urban jungle tour

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
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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.).

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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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After three decades of touring, The Rolling Stones had seen it all and played thousands of gigs, but nothing they had previously attempted came close, in terms of scale and ambition, to their Steel Wheels tour

Everything about it was massive. The set, the money, the size of the touring party, the merchandise, the sponsorship deal, and the set list, all took The Stones to another level. The tour’s opening night was on 31 August 1989 and at the end of the year, Variety magazine reported that the band had secured 10% of every $ spent on seeing rock shows in the USA.

By the time their tour of America, Japan and Europe was over they had played to almost 6 million people, who each night marvelled at the set and the two hour show that the band put on… and what a show it was.

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The opening night was at Veteran’s Stadium before a crowd of 55,000 fans and the following day the Philadelphia Enquirer‘s headline simply said, “Inspired Rock And Roll, Despite All The Show Biz.” The paper’s slightly backhanded compliment was because no one had ever witnessed a stage set like it before.

Set designer Mark Fisher had created an ‘apocalyptic vision’ of urban decay and it was huge. To this point it was the largest touring stage ever built and took 80 trucks to move it from city to city and needed a crew of 200 people to erect it, along with 150 additional workers at each location. To add to the brilliance of the stage set, Patrick Woodroffe’s lighting effects were equally amazing.

This was The Stones first tour without Ian Stewart, who passed away in 1985, and it included a number of additional musicians including Chuck Leavell and Matt Clifford on keyboards; Clifford used some samples during the show making their music more tightly choreographed than on any previous Stones’ tour. There were three backing singers, Lisa Fischer, Bernard Fowler and Cindi Mizelle – another first, and in addition to four man, Uptown Horns, Stones’ stalwart, Bobby Keys, played saxophone.

The last night of the US tour was on 20 December 1989 in Atlantic City, New Jersey and after a near two month break things got back underway in Tokyo’s Korakuen Dome on Valentine’s Day 1990 for what was the band’s first tour of Japan. Their ten shows at were seen by half a million people and the tour was sponsored by the oddly named, to western ears, Pocari Sweat; one of Japan’s leading soft drinks; in the US Budweiser paid £3.7 million for the exclusive rights to sponsor the tour.

In the middle of the tour a gig at Cardiff in Wales and two London shows at Wembley Stadium had to be postponed because Keith cut his finger and it turned septic; this was the first time Keith had missed a show in his career. This meant that the last show of the tour was at Wembley Stadium on 25 August 1990, close to a year since this massive affair had got underway.

Their set at Wembley was shorter than in Philadelphia in terms of the number of songs they played, just 23, but it did include some new numbers – ‘Harlem Shuffle’, ‘Angie’, ‘2000 Light Years From Home’ and ‘Street Fighting Man’. It was also Bill Wyman’s last gig as a member of The Rolling Stones, before the Voodoo Lounge tour began in August 1994 Wyman announced he was quitting the band.

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August 25, 2016 at 5:44 pm

I saw the show in Prague, Aug. 8, 1990, and I believe the tour did not originally include Prague. I wish someone would write about how Prague was added to the tour or maybe post a previous article that was written about how it happened.

August 25, 2016 at 6:03 pm

You are right. It was a late addition. I have Urban Jungle t-shirts, poster that do not list Praha. A behind-the-scenes story would be fascinating. I believe they hung out with Vaclav Havel, though I don’t know if he was at Strahov. To me Praha was more momentous than Havana. The former was a celebration of democracy, the latter an admission that we still have a long way to go. We were all younger back then, too!

August 25, 2016 at 8:14 pm

i was there too!!!

here is some info

The Rolling Stones Take On Prague By BURTON BOLLAG, Special to The New York Times Published: August 20, 1990 FACEBOOK TWITTER GOOGLE+ EMAIL SHARE PRINT REPRINTS PRAGUE, Aug. 19— The Rolling Stones, once denounced by the former Communist Government of Czechoslovakia as a capitalist money-making machine, performed before an enthusiastic audience of 107,000 who ignored a heavy rain to attend an outdoor concert on Saturday, which both the band and the fans said they had been awaiting for years.

The concert, staged at the invitation of President Vaclav Havel, was a late addition to the band’s Urban Jungle tour of about 25 European cities. Tanks are rolling out, the Stones are rolling in, was the slogan with which this concert was promoted. Mr. Havel and his wife, Olga, attended the performance.

Tickets cost about $10; the Rolling Stones performed free. The proceeds are to go to a charity for disabled children under the patronage of Mrs. Havel.

A spokesman for the Rolling Stones said that the group had been interested in performing in other former East Bloc countries during its tour, but that it had not been possible to make the arrangements except in Prague and for two performances in East Berlin last Monday and Tuesday. The Stones last played Eastern Europe in the late 1960’s, performing in Warsaw.

Jackets for Glassware

Several hours before the concert, the five members of the Stones met with Mr. Havel at his official residence at Hradcany Castle overlooking Prague. The band gave him several leather and denim bomber jackets with the Rolling Stones insignia, and he gave them some fine glassware.

The Czechoslovak news agency CTK reported that ”in the conversation with Mick Jagger and other members of the Rolling Stones, the president expressed his joy over the fact that the concert was taking place, and spoke of the role that rock music played in the events leading to the November revolution and the revolution itself.”

Mr. Havel, who has attended the rock club CBGB in Manhattan, has reversed the country’s offical stand on its distaste for rock music. This year, he appointed the musician Frank Zappa a special cultural ambassador for Czechoslovakia.

Although such artists as Stevie Wonder and Joan Baez performed here in recent years, opportunities for Western and Czechoslovak rock artists were sharply limited.

Czechoslovak followers of the Rolling Stones said the band’s ”Black and Blue” album from the 1970’s was its only album sold officially in Czechoslovakia before the revolution in November. But Czechoslovak fans kept up with the Stones and other Western rockers by listening to bootlegged recordings and foreign radio broadcasts.

Gymnastics of a Different Sort

The concert, complete with a fireworks display and giant inflatable figures, was staged at Strahov Stadium here, said to be the largest in the world. The stadium had mainly been used for gymnastics exhibitions favored by the former Communist Government. But since the gymnastics were staged only once every five years, the stadium was considered by many in Prague to be a white elephant.

Concertgoers came from across Europe, but organizers said the largest number of foreign concertgoers, about 10,000, came from neighboring Hungary.

The concert took place just three days before the 22d anniversary of the Soviet-led invasion of the country to crush Prague Spring, the reform movement of 1968.

As if to underline irreverently the country’s break with the past, a giant cut-out poster of the band’s logo – a tongue sticking out of a mouth – was put up on a hill overlooking the historic old section of Prague. Giant portraits of Stalin had stood there in the past.

Still Strutting, Still Jumping

After several warmup groups played, the Rolling Stones performed for 2 hours and 20 minutes. Mick Jagger, who became 47 years old in July, strutted, jumped, played and sang in his energetic fashion on such familiar songs as ”Jumping Jack Flash.”

The audience was particularly excited by ”Satisfaction” and ”Sympathy for the Devil.”

After the concert, Zdena Riegrova, a 23-year-old student at Charles University in Prague, said: ”It was a great experience. It’s a pity we couldn’t have seen them 10 years ago.”

Photo:Keith Richards, left, and Mick Jagger of the Rolling Stones with President Vaclav Havel, right, during a meeting on Saturday in Prague before the band’s concert, which Mr. Havel attended. (Agence France-Presse) FACEBOOK TWITTER GOOGLE+ EMAIL

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The Rolling Stones’ Czech Invasion

By Roman Lipcik

Roman Lipcik

K ameny se vali do Prahy!”

Speaking with what to Czechs sounded like an Arabic accent, Mick Jagger appeared on Czechoslovak state TV in early August to make the announcement: The Stones are rolling into Prague. And, on posters plastered throughout the city, there was another slogan: The tanks are rolling out. The statements were more than a symbolic allusion: On August 18th, three days before the twenty-second anniversary of the Soviet-led invasion of Czechoslovakia , this country was to experience something that would have been impossible just nine months ago. The grandest rock concert in Czechoslovak history: the Rolling Stones and their Urban Jungle Tour .

“Prague is a city and Czechoslovakia a country that have always had music in the coat of arms of their culture,” Mick Jagger said on the day of the concert when asked why, of all the cities in liberated Eastern Europe, the Stones had decided to play Prague. “And your government has a very favorable attitude toward us and has been very cooperative. We’d like to play in other Eastern countries as well, but we haven’t gotten the support anywhere else.”

Vaclav Havel , the new president of Czechoslovakia, has been an outspoken admirer of the arts, especially rock & roll. An author and playwright himself, he appointed Frank Zappa as a special cultural ambassador, played host to Lou Reed and Robert De Niro when they were in Prague and visited the punk club CBGB while on an official visit to New York.

“For me, the Rolling Stones have always been a sort of counterweight to the more amiable, more lyrical and often more easygoing Beatles ,” President Havel said a few days before the concert. “I used to listen to their music often. Songs like ‘ Satisfaction ‘ can hardly be forgotten. If their concerts are half as good as people write and talk about them, I can’t wait to see the Rolling Stones with my own eyes.”

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The first contact between President Havel’s advisory staff and the Stones’ managers took place in April. On August 1st a contract was signed in Vienna, leaving only seventeen days to take care of publicity and other technical and logistic matters itemized in the twenty-two-page agreement. The Stones agreed to waive their fee for the show — though most of their expenses were covered — and all proceeds were to be donated to the Goodwill Committee, a group established by First Lady Olga Havel to serve various charities.

“We’ve always been glad to play new places, and we’ve always known that people in Czechoslovakia would be glad to see us,” said Keith Richards , as he sipped a bourbon. “It hasn’t been possible to do it sooner. Who knows what we’d have had to face if we had come in the past. Jail? Arrest on charges of subversion? It’s always suspect if a government starts to be afraid of a rock & roll group. Rock & roll is a feeling, a spiritual condition. As soon as you start hacking away at it and warning that someone might be jailed for a song, the music gains other dimensions and becomes an important force. But that isn’t normal. That’s why I don’t like to use rock & roll as a challenge. Rock doesn’t like being carried like a banner.”

Had Keith Richards been a musician in Czechoslovakia not so long ago, he’d probably have fled — as many Czech rockers did. Or he’d have been in permanent conflict with the law. Anti-establishment bands — as the Rolling Stones were early on in their career — have never had an easy life in Czechoslovakia. The government forced them to make compromises in their music, in their stage appearance and in their image — and after that didn’t silence them, the government cracked down harder.

The early Eighties were the dark years of Czech rock. So dense was the cobweb of government repression that dozens of bands were prohibited from playing even in the tiniest students’ club. Access to recording studios, radio or TV — these things could not be spoken of.

The second half of the Eighties brought about an illusory improvement. Responsibility for rock music fell to the Communist-controlled Socialist Union of Youth. The government’s tactic was clear: If we don’t provide rock to young people, they will revolt, so let’s give it to them but control it with an iron hand. Rock under state supervision — that was the name of the game in the late Eighties.

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O n the day before the concert, at 3:00 a.m., the Rolling Stones landed in Prague, having flown from West Germany on President Havel’s plane, a privilege previously reserved for officials of friendly foreign governments. At the Palace Hotel, rooms were outfitted to meet the group’s specifications. The hotel had to borrow many things from around the country to accommodate the band members; the black curtains they requested for their bedrooms, for example, were made from borrowed funeral banners.

The organizational infrastructure necessary to put on a concert of the magnitude of the Stones’ Urban Jungle Tour was nonexistent in Czechoslovakia. As a result, a Czech production team was set up just for this one show. It worked in conjunction with several enthusiastic individuals and associations that also had to establish new companies and co-ops to take care of the preparations for the concert. In addition, two overseas sponsors, TDK and Anheuser-Busch, and about twenty local sponsors helped with contributions — though the Czech sponsors threw in a cautiously modest amount, this method of financing being rather unusual to them.

O n the afternoon of the show, the five members of the Stones were received by the president at his official residence, Hradcany Castle. “I didn’t make any special preparations for the meeting,” Keith Richards said. “I knew that your president was a straightforward and pleasant man, and this was confirmed. He’s also a very funny guy. What did we talk about? We just made small talk. It’s hard to have a conversation with someone you’re meeting for the first time in your life, especially when you’re surrounded by cameras.”

Jagger came a bit more prepared. “I haven’t read his plays, but I know his essays and some smaller things, including his brilliant letter to President Husak,” he said. “I also know one of his recent books, a long dialogue that was just published in our country. In it, he asks whether he will catch a second wind in his writing or whether he’s doomed to repeating himself, and he says he doesn’t know. So I told him I thought the problem was solved now. The second wind has come with his presidency, and he doesn’t have to worry that it won’t come again to Havel the writer.

“But there wasn’t really much conversation,” continued Jagger, sipping a mineral water. “These official events are a bit unhappy occasions. The day before, we met Mrs. Havel in a restaurant, and that was the right way to do it.”

For Jagger, the highlight of the visit was the group’s appearance with the president on the castle’s balcony, a place from which the Czech people are used to hearing news, both good and bad, of great import. But on this day, the Stones just waved hello to the people crowding the courtyard below, and the fans responded with an enthusiastic cry, a small taste of what was to come later in the evening at the stadium.

The Strahov Stadium is the largest in the world, with a capacity of 300,000. Early on, the concert’s organizers had agreed to use just one-third of it for the Stones show, limiting ticket sales to about 100,000. Two days before the concert, it wasn’t clear whether the show would be sold out. Tickets were priced at 250 crowns each (about $10), a modest amount by Western European and American standards. But for the Czech budget, that price represented about a tenth of the average monthly income.

“Are the tickets too expensive?” Jagger asked. “We won’t earn one thin dime, and even if the tickets were priced double, we would still be losing money. That’s a problem with doing concerts in Eastern Europe — the tickets are too expensive for you, and we’re losing money.”

In the end, the price was a bargain for tourists, and tickets were also sold in Hungary, Austria, Poland and Germany. About 10,000 fans came from Hungary alone — an ironic reminder of the times when thousands of young Czech music fans would make their way to Budapest almost monthly to see bands that could not play in their own country.

The huge stage set, built by a team of British and Hungarian workers, with some assistance from Czech scaffold builders, looked almost minuscule on the stadium’s immense field. But the crowd, which finally numbered about 107,000, made up for that. The audience gave a lukewarm welcome to Czech singer Vladimir Misik and Etc., one of the bands that had suffered through the unpleasant experience of the past regime. The response was a little more enthusiastic for the Dan Reed Network, the American band that preceded the Stones. Then, at 9:30 p.m., a thundering overture and fireworks announced the arrival onstage of the Rolling Stones, playing “Start Me Up.”

After 135 minutes — during which spectators managed to get wet from the rain and then dry again from the heat of the crowd — the show was over. The Rolling Stones had played a great concert, keeping a promise Keith Richards had made earlier. “We really care about this concert,” he’d said. “We’ll try to play the best we can.”

The dreams of three generations of Czech music freaks had come true.

A t 1:00 a.m., as I rode from the stadium to the subway, which was kept open past midnight for the first time in its existence, a cavalcade of cars with a white BMW in the middle passed me. President Havel had been held up for a while after the concert. He had to send a cable to the group, which had departed immediately for London, once again using his plane. The message he relayed to the Stones said that as he was listening to them, he realized that their music deals with many of the same things that he’s been fighting for, with his life and his work. And that, perhaps, was the best critique of the night.

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This is a story from the October 4, 1990 issue of Rolling Stone.

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Top choice in Zamoskvorechie

Moscow's main city escape isn't your conventional expanse of nature preserved inside an urban jungle. It's not a fun fair either, though it used to be one. Its official name says it all – Maxim Gorky's Central Park of Culture and Leisure. That's exactly what it provides: culture and leisure in all shapes and forms. Designed in the 1920s by avant-garde architect Konstantin Melnikov as a piece of communist utopia, these days it showcases the enlightened transformation Moscow has recently undergone.

Activities include cycling, rollerblading, beach volleyball, urban and extreme sports, table tennis and even pétanque. There are 13 bicycle- and skate-rental places around the park, with one conveniently located under the Andreyevsky pedestrian bridge . In winter, the ponds are flooded, turning the park into the city’s biggest ice-skating rink .

Art objects pop up throughout the park as part of various exhibitions and festivals, but Darya Zhukova's Garage Museum of Contemporary Art plays the flagship role. There are also numerous eateries in the form of small kiosks, the main cluster being the Gorky Park Food Row .

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This is Moscow’s premier foreign-art museum, split over three branches and showing off a broad selection of European works, including masterpieces from…

St Basil's Cathedral

At the southern end of Red Square stands the icon of Russia: St Basil’s Cathedral. This crazy confusion of colours, patterns and shapes is the culmination…

Moscow Kremlin

The apex of Russian political power and once the centre of the Orthodox Church, the Kremlin is the kernel of not only Moscow, but of the whole country…

Lenin's Mausoleum

Although Vladimir Ilych requested that he be buried beside his mum in St Petersburg, he still lies in state at the foot of the Kremlin wall, receiving…

Immediately outside the Kremlin’s northeastern wall is the celebrated Red Square, the 400m-by-150m area of cobblestones that is at the very heart of…

State Tretyakov Gallery Main Branch

The exotic boyar (high-ranking noble) castle on a little lane in Zamoskvorechie contains the main branch of the State Tretyakov Gallery, housing the world…

Hermitage Gardens

All the things that have improved Moscow parks no end in recent years fill this small, charming garden to the brim. Today, it is possibly the most…

Nearby Zamoskvorechie attractions

1 . Gorky Park Museum

The grandiose colonnaded arch that serves as Gorky Park's front entrance now contains a museum, its exhibition largely comprised of old photographs and…

2 . Central House of Artists (TsDKh)

Sometimes called by its initials, this huge building attached to the New Tretyakov Gallery contains studios and galleries, as well as exhibition space for…

3 . New Tretyakov Gallery

Moscow's premier venue for 20th-century Russian art, this branch of the Tretyakov Gallery has much more than the typical socialist-realist images of…

4 . Garage Museum of Contemporary Art

The brainchild of Moscow art fairy Darya Zhukova, Garage is one of the capital's hottest modern-art venues. In 2015, the museum moved to spectacular new…

5 . Church of St John the Warrior

The finest of all Zamoskvorechie’s churches mixes Moscow and European baroque styles, resulting in a melange of shapes and colours. It was commissioned by…

6 . Art Muzeon & Krymskaya Naberezhnaya

Moscow's answer to London's South Bank, Krymskaya Nab (Crimea Embankment) features wave-shaped street architecture with Scandinavian-style wooden elements…

7 . Church of St Nicholas in Khamovniki

This church, commissioned by the weavers’ guild in 1676, is among the most colourful in Moscow. The ornate green-and-orange-tapestry exterior houses an…

8 . Moscow Museum

The permanent history exhibit here demonstrates how the city has spread from its starting point at the Kremlin. It is heavy on artefacts from the 13th and…

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Jungle  

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• Victoria, Seychelles Change location

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Upcoming concerts (48) See all

Spark Arena

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Greenroom Festival

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Seoul Jazz Fest, Korea

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Tours most with, live reviews.

First gig at O2 Brixton (as well as first time seeing Jungle live) and we were blown away by the venue as well as by the quality of the sound. To be honest, I was a bit sceptical about seeing Jungle transpose their unique style in a live setting; however, I would give their effort a solid 8.5 / 10. The show began with a kid breakdancing to one of the song's album and this really put the crowd in a great mood - something the band was able to sustain throughout most the show. Points taken off the overall score mainly due to two things:

1) The difficulty in keeping a high energy level through some of their more subdued track that necessitate the group to remain mostly static behind their instruments

2) A few hiccups here and there - starting "Drops" on the wrong key, then struggling to get it back on track as well as the challenges of staying tight through a few of the more complex numbers

Overall though, a great evening, with much dancing despite being in the Circle (seated area). Busy Earnin was the highlight - and who can hold anything against a band that finishes off their set with confetti cannons spewing gold and silver glitter all over the place?!

Will look to catching them live again for sure!

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Fan-tastic!!!!

Really looked forward to this event. More excited even than when we saw Will Smith at Blackpool if that was possible (but that was because even until he came on I couldnt quite believe it was happening, I mean - Will Smith in Blackpool, nahhh).

Anyway, Jungle at The Invisible Wind factory.

I wasnt disappointed. I LOVE Jungle. They are mesmerising to watch. Sounded perfect every song. The moment they start playing their opening riffs the whole crowd are pumped. Venue was superb, unique. Perfect for this type of gig. First time we’d been but I would definitely go again.

If I could only see one band from now on though, it would be these folks. Felt very intimate, like they’re playing to you! Let me be clear, Jungle were Ay-mazing! It was a truly memorable experience. My advice: 1) see Jungle; 2) go to a gig at TIWF; 3) if possible, go see a Jungle gig at TIWF.

Jungle is a fairly new band on the scene. From their head nodding basslines to their funky rhythm, there's nothing to dislike about them. I love listening to them on my phone but watching them live is a completely different experience. The energy they produced on stage shook the crowd like a live wire. I started dancing when they came out and didn't stop until they ended. There wasn't much interaction with the crowd but that was because they were pulling out hit after hit from their amazing album. I was ik euphoria for the whole show. My expectations were met. I left a happy man and would love to see them again.

Just OK. Don't get me wrong, I love Jungle and their debut album. But their concert à la Cigale in Paris was just good enough and somehow disappointing. First we wait one hour after the opening before their dared to show on stage. Then they sounded like they were just rehearsing. The lead vocal has so much soul in his voice that I would have enjoyed to feel it in the acting of the band too. But I did not felt the vibe. To me, it was a bit too clean: no improvisation or so little, not much engagement neither. Maybe it is just me, or this is what you get when you make your audience wait too much.

Good show. Band were good and sounded excellent. However the venue was piss poor. Awful place to see a band. 2/3 of the viewing space is above the stage, which sounds great until you realise that only the people at the front can see - everyone else is blocked from view. Also it took over an hour to get into the show as the door staff and management team at Pryzm were frighteningly inefficient. I have no idea what they were going but we queued for an hour and missed the first 30 minutes. Woeful - will not be attending a gig at New Slang in Pryzm again. Awful experience

The show was amazing... So were the artists! I expected the performance to be great when I was buying the tix, but I didn't expected it to be THAT great. I had a fantastic time on the dancefloor with my friends, the crowd was SUPER nice, SUPERfancy and SUPERpolite.

For me, the greatest joy at the shows is to see musicians to enjoy themselves while performing... And how the band acted on scene was awesome. You can literally see that the guys loved EVERY chord they've made for the audience.

10/10, would totally revisit

Jungle has a pretty cool sound and is super funky but I have to admit I was very skeptical and wasn't sure if they were going to deliver live - Boy was I wrong! The energy was great, them, the band and the back up singers! Jungle is from London and are described as modern soul but they are more than that. You can hear the 70's funk inspiration - perfect for a good concert with loads of dancing. They played at a medium sized venue and thet carried themselves pretty well. I recommend a Jungle concert to anyone :)

I've never seen them in concert. Only bcus they haven't made their way to my city. I guarantee that I'm their #1 FAN in ST. LOUIS, MO!!! I really hope they make it to the midwest in 2020. I will definitely be in attendance. I shared their videos with our main Entertainment Report here in STL. He's jamming to them as I type.

Next Tour Schedule should include - St. Louis, MO - great venues - The Pageant, Delmar Hall or The Ready Room.

MIND. BLOWING. What a great performance by this band. I have been a huge fan of them and they really did not disappoint, I read many reviews of their concerts and everyone said they are good live so my expectations were pretty high. One thing is listening to them on iMusic but another is seeing them live, it was unbelievable, 10/10 flew all the way from Atlanta to Washington to see them and it was totally worth it.

Amazing sound quality (congrats to the sound guys), and incredibly tight band. Voices are top notch. Great energy. Don't remember seeing the Germans (if you excuse me the stereotypical comment) on the crowd dancing so much since a while! Short (they only have an album after all), but loads of fun! 10/10 would see again.

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Past concerts

Ogden Theatre

Red Rocks Amphitheatre

Arizona Financial Theatre

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Jungle tour dates and tickets 2024-2025 near you

Want to see Jungle in concert? Find information on all of Jungle’s upcoming concerts, tour dates and ticket information for 2024-2025.

Jungle is not due to play near your location currently - but they are scheduled to play 48 concerts across 26 countries in 2024-2025. View all concerts.

Next 3 concerts:

• Gothenburg, Sweden
• Auckland, New Zealand
• West Melbourne, VIC, Australia

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• London (32)
• New York (NYC) (17)
• Los Angeles (LA) (14)
• Manchester (13)

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• Jon Hopkins (27)
• St. Vincent (27)
• Royal Blood (24)
• Caribou (24)
• Hozier (21)

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ARD Room Tour

Wohnen im Gewächshaus, wie im Wilden Westen oder in einer ehemaligen Kläranlage. Bei der ARD Room Tour öffnen Menschen die Tür zu ihrem ungewöhnlichen Zuhause. Bei einem persönlichen Rundgang erzählen sie Details zu Ausbau, Einrichtung und Architektur und sprechen über ihre Lebensphilosophie.

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Unser traum vom günstigen eigenheim direkt an der bahn, ungeplante diy-sanierung einer altbau-villa, werkstatt wird wohnloft: stefans alte feilenhauerei, rettung für fachwerkhaus mit upcycling statt geld, wohnhaus und weingut im bauhaus stil, alles grün - leben in einem meer aus pflanzen, kleine dachwohnung kreativ eingerichtet mit viel licht, fachwerk-ruine gekauft und gerettet, altes bahn-stellwerk gerettet und umgebaut für die rente, lkw-anhänger zum tiny house umgebaut, alte bäckerei wird wohnraum, ritas wohn-tricks gegen depression & angst, wohnen im alten saustall, unser gemütliches landhäuschen zur miete, my home is my tower: wohnen im höchsten tiny house, das haus des schatzsuchers, für die rente ins tiny house, dachgeschoss ausgebaut: traumwohnung auf kleinem raum, sid & jonny sanieren ein altes schulhaus, thomas und conny wohnen im lkw, türkisch-deutsches zuhause im oriental style, unser lebenswerk: die alte mühle, alte gärtnerei wird landhaus im vintage-style, jürgen & claudia wohnen zur miete in einem schloss, ein paradies in der pfalz: antiquitäten, fachwerk und blütenzauber, patchwork-papa baut alte villa für seine kinder um, zu viert auf 65 m²: gute tricks fürs tiny living, arnos alte schule: selbst saniert ohne schulden zu machen, makeover: 70er-jahre-bau wird barbie-traumhaus, tiny living im turm: 47 m² auf 4 etagen, diy: patrick pimpt alte möbel, eigenes tiny house mit baugenehmigung, 150 jahre altes haus fit für die zukunft gemacht: energiesparen im altbau, selma renoviert omas altes häuschen, erics unglaubliches loft: wohnen in der filmkulisse, restaurieren gegen leerstand und verfall, alte villa wird traumhaus (omu), alten bauernhof selbst renovieren, annes kunterbuntes mosaik-haus, verliebt in ein mittelalterliches fachwerkhaus, wohnen in der wagenburg, jürgens haus im glashaus, wohnen in der alten eisdiele, wohnen wie in der mongolei, mit 18 plötzlich hausbesitzerin, svens traum vom loft im heuboden, tiny-flat-familie: zu fünft auf 40 m², mana rettet den kern ihres heimatdorfes, alte turnhalle zum traumhaus umgebaut, kunsthistoriker restaurieren alte kutschenstation, so individuell kann ein reihenhaus sein, mehr farbe so wohnen samuel & annika, wohnen in absoluter ruhe und abgeschiedenheit, kluge ideen für nachhaltiges bauen und wohnen, dachzeltnomaden: jeden tag woanders wohnen, luxus-penthouse im bunker, ein altes schwimmbad zur wohnung umbauen, so wohnen anna und heide prinzessin von hohenzollern auf schloss burg namedy, handwerker eyke baut sich seine traumwohnung, anne wohnt seit 30 jahren ohne strom auf 4x4 meter, alte mosterei wird industrie-loft, wohnen als dauercamper auf dem campingplatz, altes fachwerkhaus in 20.000 stunden selbst saniert, wie nachhaltig und autark kann man wohnen, leben in selbstgebauten jurten, interior design makeover für 60er-jahre-mietshaus, altes berghaus gerettet, lost place wird wohnraum: altes pumpenhaus, american dream im blockhaus, neuer look für altes 40er-jahre-haus, ferienhaus-bausatz: hausbau ohne schulden, südamerikanisches sommerhaus am rhein, hermanns haus der unmöglichen ideen, wohnen im alten freizeitheim, wohnen wie im märchen, unser haus aus stroh, wohnen wie im museum: markus lebt in den 1950er jahren, sechseckiges sandsteinhaus, wohnen im alten kuhstall, so wohnt steampunk alex, tiny living im selbstgebauten holzhaus, der traum von der eigenen burg, kikis beach house, ingrids haus der gefundenen dinge, früher gaststätte, jetzt familien-villa, das graffiti-haus von annamalt, leben auf dem frachtschiff der brüder mnich, earthship: nachhaltiges leben in gemeinschaft, earthship: nachhaltiges leben in gemeinschaft - hörfassung, yannicks weltenbummler-villa, yannicks weltenbummler-villa - hörfassung, mini-loft in altem bunker, wohnen mit rollstuhl: barrierefrei und individuell, wohnen mit rollstuhl: barrierefrei und individuell - hörfassung, wohnen im alten kieswerk, wohnen im alten kieswerk - hörfassung, urban jungle mit 120 pflanzen, urban jungle mit 120 pflanzen - hörfassung, alte schwarzwald-villa modern renoviert, alte schwarzwald-villa modern renoviert - hörfassung.