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• July 3, 1995 Setlist

The Rolling Stones Setlist at L'Olympia Bruno Coquatrix, Paris, France

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Tour: Voodoo Lounge Tour statistics Add setlist

• Honky Tonk Women Play Video
• Tumbling Dice Play Video
• You Got Me Rocking Play Video
• All Down the Line Play Video
• Shattered Play Video
• Beast of Burden Play Video
• Let It Bleed Play Video
• Angie Play Video
• Wild Horses Play Video
• Down in the Bottom ( Howlin’ Wolf  cover) Play Video
• Shine a Light Play Video
• Like a Rolling Stone ( Bob Dylan  cover) Play Video
• I Go Wild Play Video
• Miss You Play Video
• Connection ( Keith Richards on lead vocals ) Play Video
• Slipping Away ( Keith Richards on lead vocals ) Play Video
• Midnight Rambler Play Video
• Rip This Joint Play Video
• Start Me Up Play Video
• It's Only Rock 'n' Roll (but I Like It) Play Video
• Brown Sugar Play Video
• Jumpin' Jack Flash Play Video

Note: Complete concert officially released in June 2016 on DVD / Blu-ray, part of the "Totally Stripped" compilation box set. Complete stand alone concert audio officially released via digital download as "Totally Stripped - Paris" in 2017.

Edits and Comments

16 activities (last edit by ExecutiveChimp , 27 Oct 2020, 22:14 Etc/UTC )

Songs on Albums

• All Down the Line
• Rip This Joint
• Shine a Light
• Tumbling Dice
• Beast of Burden
• Let It Bleed
• Midnight Rambler
• Brown Sugar
• Wild Horses
• Honky Tonk Women
• Jumpin' Jack Flash
• You Got Me Rocking
• Down in the Bottom by Howlin’ Wolf
• Like a Rolling Stone by Bob Dylan
• It's Only Rock 'n' Roll (but I Like It)
• Slipping Away
• Start Me Up

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The rolling stones gig timeline.

• Jun 30 1995 Hippodrome de Longchamp Paris, France Start time: 9:35 PM 9:35 PM
• Jul 01 1995 Hippodrome de Longchamp Paris, France Add time Add time
• Jul 03 1995 L'Olympia Bruno Coquatrix This Setlist Paris, France Add time Add time
• Jul 09 1995 Don Valley Stadium Sheffield, England Add time Add time
• Jul 11 1995 Wembley Stadium London, England Add time Add time

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The Rolling Stones played the first of two nights at The Paradiso on May 26, 1995.

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The Rolling Stones announced their Voodoo Lounge tour in New York City in May 1994, and two months later the record of the same name was released. A little over a week after the album came out, The Stones played one of their traditional warm-up gigs, this one at the RPM Club in Toronto, and almost two weeks later the opening night of the full tour at Washington’s Robert F Kennedy Stadium.

Between August 1 and December 18, 1994, The Stones criss-crossed America and Canada, playing stadia, domes, bowls, fields, along with the odd arena thrown in for good measure, before heading South. During the Southern Hemisphere summer, they played Mexico, Brazil, Argentina, Chile, and Ellis Park, the home of South African rugby in the newly founded Rainbow Nation.

Listen to Totally Stripped now .

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From South Africa, the band flew east to Tokyo for their second visit to Japan to appear in concert. On March 3, 1995, three days before the first of seven nights at Tokyo Dome, The Stones took over Toshiba/EMI Studios in the Japanese capital to begin work on the album that became, Stripped . The Stones invited Don Was to produce the Tokyo sessions and subsequent album and he arrived in Tokyo direct from The Grammy ceremony on March 1st, where he and the band had won awards for “Best Rock Album” and “Producer of the Year” for Voodoo Lounge , Don’s first album with the band.

Having completed their two days in the studio and recorded a whole host of material, The Stones played Tokyo Dome, then Fukeoka, before spending three weeks in Australia and New Zealand performing huge outside shows. Six weeks later the fourth leg of the Voodoo Lounge tour got underway on May 26, 1995, with two nights at one of Amsterdam’s best known and best-loved venues for visiting bands – The Paradiso. This was the first of three small theatre shows that were recorded and filmed with a view to including some of the material on the Stripped album.

The former church building had been a hippie squat during the Summer of Love and the following year opened as an entertainment venue for the young, soon attaining its status as a great gig, but a small one, as it has a capacity of under 2,000.

The Rolling Stones opened their first Paradiso show, with “Not Fade Away,” their reworking of Buddy Holly’s homage to Bo Diddley’s beat. Like most of the first part of their set at The Paradiso, it features Ronnie on acoustic guitar and has a lovely relaxed vibe to it.

“Street Fighting Man” is the only number performed at The Paradiso to be included on the original Stripped album, so the DVD is a great chance to see the band on the tiny stage, going through many, much loved, songs that did not feature on the Voodoo Lounge tour or the original album.

Among the songs they perform is “Shine A Light,” from Exile on Main St , a number they had never played before on stage; Don Was plays some great soulful organ. It’s among their 20 song set at The Paradiso, of which only seven songs would be in the band’s set at Stockholm’s Olympic Stadium for the first night proper of the European leg of Voodoo Lounge . Among the songs that they did play on all their theatre shows and on the European leg of Voodoo Lounge , is a song that as Mick joked, “ Bob Dylan wrote for us.” “Like A Rolling Stone” is one of the highlights of these gigs; both Mick and Keith love the song and according to Mick, “I really got inside it, and I enjoyed it. I love playing the harmonica on it.”

Seven of the songs The Stones played in Amsterdam were not played on the other theatre gigs that followed The Paradiso; in Amsterdam, they did “The Worst” from Voodoo Lounge featuring Keith on lead vocals, but it was dropped from the other theatre gigs. Among the other songs they only performed in Amsterdam is a stellar version of “Gimme Shelter” featuring Lisa Fischer reprising Merry Clayton’s role to great effect; it also features some brilliant interplay between Keith and Ronnie’s guitars.

It’s what makes these three theatre-style concerts so arresting. The Stones play a total of 64 songs over the three theatre gigs, but only five numbers are played on each one of the shows. In all, the Stones play 36 different numbers, of which half are played at only one of the shows. Of the 14 tracks on the original Stripped album, only six were from the three theatre shows (1 from Amsterdam, 2 from London and 3 from Paris). Totally Stripped will be a total revelation…even to long-term Stones fans.

Totally Stripped can be bought here .

arne andreassen

May 26, 2016 at 8:57 pm

stones: the biggest band

May 27, 2016 at 9:53 am

stones for ever !!!!

May 30, 2018 at 7:53 am

The biggest band un the world.

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When the Rolling Stones Became a Quartet on ‘Voodoo Lounge’

The early '90s were a transformative time for the Rolling Stones . Not long after the release of their 1991 live album Flashpoint , original bassist Bill Wyman exited the band, permanently trimming the Stones lineup down to a quartet. But rather than wallowing in Wyman's departure, the shake-up helped them turn in their strongest studio effort in more than a decade, Voodoo Lounge , which was released on July 3, 1994.

The record was the first Stones album with new bassist Darryl Jones, who had been hired that March after an extensive search. A protege of Miles Davis who also played on Sting 's The Dream of the Blue Turtles album, it was Jones' jazz background that reportedly  appealed to vocalist Mick Jagger and drummer Charlie Watts .

Jones had laid down some tracks during the initial sessions in Ireland in the fall of 1993, but it wasn't until he was called into help put some finishing touches in Los Angeles a few months later that he learned he had the job.

"One night I went down to the studio, and met Keith [Richards] , who asked if I’d seen Charlie," he said. "I said no, then he says, ‘Charlie asked me if we were going to play with you? We’ve auditioned all those guys, chose you to play on the record – I don’t think we’re now gonna go choose someone else’. Charlie said, ‘Maybe someone should tell him!’ So I’m telling you, you’re gonna go with us’, and that was the first I heard of it!"

To help assemble their first studio record since 1989's Steel Wheels , the group enlisted Don Was, the former Was (Not Was) bassist who had recently helmed successful albums by Bonnie Raitt , Bob Seger and Jackson Browne .

Watch the Rolling Stones' 'Love Is Strong' Video

Was told Rolling Stone magazine that he was invited to discuss the possibility producing the album, only to be given a lecture from Richards on why the group really didn't need a producer. He conceded that he wouldn't be producing the Stones but thought to himself: "At least I've got something to tell my grandchildren."

Of course, Was did eventually come on board for the making of Voodoo Lounge . Was told Sound on Sound that he felt his role was to help identify what would help make for the strongest songs, as opposed to trying to force his concept of what a Rolling Stones record should be.

"I never felt that my job was to impose creative concepts on them, but just to help distill the wealth of ideas that they had," Was said. "I would point things out if I didn't think something was going to work, but I didn't think it was my position to say, 'Here, Keith, give me your guitar for a minute. I'll show you what to play'. That would be like grabbing the sax from Charlie Parker! Keith's got so many ideas and they're all so original that I couldn't come up with them in a 100 years. That's the amazing thing – the simplicity of what he does is so deceptive. There's so much happening within a few notes."

The Rolling Stones had certainly endured their share of internal band strife in the decade prior to Voodoo Lounge . The band was in total disarray during the making of Dirty Work , providing the Stones with what was perhaps their lowest of moments.

Richards acknowledged that they had come through those rough waters, and felt that Voodoo Lounge was the first Stones record in a significant amount of time where the band was operating as a cohesive unit. "To not just sound like the Stones but be them," he told Rolling Stone . "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, it's just pushing air out of your mouth."

Voodoo Lounge was the Rolling Stones' opportunity to prove that, despite being elder statesmen, they could indeed still rock. The album's first single (and its accompanying eye-catching video), "Love Is Strong" featured some great bluesy harmonica while another of the album's tracks, "You Got Me Rocking," became a staple of the Stones dynamic live show. Even the HBO television show The Sopranos acknowledged the coolness of Voodoo Lounge , featuring "Thru and Thru" in the Season Two finale of the show in 2000.

Watch the Rolling Stones Perform 'Out of Tears'

As much as Voodoo Lounge had the band working together better than they had in years, more than a year after its release, Jagger nonetheless had mixed feelings about the record – and in particular Was' decisions – in an in-depth interview  with Rolling Stone publisher Jann Wenner.

"I think it’s a good frame of reference of what the Rolling Stones were about during that quite limited time in Ireland in that year," he said. "It’s very much a kind of time-and-place album. In that way, I was quite pleased with the results. But there were a lot of things that we wrote for Voodoo Lounge that Don [Was] steered us away from: Groove songs, African influences and things like that. And he steered us very clear of all that. And I think it was a mistake."

In his defense, Was said he was "certainly not anti-groove, just anti-groove without substance in the context of this album. They had a number of great grooves. But it was like, 'Okay, 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."

Despite Jagger's issues with Was at the time, they appear to be water under the bridge now. Was continued as a steady presence with the Rolling Stones after Voodoo Lounge . And while it might not have completely met Jagger's expectations, the album became the band's first No. 1 record in their native Britain since 1980's Emotional Rescue . The international tour in support of Voodoo Lounge grossed hundreds of millions of dollars over 117 dates performed on six continents.

The record also garnered the band a Grammy award for Best Rock Album, while the video for "Love Is Strong" also won for Best Short Form Music Video. Amazingly, it was the first Grammys the Rolling Stones ever claimed, even though they were awarded a Lifetime Achievement Grammy in 1986.

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Voodoo Lounge

By Barbara O'Dair

Barbara O'Dair

Gone are the smooth moves, trendy nods and lackluster songcraft of Dirty Work and Steel Wheels, the Rolling Stones ‘ last two studio discs. The band’s new album, Voodoo Lounge, is ragged and glorious, reveling in the quintessential rock & roll the Stones marked as their own some 30 years ago. Plumbing the past to cop riffs from their classics, the Stones perfect their rebel stance in the service of pleasure, with producer Don Was working to bring it all up to date. Together, they keep the grooves short and mean, making for an album that’s tight without being overprocessed, neat without being nice.

The incomparable Charlie Watts is Voodoo’ s secret weapon, from the album’s opening snare-drum volley to the effortless swing of its sign-off, “Mean Disposition.” Watts’ command allows new bassist Darryl Jones to easily click into place. (Bill who?) Keith Richards plays fast and loose, and Ron Wood adds his own torn and frayed finesse to Richards’ vamps. Mick Jagger ‘s singing is pure pleasure.

While they echo the usual catalog of references — Chuck Berry in “Mean Disposition,” Gram Parsons in “The Worst” — the songs on Voodoo Lounge find the Stones charged with renewed musical nerve: the skewed R&B of “Baby Break It Down”; “Moon Is Up,” where the “mystery drum” Watts brushes is an upside-down garbage can; the country-Celtic folk of the Richards-sung “The Worst” (with Wood on sweet pedal steel); the Caribbean skip of “Sweethearts Together.” On “Love Is Strong,” Jagger’s skanking harp (shades of “Miss You”) and predatory vocal chart a dangerous path, though not without humor: “My love is strong/And you’re so sweet/And someday, babe/We got to meet.” “You Got Me Rocking” is a throwback to Exile on Main Street- vintage bar-brawl tunes like “Rip This Joint.”

On the stunning ballad “Out of Tears” (featuring Chuck Leavell’s dreamy piano), Jagger drops attitude to sing couplets of crushing pain: “I can’t feel/Feel a thing/I can’t shout/I can’t scream.” On the other hand, “Thru and Thru” demonstrates that the Stones are still capable of extreme daffiness, as Richards, by now a full-fledged admiral in the nasal academy, sings passionately of a love as constant … as a 24-hour market (“You know that we do takeaway/But we deliver, too …”).

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Just as Jagger’s latest solo outing, Wandering Spirit, proved far stronger than his first two, so Voodoo Lounge is leagues ahead of the last few Stones records. Not surprisingly, the record is suffused with sex, ironic or otherwise. But now, while still pussy crazy after all these years, Jagger asserts his unflagging drive while singing tenderly about his fears of aging and loss of potency.

Hence the procession of sweet things ready to fuel the flagging flames. Wandering Spirit’ s immortal motto (“I’m as hard as a brick/Hope I never go limp,” from “Wired All Night”) has ballooned into Voodoo Lounge’s cornucopia of concupiscence: “You make me hard/You make me weak” (“Love Is Strong”); “Sparks will fly/When I get myself back on you, baby” (“Sparks Will Fly”); “Jack her up, baby, go on, open the hood/I want to check if her oil smells good/Mmm — smells like caviar” (“Brand New Car”). Jagger can’t help it; he’s just afraid of running out of time. It’s not odd in this context to find the horny funk of “Holetown Prison (Suck on the Jugular)” with lyrics like “All get together and fuck all night…. Let’s live lasciviously” side by side with a lovely study of faith and fate, the anti-violence “Blinded by Rainbows”: “Do you fear the final hour/Do you kneel before the cross….”

While Jagger and company are busy logging time on the sex beat, their sex-and-romance lyrics can also be read as a metaphor for career. The assertion that they can jolly well keep up artistically and commercially peeks out from under the tellingly titled “New Faces.” With its “Lady Jane”-style harpsichord, the song mock-dramatizes a lover’s comeuppance by a “figure of youth”: “He stands so aloof/With an indolent air/And an insolent stare.” Still, the upstart may end up “rotting in hell” for presuming to take the mantle.

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On “Out of Tears,” Jagger faces down mortality: “I just can’t pour my heart out/To another living thing/I’m a whisper/I’m a shadow/But I’m standing up to sing.” But just in case you think he’s gone all sensitive, meet “I Go Wild,” on which a “raggedy dog” sniffs out some girls: “And the doctor says/You’ll be OK/And if you’d only/Stay away/From femmes fatales /And dirty bitches/And daylight drabs/And nighttime witches… And politicians’ garish wives/With alcoholic cunts like knives.”

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From Beggars Banquet to Sticky Fingers, the Stones tantalized me into adolescence. I was 10 or 11 when I heard “Stray Cat Blues” and “Live With Me.” That they also sang about “stupid girls” was lost on me then but not for long. The Stones, however, haven’t much changed on this score. They maintain their Stone Age attitudes about women and sex even as they pass through middle age with lyrics that today’s alternahunks wouldn’t be caught dead singing.

The other day a friend dismissed the bravado of one line off of Voodoo (“I’m gonna fuck your sweet ass,” from “Sparks Will Fly”), grumbling, “Why don’t they sing about stuff that really concerns them, like chronic back pain or tax dodging?” Worthy topics, to be sure, yet I maintain that Mick still means it — this grandfather is still high on hormones and happier for it.

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Voodoo Lounge tour dates 2024 - 2025

Voodoo Lounge is currently touring across 1 country and has 10 upcoming concerts.

Their next tour date is at Blues Garage in Isernhagen, after that they'll be at Kulturbastion in Torgau.

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Rolling Stones – Voodoo Lounge Tour

The Voodoo Lounge tour sported a classic set designed by Mark Fisher with Lighting Design by Patrick Woodroffe. The entire back of the set was constructed of an undulating metal mesh, with an ACL (aircraft landing light) at each node. It represented possibly the first tour to use a two-dimensional media wall as a central set piece. The Artistic Licence Lamp-Tramp system (a precursor to Colour-Tramp ) was used to control the media wall and uniquely allow it to be programmed in the style of an art programme rather than lighting board.

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Voodoo Lounge

The rolling stones.