage decorations in rock history: a pair of giant inflatable barflies that flanked the stage during "Honky Tonk Women."

As the mammoth tour continued, the Rolling Stones seemed to only gain momentum. "We're keeping our fingers crossed, and I'll hit the wood here, but, yeah, they're getting better every day," he told Rolling Stone . "The band's really winding up now."

He also called 1989 a "dream year" for the Stones, and predicted that the North American tour would become a worldwide one in 1990. In fact, it did, although it was rechristened the Urban Jungle Tour before hitting Europe.

As dates flew by, the Rolling Stones recorded a live album ( Flashpoint ), broadcast a live pay-per-view special, one that was later edited into a prime-time concert special for Fox, and filmed an IMAX movie ( Rolling Stones: Live at the Max ) that was the first feature film completed with only IMAX cameras.

In some ways, the Steel Wheels dates marked the start of a new way of touring. It was the Stones' first tour with backing vocalists Bernard Fowler and Lisa Fischer and the first American trek with keyboardist and musical director Chuck Leavell. And, of course, it makes the first in a line of record-breaking, arena-sized blowouts that would continue into the new millennium.

None of those subsequent tours, however, would include the band's founding bassist Bill Wyman as a full-time member. Wyman decided he'd had enough and quit the band after the 1989-90 concerts. In this way, the Steel Wheels tour was both the beginning and the end of a Stones era.

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Steel Wheels/Urban Jungle Tour

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The Rolling Stones' Steel Wheels Tour was a concert tour which was launched in North America in August 1989 to promote the band's album "Steel Wheels"; it continued to Japan in February 1990, with ten shows at the Tokyo Dome.

The European leg of the tour (which featured a different stage and logo) was called the "Urban Jungle Tour"; it ran from May to August 1990.

These would be the last live concerts for the band with original member Bill Wyman on bass guitar. This tour would also be the longest the band had ever done up to that point, playing over twice as many shows as their standard tour length from the 1960s and 1970s.

The tour was an enormous financial success, cementing The Rolling Stones' return to full commercial power after a seven-year hiatus in touring marked by well-publicized acrimony among band members.

• 1 Tour Background
• 2 Set Lists
• 3 Tour Dates
• 4 Personnel

Tour Background [ ]

A Steel Wheels pre-tour 'surprise show' took place on August 12, 1989 at Toad's Place in New Haven, Connecticut with a local act, Sons of Bob, opening the show for an audience of only 700 people who had purchased tickets for $3.01 apiece.

The official Steel Wheels Tour kicked off later that month at the now-demolished Veterans Stadium in Philadelphia, Pennsylvania. During the opening show in Philadelphia, the power went out during "Shattered" and caused a slight delay in the show. Jagger came out and spoke to the crowd during the delay.

The Stones returned to Vancouver, British Columbia, Canada and played two sold out concerts at B.C. Place Stadium.

Fan reaction for tickets was unprecedented. One local radio station 99.3 The Fox even had a man (Andrew Korn) sit in front of the station in a bath tub filled with brown sugar and water for free tickets to the concert. Total attendance was 6.2 million.[citation needed]

The stage was designed by Mark Fisher with participation of Charlie Watts and Mick Jagger. Lighting design was by Patrick Woodroffe.

Canadian promoter Michael Cohl made his name buying the concert, sponsorship, merchandising, radio, TV and film rights to the Steel Wheels Tour. It became the most financially successful rock tour in history up to that time.

Rival promoter Bill Graham, who also bid on the tour, later wrote that " Losing the Stones was like watching my favourite lover become a whore ."

Performances from the tour were documented on the album "Flashpoint" and the video, "Live at the Max" both released in 1991.

The opening acts for the tour included Living Colour, Dan Reed Network, Guns N' Roses and Gun.

In August of 1990, an extra concert in Prague, Czechoslovakia, was added. Czechoslovakia had overthrown the Communist regime nine months earlier and The Rolling Stones' concert was perceived as a symbolic end of the revolution.

Czechoslovakia's new president Václav Havel, who was lifelong fan of the band, helped to arrange the event, and met the band at the Prague Castle before the show. The expenses were partially covered by Havel and by the Czechoslovak Ministry of industry.

The attendance was over 100,000. The band chose to donate all the revenues from this gig (over 4 million Czechoslovak korunas) to the Committee of Good Will, a charity run by Havel's wife, Olga Havlová.

Set Lists [ ]

For the opening night of the "Steel Wheels Tour," the setlist was as follows (all songs composed by Jagger/Richards unless otherwise noted):

• "Start Me Up"
• "Shattered"
• "Sad Sad Sad"
• "Undercover of the Night"
• "Harlem Shuffle" (Relf/Nelson)
• "Tumbling Dice"
• "Ruby Tuesday"
• "Play With Fire" (Nanker Phelge)
• "Dead Flowers"
• "One Hit (to the Body)" (Jagger/Richards/Wood)
• "Mixed Emotions"
• "Honky Tonk Women"
• "Rock and a Hard Place"
• "Midnight Rambler"
• "You Can't Always Get What You Want"
• "Little Red Rooster" (Dixon)
• "Before They Make Me Run"
• "Paint It Black"
• "2000 Light Years from Home"
• "Sympathy for the Devil"
• "Gimme Shelter"
• "It's Only Rock 'n Roll (But I Like It)"
• "Brown Sugar"
• "(I Can't Get No) Satisfaction"
• "Jumpin' Jack Flash" (encore)

For the final night of the "Urban Jungle Tour" (the last Rolling Stones concert with Bill Wyman) the band played:

• "Harlem Shuffle"
• "Street Fighting Man"
• "Jumpin' Jack Flash"
• "(I Can't Get No) Satisfaction" (encore)

Other songs played on the tour:

• "Almost Hear You Sigh" (Jagger/Richards/Jordan)
• "Blinded By Love"
• "Boogie Chillen" (Hooker)
• "Can't Be Seen"
• "Factory Girl"
• "I Just Want to Make Love to You" (Dixon)
• "Salt of the Earth"
• "Terrifying"
• "Indian Girl"

Tour Dates [ ]

Personnel [ ].

The Rolling Stones

• Mick Jagger – lead vocals, guitar, harmonica, percussion
• Keith Richards – guitar, vocals
• Ronnie Wood – guitar
• Bill Wyman – bass guitar
• Charlie Watts – drums

Additional musicians

• Matt Clifford – keyboards, backing vocals, percussion, French horn
• Bobby Keys – saxophone
• Chuck Leavell – keyboards, backing vocals and musical director
• Bernard Fowler – backing vocals, percussion
• Lisa Fischer – backing vocals on the North American & Japanese tours only
• Cindy Mizelle – backing vocals on the North American & Japanese tours only
• Lorelei McBroom – backing vocals on the European tour only
• Sophia Jones – backing vocals on the European tour only

The Uptown Horns

• Arno Hecht – saxophone
• Bob Funk – trombone
• Crispin Cioe – saxophone
• Paul Litteral – trumpet

1989: Still the Greatest

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The winner and still champ: the Rolling Stones.

On a night when rock ‘n’ roll’s most celebrated survivors played with such passion and fire at the Los Angeles Memorial Coliseum that they looked as though they could go on convincingly for another 10 years, Guns N’ Roses, the young Los Angeles rock upstarts, made you wonder Wednesday whether they were going to even survive the concert.

In a series of hot-tempered remarks during his group’s 80-minute set, Guns lead singer Axl Rose not only fueled the controversy over the racial and sexual epithets in the band’s song “One in a Million,” but he twice suggested that the four-day Coliseum stand, which concludes with shows Saturday and Sunday, may be his last performances with the band.

The concert loomed as a classic rock ‘n’ roll showdown: a generational battle of the bands.

But the Stones simply had too many weapons: too much historic aura, too many great songs and too splendid a lineup of musicians.

Some of the Stones’ songs (especially “Play With Fire” and “2,000 Light Years”) are too dated, and others are decidedly marginal (“Harlem Shuffle,” “Undercover of the Night”), but the best of the Stones’ rockers (“Start Me Up,” “Brown Sugar”) and the most seductive of the band’s mood pieces (“Tumbling Dice,” “Honky Tonk Women”) are rock hallmarks.

The Stones, with good reason, have been called the world’s greatest rock ‘n’ roll band for so long--at least since the early ‘70s--that for years no one has even considered an alternative. It wasn’t until the band’s recent seven-year layoff from touring that rock observers started wondering if the band--nearing its third decade--should pass the torch.

Guns N’ Roses isn’t the only contender, but it is the only one appearing with the Stones during the band’s 3 1/2-month tour. The group--whose bad-boy stance is reminiscent of the Stones’ role in the ‘60s and early ‘70s--is the most celebrated hard-rock outfit of the ‘80s. Its first two albums have sold an estimated 12 million copies.

The Coliseum bill--it’s the only place Guns N’ Roses is appearing on the Stones tour--is so hot that nearly 280,000 people will see the four shows. Ticket brokers around town reported brisk business, commanding as much as $700 for choice seats. The souvenir stands at the Coliseum also reflected an awareness of the older Stones fans’ affluence. Besides the standard $20 T-shirts, booths offered such upscale concert items as a $450 leather jacket and a $190 flight jacket.

Coming on stage shortly before 8 p.m., Rose didn’t even wait for the rest of the quintet to get in place before grabbing the microphone and defending his right to use in “One in a Million” words deeply offensive to blacks and homosexuals.

“Before we start playing, (I want to say) I’m sick of all this publicity about our song,” he said in an expletive-filled tirade to an estimated 72,000 fans. He then denied he was a racist, but suggested that selective use of the words--against particular members of those groups who offend you--is acceptable. “If you still want to call me a racist, you can . . . shove it. . . .”

Rose’s defense is likely to anger further those who have been offended by the song. It’s one thing to argue for the limited use of those words as social realism in art, but it shows a lack of sensitivity to use them as a part of your vocabulary.

It was soon apparent that his ire was not just directed at those who have challenged him on the language of “One in a Million.”

Before starting the second song, he again paused. “I don’t like to do this on stage,” he said, “But unless certain people in this band start getting their act together, these are going to be the last Guns N’ Roses shows,” he said.

While fans looked at each other in amazement, Rose--known to be a volatile, highly spontaneous performer--continued: “I’m sick and tired of too many people in this organization dancing with Mr. Brownstone,” a reference to a Guns N’ Roses song dealing with drug use.

Later, returning for the encore of “Paradise City,” he again seemed agitated. “Before we begin, I’d like to announce this is my last gig with Guns N’ Roses.” He then added, with an air of disillusionment, that there’s no need to look for a Paradise City because none exists.

(The band’s management had no comment Thursday on the group’s status for the Coliseum shows on Thursday, Saturday and Sunday).

It was both a troubling and fascinating display--one that will probably go down as a storied moment in L.A. rock. Rose has the potential to be one of the most compelling figures in American rock since the late Jim Morrison.

Like Morrison, Rose exhibits a fierce independence that sometimes leads to errors in judgment as he races in a somewhat romantic pursuit of artistic truth. He also shares Morrison’s duality: exploring the dark side of man’s nature (the fast-lane corruption of “Welcome to the Jungle”) while also possessing an almost old-fashioned yearning for innocence (“Sweet Child o’ Mine”).

In the midst of the anger Wednesday, for instance, Rose led the audience on a disarming sing-along of Bob Dylan’s wistful “Knockin’ on Heaven’s Door.”

The most striking of the similarities with Morrison, however, is Rose’s tendency on stage to act on raw impulse and emotion. He is someone that you can’t take your eyes off. There is a sense of genuine involvement--rather than rote--in both his soft, swaying movements as he sings, and in the way he searches vocally to find some new truth every time he sings a song.

Rose seems to get so caught up emotionally in the song that he disregards his own safety. At one point early in the set, he fell approximately six feet after he accidentally stepped off a dark edge of the main floor while singing “Patience,” one of Guns’ hit singles. He landed on his side on a platform and appeared stunned, losing his balance as he tried to regain his footing. Finally, a security guard helped him up.

Undaunted, Rose stepped down to the Coliseum floor and shook hands with fans as he moved along a wooden partition that separates the audience from the technicians in front of the stage.

Whether because of or despite its raw edges, Guns N’ Roses has become the most absorbing hard-rock band to emerge in the ‘80s, and it may again challenge for the title--if it survives. But you can’t beat a great team by showing the divisions that Guns N’ Roses did.

The group did supply one element Wednesday that the Stones no longer have: A sense of spontaneity. It wasn’t however, enough.

There was a time when the Stones were branded as irresponsible in their use of language and as rude in their behavior as Guns N’ Roses is now. What those criticisms missed was the excellence of the Stones’ music, and it’s that music that now enables the group to continue to be such a wonderfully stirring attraction.

After the emotional high-wire act of Rose, the Stones seemed almost quaintly tame. The show moved as smoothly as a Broadway revue--but what a revue.

The stage set is a futuristic construction site that, through use of lighting, shifts during the evening to serve as either an unsettling display of urban decay or a more optimistic statement of social and urban renewal.

The lighting, too, is dazzling as it changes from red-hell alarm (during “Sympathy for the Devil”) to a comforting blue (“You Can’t Always Get What You Want”). There’s also a sense of humor as 50-foot high balloons in the shape of bar girls brighten “Honky Tonk Women.”

Wearing the same sporty green leather tails he wore at the start of the tour on Aug. 31 in Philadelphia, 46-year-old Mick Jagger set a fast opening pace as he skipped around the stage with the energy of a man half his age.

Guitarists Keith Richards and Ron Wood, drummer Charlie Watts and bassist Bill Wyman have been joined by keyboardists Chuck Leavell and Matt Clifford, saxophonist Bobby Keys, three backup singers and a three-piece horn section. These musicians have all been woven into the Stones’ traditional blues-based rock sound without making it appear either unnecessarily fancy or uptown.

Richards has always said that he doesn’t worry about growing old because he’s seen his treasured bluesmen play into their 60s and 70s. That gives him and the Stones a long time to go. The question on recent tours was whether they would still be accepted by young audiences.

The response of the young fans on this tour--and about two-thirds of the crowd on most tour stops is under 21--is that the Stones hold up well. Even those fans predicting a Guns N’ Roses victory in Wednesday’s showdown expressed admiration for the Stones. Their fondness for Guns was based on matters of generational pride. “This is my band,” said Robert Sanchez, 20, of Hollywood. “The Stones are my dad’s band.”

After the concert, Martin Miller, 36, of La Habra had a comment that appeared more typical of the older Stones fans on hand. “Guns N’ Roses,” he said sarcastically, “may be a great band--let’s see in 10 years.”

Living Colour, the opening act, was in the difficult position of beginning its set at 6 p.m., when only about 5,000 people were in their seats and it was still daylight. But the New York group, led by guitarist-songwriter Vernon Reid, put on a crowd-pleasing mix of almost metal-ish force and songs with substance and social relevance. The only weak link is the stiffness of lead singer Corey Glover.

The lesson of Wednesday’s show is that it’s doubtful that any band can step on stage with enough good-to-great familiar songs and with enough historical mystique to take the rock crown away from the Stones. The Stones can only be upstaged when they no longer play their music with the energy and commitment it deserves. Don’t expect it to happen soon.

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Steel Wheels/Urban Jungle Tour

1989–90 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 Steel Wheels/Urban Jungle Tour?

Summarize this article for a 10 year old

The Rolling Stones ' Steel Wheels Tour was a concert tour which was launched in North America in August 1989 to promote the band's album Steel Wheels ; it continued to Japan in February 1990, with ten shows at the Tokyo Dome . The European leg of the tour, which featured a different stage and logo, was called the Urban Jungle Tour ; it ran from May to August 1990. These would be the last live concerts for the band with original member Bill Wyman on bass guitar. This tour would also be the longest the band had ever done up to that point, playing over twice as many shows as their standard tour length from the 1960s and 1970s.

The tour was an enormous financial success, cementing the Rolling Stones' return to full commercial power after a seven-year hiatus in touring marked by well publicized acrimony among band members.

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• December 14, 1989 Setlist

The Rolling Stones Setlist at Stade Olympique, Montreal, QC, Canada

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• Start Me Up Play Video
• Bitch Play Video
• Sad Sad Sad Play Video
• Undercover of the Night Play Video
• Harlem Shuffle ( Bob & Earl  cover) Play Video
• Tumbling Dice Play Video
• Miss You Play Video
• Ruby Tuesday Play Video
• Play With Fire Play Video
• Terrifying Play Video
• Rock and a Hard Place Play Video
• Mixed Emotions Play Video
• Honky Tonk Women Play Video
• Midnight Rambler Play Video
• You Can't Always Get What You Want Play Video
• The Little Red Rooster ( Willie Dixon  cover) Play Video
• Can't Be Seen ( Keith Richards on lead vocals ) Play Video
• Happy ( Keith Richards on lead vocals ) Play Video
• Paint It Black Play Video
• 2000 Light Years From Home Play Video
• Sympathy for the Devil Play Video
• Gimme Shelter Play Video
• It's Only Rock 'n' Roll (but I Like It) (with Living Colour ) Play Video
• Brown Sugar Play Video
• (I Can't Get No) Satisfaction Play Video
• Jumpin' Jack Flash Play Video

Edits and Comments

24 activities (last edit by event_monkey , 11 Feb 2023, 17:46 Etc/UTC )

Songs on Albums

• Can't Be Seen
• Mixed Emotions
• Rock and a Hard Place
• Sad Sad Sad
• Gimme Shelter
• Midnight Rambler
• You Can't Always Get What You Want
• Tumbling Dice
• (I Can't Get No) Satisfaction
• Play With Fire
• Brown Sugar
• Honky Tonk Women
• Jumpin' Jack Flash
• Harlem Shuffle by Bob & Earl
• The Little Red Rooster by Willie Dixon
• Paint It Black
• Sympathy for the Devil
• Ruby Tuesday
• It's Only Rock 'n' Roll (but I Like It)
• Start Me Up
• 2000 Light Years From Home
• Undercover of the Night

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Stade olympique.

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The Rolling Stones Gig Timeline

• Dec 10 1989 Pontiac Silverdome Pontiac, MI, USA Add time Add time
• Dec 13 1989 Stade Olympique Montreal, QC, Canada Add time Add time
• Dec 14 1989 Stade Olympique This Setlist Montreal, QC, Canada Add time Add time
• Dec 17 1989 Convention Hall Atlantic City, NJ, USA Add time Add time
• Dec 19 1989 Convention Hall Atlantic City, NJ, USA Add time Add time

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Time is still on Mick Jagger's side as the Rolling Stones thrash State Farm Stadium

Could there be a human being better suited to performing “Time Is on My Side” in 2024 than Mick Jagger at 80?

To be clear, the Rolling Stones did not include that gospel-flavored classic in the set they played at State Farm Stadium in Glendale on Tuesday, May 7.

But watching Jagger do what Jagger does for nearly two hours in metro Phoenix so soon after seeing those videos of him leading the Stones through “Time Is on My Side” just five days earlier as a duet with the amazing Irma Thomas, who also sounded great at age 83, at the New Orleans Jazz & Heritage Festival?

You couldn’t help but marvel at the age-defying essence of what Jagger brings to a performance .

'So raw': The Rolling Stones' first Phoenix concert in 1965 was a fever dream

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Mick Jagger was in total command at the Stones' Phoenix concert

It went beyond the sheer perpetual motion of it all. Yes, he rarely stopped moving. And there's a world of singers less than half his age who couldn't hope to match the energy he brought to State Farm Stadium.

But there’s an undeniable agility to what he does, an athleticism and a grace that invites you to imagine Mikhail Baryshnikov raised by a family of overcaffeinated roosters.

That side-to-side motion he does with his feet? The graceful swiveling of those hips that have been swiveling since the very early ‘60s? The youthful exuberance with which he glides and struts and sometimes even runs across a massive stage?

There was even a magical moment in the encore as the Stones were bringing “(I Can’t Get No) Satisfaction” to a fevered pitch that he dropped to his knees as though he might channeling a young James Brown — at 80.

He got so into it on "Satisfaction," Keith Richards couldn't stop grinning.

The man was in total command of the stage from the time his bandmates found their footing after staggering into a looser-limbed-than-usual “Start Me Up” to the glorious pileup of iconic hits that brought their set to a breathless climax through the encore-closing “(I Can’t Get No) Satisfaction.”

Rolling Stones setlist: Every song they sang in Phoenix on the 2024 Hackney Diamonds Tour

The Rolling Stones thrive on rawness and reckless abandon

By the second song, “It’s Only Rock ‘N Roll (But I Like It),” the Rolling Stones were firing on all cylinders.

It wasn’t always pretty. And it damn sure wasn’t perfect. But the Rolling Stones have done as much as anyone to help define a rock ‘n’ roll aesthetic that thrives on the rawness and reckless abandon at the heart of what they do.

This is especially true of the guitars.

Founding member Richards and kindred spirit Ronnie Wood, who started playing with the Stones while still a member of the Faces in 1975, are essentially flip sides of the same Chuck Berry 45. They spent the night dialing up some of the raunchiest guitar sounds you could ever hope to hear, the volume just too loud enough.

Their guitar work was scrappy and soulful and ragged and real and all those other underrated qualities that make for an exciting night of rock 'n' roll, the kind of night the Rolling Stones have always been so brilliant at delivering.

And it was to great to see them having such a good time, Richards grinning ear to ear in his red knit cap and Wood engaging in the sort of loopy onstage antics that made him such a perfect onstage foil for Richards when he joined the fold back in the '70s.

Here's the Rolling Stones 2024 lineup

This was Rolling Stones’ first time in metro Phoenix since the loss of founding member Charlie Watts, who died in 2021 after encouraging his bandmates to bring in Steve Jordan on drums to finish the No Filter Tour without him when he got too sick to carry on.

Jordan has been touring with them ever since and it’s easy to see why Watts thought he was the right man for the job.

He and Darryl Jones, their touring bassist since Bill Wyman left the group in 1993, are a commanding rhythm section, a point made abundantly clear on a hard-grooving version of “Miss You” that featured a jaw-dropping solo from Jones.

Rounding out their touring band are keyboard player Chuck Leavell; Bernard Fowler on backing vocals and percussion; Matt Clifford on keyboard and the French horn on “You Can’t Always Get What You Want”; saxophonists Karl Denson and Tim Reis; and backing vocalist Chanel Haynes, who joined the fold in 2022 and stepped into the spotlight with her awe-inspiring vocal turn on “Gimme Shelter.”

They’re all extremely talented musicians more than capable of following the Stones through a variety of musical aesthetics, from the classic boogie-woogie groove of “Tumbling Dice” to the disco moves of “Miss You,” the Latin percussion of “Sympathy for the Devil,” the rock ‘n’ roll swagger of “Jumpin’ Jack Flash” and the soulful splendor of “Gimme Shelter” and “You Can’t Always Get What You Want.”

'Hackney Diamonds' is Rolling Stones' 1st new album in nearly 20 years

The Stones are touring in support of “Hackney Diamonds,” their first album of original material in nearly 20 years. A lot of critics have called it their best release since “Tattoo You” in 1981 or even “Some Girls” three years earlier. And it’s easy to hear why those critics would say that.

It’s kind of amazing that a group that’s been around for more than 60 years could still be operating on that level, much less sound so vital.

They only played three songs from “Hackney Diamonds,” but all three more than held their own against the staples fans had come to hear, from the slashing guitar riffs and snarling lead vocals of “Angry” to the disco-flavored “Mess It Up” and the smoldering gospel of “Sweet Sounds of Heaven,” a ballad they boldly held back to open the encore that featured another soulful show of force from Haynes.

“Sweet Sounds of Heaven” also boasted one of Jagger’s strongest vocals of the night. And there were many strong contenders for that title, from the soulful conviction with which he delivered “You Can’t Always Get What You Want” to the excitement he brought to the end of “(I Can’t Get No) Satisfaction.”

He may have flubbed the occasional lyric, and there were some notes he didn’t try to hit. But overall, Jagger’s vocal performance was as age-defying as his movements.

Other highlights ranged from “She’s So Cold,” a song that hadn’t made a setlist since 2019, to Keith Richards taking a turn in the vocal spotlight on “Little T&A” (a song he introduced as “She’s My Little Rock & Roll” after telling the crowd, “It’s good to be here; it’s good to be anywhere”) and “Monkey Man,” which won the online fan vote.

World's greatest rock 'n' roll band? That seems right

It was all great, though. How many bands could even hope to bring a set to a climax by stringing together a series of songs as iconic as “Sympathy for the Devil,” “Honky Tonk Women,” “Miss You,” “Gimme Shelter,” “Paint It, Black” and “Jumpin’ Jack Flash”?

If you want to be known as the world’s greatest rock ‘n’ roll band, that’s one way to do it.

It was after a spirited version of "Tumbling Dice" that Jagger took a moment to address how pleased he was with the welcome the Stones had received from the city of Glendale.

The city renamed a portion of 95th Avenue near the stadium Satisfaction Way and the mayor declared May 7 Ruby Tuesday.

"We’re very honored that you chose to name today Ruby Tuesday, though," he said.

"That is so nice. It’s never happened to us before. Ruby Tuesday. Unfortunately, we’re not gonna be able to play it tonight because we’ve forgotten that one."

As they were nearing the end of their set, after “Honky Tonk Women,” Jagger did some reminiscing.

“My goodness, this is our 11th show in Arizona,” he said. “Isn’t that something? I want to thank you so much for coming back to see us. You know, my favorite show in Arizona was in 1997 when we accidentally set fire to the Sun Devil Stadium.”

Then, after “Miss You,” he told the crowd, “We’re gonna go out to Valley Bar after, OK? So you can join us there.”

Having gone to Valley Bar and hung around until it closed at 2 a.m., I can assure you, he was joking.

By the time they signed off with a raucous thrill ride through an epic “(I Can’t Get No) Satisfaction,” Tuesday night at State Farm Stadium was everything a Stones fan could’ve hoped for, the quintessential rock ‘n’ roll survivors still going strong after 62 years, invigorated by their new music.

Carin Leon and Electric Mud opened for the Rolling Stones

Forty-five minutes before the show was scheduled to begin, a band from San Diego called Electric Mud (the title of a Muddy Waters album) took the stage and delivered a well-received set that often felt like they were channeling the Rolling Stones of an early '70s vintage, especially those Jagger-esque lead vocals.

Two members of Electric Mud — Marc and Matty Hansen — have an aunt named Patti Hansen who's been married to Keith Richards since 1983. That may be how they got the gig, but they turned out to be a perfect fit.

Electric Mud was followed by regional Mexican music star Carin Leon , whose latest effort, “Colmillo de Leche,"  picked up Best Norteño Album at last year's Latin Grammys.

He wasn't nearly as perfect a fit, but went over surprisingly well on the strength of a powerful performance, fronting a 16-piece band complete with accordion and tuba and wearing black leather pants and matching vest over a black T-shirt, a black cowboy hat completing his look. Highlights of Leon's set included "It Was Always You (Siempre Fuiste Tú)" and Johnny Cash's "Man in Black."

Rolling Stones setlist 2024: Every song they played in Phoenix

Here's every song the Rolling Stones performed at State Farm Stadium in Glendale, AZ .

• “Start Me Up”
• “It's Only Rock 'n' Roll (but I Like It)” (tour debut)
• “She's So Cold”
• “Beast of Burden”
• “Monkey Man” (tour debut; fan-voted song)
• “Mess It Up”
• “Tumbling Dice”
• “You Can't Always Get What You Want” (followed by band introductions)
• “Little T&A” (Keith Richards on lead vocals)
• “Sympathy for the Devil”
• “Honky Tonk Women”
• “Gimme Shelter”
• “Paint It, Black”
• “Jumpin' Jack Flash”
• “Sweet Sounds of Heaven”
• “(I Can't Get No) Satisfaction”

Reach the reporter at  [email protected] . Follow him on X (formerly Twitter)  @EdMasley  and  facebook.com/ed.masley

Support local journalism.   Subscribe to azcentral.com today.

From Barbie to Janet Jackson to the Stones, here are must-see summer concerts coming to NJ

6 minute read.

It's a summer concert season of anniversaries, farewells and "we're backs."

Bruce Springsteen and the E Street Band are back after the Boss had a bout with peptic ulcer disease. Area shows include Aug. 21 and 23 at Citizens Bank Park Philadelphia, and Sept. 15 at the Sea Hear Now festival in Asbury Park. Noah Kahan headlines the Sept. 14, Sea Hear Now show.

The Rolling Stones are also back with two shows at MetLife Stadium in East Rutherford on May 23 and 26, and one at Lincoln Financial Field in Philadelphia on June 11.

Bachata giants Aventura are saying farewell with shows May 22 and 23 at Madison Square Garden in New York City, and June 2 to 4 at the Prudential Center in Newark. Alas, the Romeo Santos led Bronx hitmakers have said farewell in the past, but this is also group who said “We Broke the Rules.”

▶ Here's the complete summer concert schedule for PNC, the Stone Pony and MetLife Stadium

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Canadian pop-punkers Sum 41 are saying so long on their “Tour of the Setting Sum,” and it opens the Stone Pony Summer Stage season on May 4. The Interrupters are also on the bill.

The TidalWave Music Festival, which took place last August in Atlantic City, and the Adjacent Music Festival, which took place last May also in Atlantic City, have both apparently said farewell. The county and alt-rock Live Nation-produced music fests have not made any announcements about future plans. However, the Barefoot Country Music Festival is returning June 15 to 18 to the Wildwood beach. Luke Bryan, Keith Urban, Kane Brown, Old Dominion and the Beach Boys are on the bill.

Finally, the Stone Pony is celebrating its 50th anniversary this year with events throughout the summer season, including four big Jersey Pride Celebration events on the Summer Stage in late May and early June — highlighted by two Fletcher shows on June 1 and 2.

Here are must-see summer concerts at the Jersey Shore and beyond:

Morgan Wallen

How popular is country star Morgan Wallen? His “One Thing at a Time” album spent 19 non-consecutive weeks on top of the Billboard 200 album chart —a record for a country music artist. He broke Garth Brooks’ 18 weeks for “Ropin’ the Wind.”

Wallen plays May 11 at Citizens Bank Ballpark in Philadelphia, and two big shows, May 17 and 18, at MetLife Stadium. The shows were originally scheduled to take place this time last year, but were postponed as doctors ordered him to rest his vocal cords.

Go : Morgan Wallen, May 11, Citizens Bank Ballpark, 1 Citizens Bank Way, Philadelphia, starting at $278; mlb.com/phillies/ballpark. Also May 17 and 18, MetLife Stadium, 1 MetLife Stadium, East Rutherford, starting at $155; metlifestadium.com.

Aventura farewell

Aventura, aka the Kings of Bachata, said farewell in 2011 and 2016, but it looks like this time they mean it. Their Cerrando Ciclos tour, which plays May 22 and 23 at Madison Square Garden in New York City — and three shows, June 2 to 4 at Prudential Center in Newark — is billed as their final goodbye.

“I want you to join me on a journey where I will be definitively closing cycles,” said frontman Romeo Santos in a statement. “Because it is not the same to remember beautiful times as it is to be a prisoner of the past. We cannot stagnate in the nostalgia of yesterday, but rather move forward, discover new horizons, and show other facets.”

Go : Aventura, May 22 and 23, Madison Square Garden, 4 Pennsylvania Plaza, New York, starting at $243; msg.com. Also June 2 to 4, Prudential Center, 25 Lafayette St., Newark, starting at $270; prucenter.com.

Rolling Stones

Mick Jagger, 80, still moves like Jagger.

The legendary frontman for the Rolling Stones shared an Instagram reel of himself dancing to the Maroon 5 and Christina Aguilera hit “Moves Like Jagger” as performed by a cover band in what looks like a seaside resort.

Fans can see for themselves as the Stones, who released their latest album “Hackney Diamonds” last year, play two shows at MetLife Stadium on May 23 and 26, and one at Lincoln Financial Field in Philadelphia on June 11.

Go : Rolling Stones, May 23 and 26, MetLife Stadium, starting at $115; metlifestadium.com. Also June 11 at Lincoln Financial Field, One Lincoln Financial Field Way, Philadelphia, starting at $153, lincolnfinancialfield.com.

Pride at the Stone Pony

The Stone Pony in Asbury Park is getting its Pride on.

The legendary venue has big shows and parties ready for the annual Jersey Pride Celebration, which takes place June 2 with a parade, a festival in Bradley Park and more. The Stone Pony Summer Stage area will be full of events. The Solid Pink Disco with Trixie and DJ Mateo Segade kicks things off on May 30; the Dreamland Pride in Asbury Park party with Purple Disco Machine takes over on May 31; and hometown hero Fletcher returns for two shows, June 1 and 2, on the Summer Stage.

“It will be a historic gathering that encapsulates everything Pride stands for: diversity, inclusivity and unity,” said Dreamland Pride producer Jake Resnicow. “We’re creating a space where everyone is welcome, and every moment is a step towards true acceptance. It’s a milestone for Asbury Park and for the Pride movement, and I couldn’t be more excited to share it with everyone.”

Go : Pride celebration begins May 30. Fletcher, June 1 and 2, Stone Pony Summer Stage, 913 Ocean Ave., Asbury Park; stoneponyonline.com.

John Fogerty and George Thorogood

Grab the flannel shirt and roll up your sleeves as legendary rocker John Fogerty continues his Celebration Tour this summer. George Thorogood and the Destroyers are along for the ride. Area shows include June 7 at the Freedom Mortgage Pavilion in Camden, and June 15 at the PNC Bank Arts Center in Holmdel.

Both Fogerty and Thorogood have been performing more than 50 years.

“Celebrating the music of John Fogerty at the same time we celebrate our 50th anniversary is just about as good as it can get,” said Thorogood in a statement. “I’m looking forward to being out there with my friend John!”

Go : John Fogerty and George Thorogood, June 7, Freedom Mortgage Pavilion, 1 Harbour Blvd., Camden, starting at $57, livenation. Also June 15, PNC Bank Arts Center, Exit 116, Garden State Parkway, Holmdel, starting at $34; livenation.com.

North to Shore

The 2024 edition of the North to Shore festival will have Hart — and a whole lot more.

Shows by Kevin Hart, Frankie Valli, Stephen Colbert, Matchbox Twenty, Gary Clark Jr., the B-52s, Gabriel Iglesias, Bleachers, Jeezy, Scarface, Barenaked Ladies, Prince Royce and Wisin, Lake Street Dive and more in Asbury Park, Newark and Atlantic City will highlight the Jersey-centric festival.

Dates are June 10 to 16 in Asbury Park; June 17 to 23 in Atlantic City; and June 24 to 30 in Newark. Original Four Seasons member Valli, 89, brings his “Last Encore” tour to the Hard Rock in Atlantic City on June 22, and comedian Hart brings his “Brand New Material” tour to the Prudential Center in Newark on June 30.

North to Shore shows at the Stone Pony Summer Stage include Gary Clark Jr. on June 12; Band of Horses on June 13; Lake Street Drive on June 14; and Bleachers’ annual Shadow of the City on June 15.

Go : North to Shore Festival, June 10 to 16 in Asbury Park, June 17 to 23 in Atlantic City, June 24 to 30 in Newark. A complete schedule of events and more information is at northtoshore.com.

T-Pain is taking the party on the road this summer.

The hitmaker will headline the T-Pain's Mansion In Wiscansin Party tour June 21 at the Stone Pony Summer Stage in Asbury Park, and June 23 at the Central Park Summer Stage in New York City. LaRussell, NandoSTL and Young Ca$h are also on the bill.

T-Pain, aka Faheem Rashad Najm of Tallahassee, Florida, was the recipient of the 2023 Soul Train Legend Award. He popularized the use of Auto-Tune software over sung vocals in hip-hop and R&B. He recently dropped a new single, “Dreaming,” an inspirational ballad.

The tour name is drawn from the T-Pain lyric “Put you in a mansion, somewhere in Wiscansin” from his 2008 hit “Can’t Believe It.”

Go : T-Pain, June 21, Stone Pony Summer Stage, Asbury Park, starting at $108; stoneponyonline.com; Also June 23, Central Park Summer Stage, New York; tickets starting at $78.25; livenation.com.

Janet Jackson

It’s a year of milestones for Janet Jackson.

It’s been 25 years since the release of “The Velvet Rope,” 30 years since “janet” and 35 since “Rhythm Nation.” In all, Jackson is marking her 59th year in show business. Her Together Again tour relaunches this summer with shows June 26 at the Wells Fargo Center in Philadelphia, and July 9 at the Prudential Center in Newark.

Nelly opens the shows.

Go : Janet Jackson, June 26, Wells Fargo Center, 3601 S. Broad St., Philadelphia, starting at $59.95; wellsfargocenterphilly.com. Also July 9, Prudential Center, Newark, starting at $59.95; prucenter.com.

Southside Johnny and the Asbury Jukes with the Rascals

In 1980, Southside Johnny and the Asbury Jukes released the single “On the Beach.”

In 2024, Southside Johnny and the Asbury Jukes are playing on the beach — in Seaside Heights. Johnny and the Jukes are teaming with the Rascals for a night of two Jersey legends on June 29 on the Seaside Heights Beach Stage.

Go : Southside Johnny and the Asbury Jukes, with the Rascals, June 29, Seaside Heights Beach Stage, Seaside Heights, starting at $49; exit82.com.

Outlaw Music Festival Tour

There's going to be a lot of musical legacy on stage for this one: Willie Nelson and Family, Bob Dylan, and Robert Plant and Alison Krauss are playing this year's Outlaw Music Festival Tour.

Area dates include June 29 at the Northwell Health at Jones Beach Theater on Long Island; June 30 at the PNC Bank Arts Center in Holmdel, and July 4 at the Freedom Mortgage Pavilion in Camden. The big July 4 show includes Maren Morris and Mavis Staples. It's Nelson's famed 4th of July Picnic.

“This year's Outlaw Music Festival Tour promises to be the biggest and best yet with this lineup of legendary artists,” said Nelson is a statement. “I am thrilled to get back on the road again with my family and friends playing the music we love for the fans we love.”

It's a show for the ages. Nelson is 91, Dylan is 82, and Plant, former lead singer of Led Zeppelin, is 75. The tour is partly presented by the Jersey-based Keith Wortman and Blackbird Presents.

Go : Outlaw Music Festival Tour, June 29, Northwell Health at Jones Beach Theater, 895 Bay Parkway, Wantagh, Long Island, starting at $55. Also June 30, PNC Bank Arts Center, Holmdel, starting at $50. Plus July 4, Freedom Mortgage Pavilion, Camden, starting at $64; livenation.com.

Barbie Tour

It's trip to Barbie Land you haven't experienced before.

“Barbie The Movie: In Concert,” which features the hit film with a live musical accompaniment from an all-female orchestra, is coming Aug. 17 to the PNC Bank Arts Center. Other area shows include July 6 at the Freedom Mortgage Pavilion in Camden, and Aug. 18, at Northwell Health at Jones Beach Theater on Long Island.

The all-female Barbie Land Sinfonietta, conducted by Tony Award-winning producer Macy Schmidt, will play music accompanying the film.

“On top of getting to experience the film unlike ever before, 'Barbie The Movie: In Concert' audiences will have the privilege of watching some of the world’s best musicians come together and do what they do best,” said Schmidt in a statement.

Go : Barbie The Movie: In Concert, July 6, Freedom Mortgage Pavilion, Camden, starting at $25. Also Aug. 17, PNC Bank Arts Center, Holmdel, starting at $28. Plus Aug. 18, Northwell Health at Jones Beach Theater, Long Island, starting at $26; livenation.com.

Pretenders in Red Bank

The Pretenders are “Relentless” — and they're starting their U.S. summer tour at the Count Basie Center for the Arts in Red Bank on July 13.

The show is the Basie's annual fundraising gala. The Pretenders released the new album “Relentless” last September, and it features Radiohead’s Jonny Greenwood with Chrissie Hynde and the band. Classics include “Stop Your Sobbing,” “Kid,” “Brass in Pocket” and more. The group is also opening several dates for the Foo Fighters on their upcoming stadium tour.

Go : Pretenders, July 13, Count Basie Center for the Arts, 99 Monmouth St., Red Bank, stating at $203; thebasie.org.

Daryl Hall and Elvis Costello

Here's something we did not expect this summer: Daryl Hall, and Elvis Costello and the Imposters are teaming up for a tour.

Hall, half of Hall and Oates, and Costello are coming through the area with shows July 16 at Radio City Music Hall in New York, and July 18 at the PNC Bank Arts Center. Charlie Sexton opens.

Perhaps it's not so unexpected. Hall is in a legal battle with Oates over the latter's attempt to sell his half of their songwriting rights, and Hall and Costello did team up for a single “The Only Flame in Town” 40 years ago.

“It’s fantastic to be able to rekindle a musical relationship,” said Hall in a statement. “Get ready for lots of great music.”

Go: Daryl Hall and Elvis Costello, July 16, Radio City Music Hall, 1260 Sixth Ave., New York, starting at $90; msg.com. Also July 18; PNC Bank Arts Center, Holmdel, starting at $70; livenation.com.

Xscape and SWV

All hail the Queens.

The Queens of R&B, that is. Nineties hitmakers Xscape and SWV have reunited for the Queens of R&B Tour with Mya, Total and 702. Area shows include July 24 at Madison Square Garden, July 25 at PNC Bank Arts Center, and July 27 at Boardwalk Hall in Atlantic City.

Xscape's hits include “Just Kickin' It” and “Understanding,” and SWV's hits include the classic “Right Here.” Jersey will be represented by Total, whose members are from Central Jersey. Their hits include “Can't You See” with the late Notorious B.I.G.

“We’ve heard our fans,” said Total member Kima on social media. “We are honored to be a part of such a Herstorical lineup!! Total will not disappoint!”

Go : Xscape and SWV, July 24, Madison Square Garden, New York, starting at $66; msg.com. Also July 25, PNC Bank Arts Center, Holmdel; livenation.com. Plus July 27, Boardwalk Hall, 2301 Boardwalk, Atlantic City, starting at $39; boardwalkhall.com.

Bruce Springsteen and the E Street Band

The Boss —and the E Street Band -- are rolling again.

“We're back!” said Bruce Springsteen moments after the E Street Band's tour relaunched March 19 at the Footprint Center in Phoenix. Springsteen had postponed the band's shows for the rest of the year in September as he battled peptic ulcer disease.

The tour comes to the area with rescheduled shows Aug. 21 and 23 at Citizens Bank Park Philadelphia, and Sept. 15 at the Sea Hear Now festival in Asbury Park. Noah Kahan headlines the Saturday, Sept. 14, Sea Hear Now show.

Go : Bruce Springsteen and the E Street Band, Aug. 21 and 23, Citizens Bank Park, Philadelphia, starting at $183; www.mlb.com/phillies/ballpark. Also Sept. 15, Sea Hear Now, Asbury Park, starting at $456; www.seahearnow.com.

Subscribe to app.com for the latest on the New Jersey music scene.

Chris Jordan, a Jersey Shore native, covers entertainment and features for the USA Today Network New Jersey. Contact him at @chrisfhjordan; [email protected]

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Steven Tyler Joins the Black Crowes Onstage in London Months After Fracturing Larynx

The Aerosmith frontman fractured his larynx in September 2023, forcing his band to reschedule dates for the remainder of their Peace Out farewell tour

• On Wednesday, May 15, Steven Tyler performed onstage with the Black Crowes for the first time since recovering from fracturing his larynx in September 2023
• The Rock and Roll Hall of Famer's injury forced his band, Aerosmith, to postpone dates for their Peace Out farewell tour
• The tour is set to resume in September with a new set of dates

Steven Tyler is on the mend and back to performing after ​​ fracturing his larynx last year.

The Aerosmith frontman, 76, joined the legendary rock band the Black Crowes onstage for a surprise performance at London’s Eventim Apollo on Wednesday, May 15, his first since sustaining a vocal cord injury that forced his band to pause their Peace Out farewell tour in 2023.

“If it is alright with y’all, we wanna play one more song,” Crowes frontman Chris Robinson said while introducing Tyler, per SPIN . “We wanna dedicate it to somebody who is a dear friend and a hero and a legend, Mr. Steven Tyler. We will be touring with Aerosmith soon, so we wanna play one of his songs.”

Tyler and the band then closed out the show by tearing into a cover of the 1973 Aerosmith classic, “Mama Kin.” The former looked rather lively as he performed, seemingly back in good health and ready to hit the road again following months of recovery. 

The Rock and Roll Hall of Famer also posed for a photo with the Black Crowes, plus Led Zeppelin guitarist Jimmy Page, where he was all smiles. “Rock Royalty Reigned last night at the #HappinessBastardsTour at the @eventimapollo in London. @iamstevent @jimmypage @aerosmith @ledzeppelin,” the band captioned an Instagram post .

Ross Halfin

Back in February, Tyler shared an update on his vocal injury while hosting his fifth annual Jam for Janie Grammys viewing party — which benefits his non-profit Janie's Fund, created to help girls who have experienced abuse and neglect.

"My throat's been better, but it is on the mend," he told attendees. "And out of all things, I've decided to take the advice not from my doctors, but from the girls at Janie's house."

In May 2023, Aerosmith confirmed rumors of a farewell tour by announcing Peace Out , an originally scheduled, 40-city North American concert run celebrating their monumental career.

"After 50 years, 10 world tours and playing for over 100 million fans, it's time for one last go," a release said of the news. Bandmates Tyler, Joe Perry, Tom Hamilton, and Brad Whitford added in a joint statement, "It's not goodbye it's PEACE OUT!”

The announcement continued, “Get ready and walk this way, you're going to get the best show of our lives."

Tommaso Boddi/Getty

By mid-September 2023, a few weeks after Aerosmith’s tour kicked off in Philadelphia , the Rock in a Hard Place band revealed that Tyler had received doctor’s orders “not to sing for the next 30 days,” which forced them to postpone a handful of scheduled shows that month in Detroit, Chicago, Washington, D.C., Toronto, Raleigh, North Carolina, and Cleveland to 2024. 

In a since-deleted Instagram statement posted at the beginning of the month, Tyler shared, “I sustained vocal cord damage during Saturday’s show that led to subsequent bleeding. We’ll need to postpone a few dates so that we can come back and give you the performance you deserve.”

But things only got worse for the "Angel" artist from there, as it was later revealed that he’d fractured his larynx , forcing Aerosmith to pause their farewell tour altogether.

“Unfortunately, Steven’s vocal injury is more serious than initially thought,” the “Sweet Emotion” rockers wrote in a statement on social media later that month. “His doctor has confirmed that in addition to the damage to his vocal cords, he fractured his larynx which requires ongoing care.”

 They continued, “He is receiving the best medical treatment available to ensure his recovery is swift, but given the nature of a fracture, he is being told patience is essential."

Tyler closed out the announcement by telling fans, “I am heartbroken to not be out there with Aerosmith, my brothers and the incredible Black Crowes, rocking with the best fans in the world. I promise we will be back as soon as we can!”

Shows for the Peace Out tour have since been rescheduled. In April, Aerosmith announced a new set of dates that will resume later this year and run until January 2025. 

Tyler’s vocal cord injury comes after he entered a treatment program amid a relapse in May 2022 after undergoing foot surgery to prepare for his band’s Deuces Are Wild Las Vegas residency . The “Dream On” singer’s health issues affected that slate of shows as well, as the band was forced to cancel shows that December.

In a statement, Tyler updated fans on his health and said, "On the advice of my doctor, I'm taking more time to rest. There is nowhere we'd rather be than on stage surrounded by the greatest fans in the world."

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More From Forbes

The rolling stones are back on tour—and their performance on the charts shows people’s excitement.

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NEW YORK, NEW YORK - OCTOBER 19: (Exclusive Coverage) Ronnie Wood, Mick Jagger and Keith Richards ... [+] backstage before The Rolling Stones surprise set in celebration of their new album “Hackney Diamonds” at Racket NYC on October 19, 2023 in New York City. (Photo by Kevin Mazur/Getty Images for RS)

The Rolling Stones launched their new Hackney Diamonds Tour in late April, and fans of the band turned out in huge numbers to see them live, as they always do. As the group continues their American and Canadian trek, interest in their catalog is climbing.

This week, the Rolling Stones’ most successful greatest hits compilation is gaining ground. The set is on the rise on the two Billboard charts it appears on, and it’s entirely possible that this lift is connected directly to their recently-launched tour.

Hot Rocks 1964-1971 lifts double-digit spaces on the Billboard 200, the weekly ranking of the most-consumed albums in the country. This frame, the compilation jumps from No. 193 to No. 176. Movement of a few spaces usually isn’t a sign of anything major happening with a band, singer, or piece of music…but more than 10 rungs at one time suggests something exciting is going on.

According to Luminate, Hot Rocks 1964-1971 moved another 8,463 equivalent units in the past tracking period. That’s up more than 7% from the week before, which is also a sign that it’s not just the title that’s climbing, but actual consumption of the project.

Streaming activity is responsible for almost all of those nearly 8,500 equivalent units. Hot Rocks 1964-1971 only sold 247 copies last week throughout the entire U.S.

Over on the Top Rock & Alternative Albums chart, Hot Rocks 1964-1971 is growing as well. On that genre-specific tally, the compilation rises from No. 48 to No. 44. That’s not as dramatic an improvement as on the Billboard 200, but it does show advancement.

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The Rolling Stones may be in the beginning of a chart surge, and there’s a chance that Hot Rocks 1964-1971 could continue to climb in the next few weeks. It’s also entirely possible that this excitement may die down now that their tour is in full swing, and the set could decline in popularity once again. How the compilation performs as they travel around the U.S. is yet to be seen, but clearly Americans are still in love with the group’s earliest smashes.

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Watch David Bowie and David Sanborn Serenade the ‘Young Americans’ on ‘Dick Cavett’

By Kory Grow

The only person who believed in David Bowie ‘s vision of “Young Americans” more than Bowie himself was David Sanborn . The saxophonist, who was trained in jazz, had broken into the pop world as a member of the Paul Butterfield Blues Band and by guesting on Stevie Wonder’s Talking Book . Sanborn, who died Sunday , was in his late 20s when he linked up with Bowie for the Diamond Dogs Tour — he’s featured on the David Live double-album — and joined him in the studio for the recording of Bowie’s explorations of soul and funk music on the Young Americans album.

“It was just like a white soul band thing,” Bowie recalled in a 1989 interview with Q . “It was very image oriented. There was [David] Sanborn on saxophone, Luther Vandross on backing vocals and all that. It was a hell of a band, but it wasn’t very theatrical. It sounded great, and it was going for that white soul feel.”

“[Bowie] was always so focused, always professional, always smiling,” pianist Mike Garson recalled of the era in Dylan Jones’ David Bowie: The Oral History . “He relied a lot on David Sanborn and Luther Vandross on that record because so much of the structures were complex, and the vocals were incredibly complicated.”

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Taylor Swift’s Eras Tour On Track to Become Highest-Grossing Global Tour in History

The 2023 shows earned more than $900 million, Billboard estimates. That total could nearly double next year.

Taylor Swift ’s The Eras Tour is poised to become the highest-grossing global tour of all time, according to Billboard ’s estimates.

While no official numbers have been reported yet, Swift’s tour should pass current record-holder Elton John ’s Farewell Yellow Brick Road Tour with more than $900 million in ticket sales so far.

On Sunday (Nov. 26), Swift played her last scheduled show of the year, wrapping an intense run of 66 concerts in the United States, Mexico and South America. Representatives for The Eras Tour have not yet reported official revenue or attendance figures to Billboard Boxscore or any other trade journal or news entity, but the enormity of The Eras Tour is impossible to ignore, with a total that amounts to a staggering average of nearly $14 million per show.

9 Things Other Artists Can Learn From Taylor Swift’s Blockbuster Eras Tour

Dating back almost 40 years, all Boxscore rankings are based on figures reported to Billboard . Data is reported from a variety of official industry sources, from artist managers and agents to promoters and venue executives. Reporting has always been voluntary, and some artists, venues and promoters opt to withhold data from representation on our charts. It is not uncommon for artists to not report — or to wait until the end of a tour, which is still more than a year away in Swift’s case — though it’s rare that such a well-documented blockbuster tour, in contention for top year-end honors, is not submitted. Swift’s abstention disqualifies her from appearing on year-end Boxscore charts .

Swift kicked off The Eras Tour in Glendale, Ariz., on March 17, playing 53 domestic shows before wrapping at SoFi Stadium in Inglewood, Calif., outside Los Angeles, on Aug. 9. She hit a total of 20 U.S. cities, and 11 of those venues have provided attendance figures to Billboard . Based on those numbers, as well as estimates based on aggressive scaling at the other nine stadiums, Swift likely sold 3.3 million tickets over 53 shows in the United States, or an average of 63,000 tickets per show.

Sources close to the tour point to an average domestic ticket price of around $252. This is in line with the prices for the summer’s other major concert event, Beyoncé ’s Renaissance World Tour, which maintained a $135 ticket in Europe and a $253 ticket in North America. While ticket prices might dip in certain markets and bloom in others, using that number as an average puts the U.S. leg of The Eras Tour at $838.3 million. That total gross spreads out to $15.8 million per show, a staggering figure that exceeds recent tours by Bad Bunny , Beyoncé, and The Rolling Stones , each of which had giant totals of their own.

That projected $838 million haul is more than enough to make Eras the highest-grossing U.S. and North American tour ever. John’s Farewell Yellow Brick Road tour holds the official Boxscore title, with $567.7 million in the United States and Canada. That total reflects 135 shows over a span of four years, compared to Swift’s 53 shows in less than six months.

Moreover, The Eras Tour’s U.S. gross would situate it as the second-highest grossing tour of all time based on global figures, before even crossing the border. John’s farewell tour remains the official record-holder with $939.1 million.

Since wrapping the Eras Tour’s U.S. leg, Swift played four shows at Mexico City’s Foro Sol (Aug. 24-27) and, more recently, nine South American shows, spread between Buenos Aires in Argentina and Brazil’s Rio de Janeiro and Sao Paulo. Those dates bring her much closer to John’s global record, even based on relatively conservative projections. But as we’ve seen with virtually every worldwide stadium tour in the last two years, the post-pandemic surge in ticket prices hasn’t been as severe outside the United States.

Further, these are Swift’s first shows in these Latin American markets. That means pent-up demand likely drove huge sales, though her base isn’t quite as explosive there as it is in the States.

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Based on estimates considering the high end of grosses and ticket prices for each Latin American venue’s post-pandemic history, The Eras Tour likely earned another $60 million to $75 million and more than 750,000 tickets from those 13 shows.

In all, Billboard estimates that Swift has generated $906.1 million and sold 4.1 million tickets in 2023 across all shows in the United States, Mexico and South America. That would unofficially make The Eras Tour the biggest tour of 2023. And when considering Swift’s total revenue from the tour, it doesn’t even account for merchandise sales, sponsorships, music streaming and sales boosts, or her self-produced and released Taylor Swift: The Eras Tour concert film.

Swift is scheduled to resume The Eras Tour on Feb. 7 with four shows at the Tokyo Dome in Japan. Then, she’ll play seven shows in Australia and six in Singapore. In May, she kicks off a 50-date run in Europe before returning to North America for 18 shows in new markets, including the tour’s first entry into Canada. In all, that’s 85 shows to go, with the possibility of more to come, considering her recent concert additions to runs in London and Vancouver.

These upcoming international legs are already more ambitious than any previous Swift tour. While this year’s 53 U.S. shows are in line with what she did on 2018’s Reputation Stadium Tour and 2015’s The 1989 World Tour, those treks included just six and seven shows in Europe, respectively — a fraction of next year’s slate of 50.

8 Sweetest Moments Between Taylor Swift & Young Swifties on The Eras Tour

If we use the comparison between Beyoncé’s recent European and North American grosses as a north star, in Europe, Swift could be looking at $8.5 million per show, or about $420 million over the entire leg. And even if next year’s North American shows dip from 2023’s record-breakers, the U.S. and Canada shows could add another $240 million to 260 million. Including the 17 shows in Asia and Australia, The Eras Tour is likely headed toward a total gross of $1.6 billion to $1.7 billion by the end of 2024. It will be the first in history to earn more than $1 billion in ticket sales and will set Swift far apart from her competitors. If figures skew toward the higher end of what’s possible, she could double John’s current record gross.

Representatives for Swift did not respond to a request for comment on Billboard ‘s estimates at press time.

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