rolling stones tour names

List of the Rolling Stones concert tours

Since forming in 1962, the English rock band the Rolling Stones have performed more than two thousand concerts around the world, [1] becoming one of the world's most popular live music attractions in the process. The Stones' first tour in their home country was in September 1963 and their first American tour began in June 1964. In their early years of performing, the band would undertake numerous short tours of the United Kingdom and North America, playing in small- and medium-size venues to audiences composed largely of screaming girls. As time moved on, their audience base expanded (in terms of both size and diversity) and they would increasingly favour larger arenas and stadiums. For many years, the group would choose to play North America, Continental Europe , and the United Kingdom on a three-year rotating cycle. [ citation needed ]

Concert tour chronology

Many audio recordings exist of Rolling Stones concerts, both official and unofficial. Seventeen official concert albums (eighteen in the US) have been released by the band, 6 of which were previously unreleased concert recordings released from 2011–2012, including the highly bootlegged Brussels Affair . Several of their concerts have also been filmed and released under a variety of titles, such as The Stones in the Park which records the band's performance at Hyde Park in 1969 on the festival of the same name . [ citation needed ]

The most famous and heavily documented of all the band's concerts was the Altamont Free Concert at the Altamont Speedway in 1969, the final show of their American Tour 1969 . For this concert, the biker gang Hells Angels provided security, which resulted in a fan, Meredith Hunter , being stabbed and beaten to death by the Angels after he drew a firearm. [2] Part of the tour and the Altamont concert were documented in Albert and David Maysles ' film Gimme Shelter . As a response to the growing popularity of bootleg recordings , the album Get Yer Ya-Ya's Out! (UK 1; US 6) was released in 1970; it was declared by critic Lester Bangs to be the best live album ever. [3]

The biggest concert the band gave was in Rio de Janeiro , Brazil, part of the A Bigger Bang Tour , in 2006. The second largest was in 2016, when the band played for the first time in Cuba, during their América Latina Olé tour. An estimated 1.2 million fans, more than half of the population of Havana, saw the Rolling Stones whose music had been banned by the Cuban regime until only nine years before the concert. A live album and film, The Rolling Stones: Havana Moon , were released in 2016.

In bold , the tours which, when completed, became the highest-grossing of all time . [6]

• List of highest-grossing concert tours
• List of highest-grossing live music artists

Related Research Articles

The Rolling Stones are an English rock band formed in London in 1962. Active across seven decades, they are one of the most popular and enduring bands of the rock era. In the early 1960s, the band pioneered the gritty, rhythmically driven sound that came to define hard rock. Their first stable line-up consisted of vocalist Mick Jagger, guitarist Keith Richards, multi-instrumentalist Brian Jones, bassist Bill Wyman, and drummer Charlie Watts. During their early years, Jones was the primary leader of the band. After Andrew Loog Oldham became the group's manager in 1963, he encouraged them to write their own songs. The Jagger–Richards partnership became the band's primary songwriting and creative force.

Charles Edward Anderson Berry was an American singer, guitarist and songwriter who pioneered rock and roll. Nicknamed the "Father of Rock and Roll", he refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958). Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music.

Mathis James Reed was an American blues musician and songwriter. His particular style of electric blues was popular with a wide variety of audiences. Reed's songs such as "Honest I Do" (1957), "Baby What You Want Me to Do" (1960), "Big Boss Man" (1961), and "Bright Lights, Big City" (1961) appeared on both Billboard magazine's R&B and Hot 100 singles charts.

" Jumpin' Jack Flash " is a song by the English rock band the Rolling Stones, released as a non-album single in 1968. Called "supernatural Delta blues by way of Swinging London" by Rolling Stone magazine, the song was perceived by some as the band's return to their blues roots after the baroque pop and psychedelia heard on their preceding albums Aftermath (1966), Between the Buttons (1967) and especially Their Satanic Majesties Request (1967). One of the group's most popular and recognisable songs, it has been featured in films and covered by numerous performers, notably Thelma Houston, Aretha Franklin, Tina Turner, Peter Frampton, Johnny Winter, Leon Russell and Alex Chilton. To date, it is the band's most-performed song; they have played it over 1,100 times in concert.

Michael Kevin Taylor is an English guitarist, best known as a former member of John Mayall's Bluesbreakers (1967–1969) and the Rolling Stones (1969–1974). As a member of the Stones, he appeared on Let It Bleed (1969), Get Yer Ya-Ya's Out! The Rolling Stones in Concert (1970), Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973) and It's Only Rock 'n Roll (1974).

Sticky Fingers is a studio album by the English rock band the Rolling Stones. It was released on 23 April 1971 on the Rolling Stones' new label, Rolling Stones Records. The Rolling Stones had been contracted by Decca Records and London Records in the UK and the US since 1963. On this album, Mick Taylor made his second full-length appearance on a Rolling Stones album. It was the first studio album without Brian Jones, who died two years earlier. The original cover artwork, conceived by Andy Warhol and photographed and designed by members of his art collective, the Factory, showed a picture of a man in tight jeans, and had a working zip that opened to reveal underwear fabric. The cover was expensive to produce and damaged the vinyl record, so the size of the zipper adjustment was made by John Kosh at ABKCO records. Later re-issues featured just the outer photograph of the jeans.

Stanley Booth is an American, Memphis, Tennessee-based music journalist. Characterized by Richie Unterberger as a "fine, if not extremely prolific, writer who generally speaking specializes in portraits of roots musicians, most of whom did their best work in the '60s and '50s," Booth has written extensively about Keith Richards, Otis Redding, Janis Joplin, James Brown, Elvis Presley, Gram Parsons, B.B. King, and Al Green. He chronicled his travels with the Rolling Stones in several of his works.

Get Yer Ya-Ya's Out!: The Rolling Stones in Concert is the second live album by the Rolling Stones, released on 4 September 1970 on Decca Records in the UK and on London Records in the United States. It was recorded in New York City and Baltimore in November 1969 prior to the release of Let It Bleed . It is the first live album to reach number 1 in the UK. It was reported to have been issued in response to the well-known bootleg Live'r Than You'll Ever Be . This was also the band's final release under the Decca record label and not under its own label Rolling Stones Records.

" Honky Tonk Women " is a song by the English rock band the Rolling Stones. It was released as a non-album single on 4 July 1969 in the United Kingdom, and a week later in the United States. It topped the charts in both nations. The song was on Rolling Stone ' s 500 Greatest Songs of All Time list, and was inducted into the Grammy Hall of Fame.

Gimme Shelter is a 1970 American documentary film directed by Albert and David Maysles and Charlotte Zwerin chronicling the last weeks of The Rolling Stones' 1969 US tour which culminated in the disastrous Altamont Free Concert and the killing of Meredith Hunter. The film is named after "Gimme Shelter", the lead track from the group's 1969 album Let It Bleed . Gimme Shelter was screened out of competition as the opening film of the 1971 Cannes Film Festival.

Charles Alfred Leavell is an American musician. A member of the Allman Brothers Band throughout their commercial zenith in the 1970s, he subsequently became a founding member of the band Sea Level. He has served as the principal touring keyboardist and musical director of the Rolling Stones since 1982. As a session musician, Leavell has performed on every Rolling Stones studio album released since 1983 with the exception of Bridges to Babylon (1997). He has also toured and recorded with Eric Clapton, George Harrison, David Gilmour, Gov't Mule and John Mayer.

The Rolling Stones American Tour 1972 , also known as the "Stones Touring Party", shortened to S.T.P., was a much-publicized and much-written-about concert tour of the United States and Canada in June and July 1972 by the Rolling Stones. Constituting the band's first performances in the United States following the Altamont Free Concert in December 1969, critic Dave Marsh would later write that the tour was "part of rock and roll legend" and one of the "benchmarks of an era."

The Rolling Stones' 1969 Tour of the United States took place in November 1969. With Ike & Tina Turner, Terry Reid, and B.B. King as the supporting acts, rock critic Robert Christgau called it "history's first mythic rock and roll tour", while rock critic Dave Marsh wrote that the tour was "part of rock and roll legend" and one of the "benchmarks of an era." In 2017, Rolling Stone magazine ranked the tour among The 50 Greatest Concerts of the Last 50 Years.

The Rolling Stones' US Tour 1978 was a concert tour of the United States that took place during June and July 1978, immediately following the release of the group's 1978 album Some Girls . Like the 1972 and 1975 U.S. tours, Bill Graham was the tour promoter. One opening act was Peter Tosh, who was sometimes joined by Mick Jagger for their duet "Don't Look Back". The Outlaws backed up Peter Tosh. Another act opening that day was Etta James, famous for her classic song "At Last".

" Stray Cat Blues " is the eighth song on the Rolling Stones' album Beggars Banquet . It was written by Mick Jagger and Keith Richards and produced by Jimmy Miller. Miller's production of the song is very representative of his style, featuring a very prominent hi hat beat, droning piano performed by Nicky Hopkins, a mellotron performed by Brian Jones, all electric guitars performed by Richards and vocals from Jagger kept even in the mix. According to Mick Jagger, the song was inspired by "Heroin" by the Velvet Underground, with the intros of both songs being particularly similar.

The Rolling Stones' 1971 UK Tour was a brief concert tour of England and Scotland that took place over three weeks in March 1971.

" Carol " is a song written and recorded by Chuck Berry, first released by Chess Records in 1958, with "Hey Pedro" as the B-side. The single reached number 18 on Billboard's Hot 100 and number 9 on the magazine's R&B chart. In 1959, it was included on his first compilation album, Chuck Berry Is on Top .

Live'r Than You'll Ever Be is a bootleg recording of the Rolling Stones' concert in Oakland, California, from 9 November 1969. It was one of the first live rock music bootlegs and was made notorious as a document of their 1969 tour of the United States. The popularity of the bootleg forced the Stones' labels Decca Records in the UK, and London Records in the US, to release the live album Get Yer Ya-Ya's Out! The Rolling Stones in Concert in 1970. Live'r is also one of the earliest commercial bootleg recordings in rock history, released in December 1969, just two months after the Beatles' Kum Back and five months after Bob Dylan's Great White Wonder . Like the two earlier records, Live'r ' s outer sleeve is plain white, with its name stamped on in ink.

" Little Queenie " is a song written and recorded by Chuck Berry. Released in March 1959 as a double A-side single with "Almost Grown", it was included on Chuck Berry Is on Top (1959), Berry's first compilation album. He performed the song in the movies Go, Johnny Go! (1959) and Hail! Hail! Rock 'n' Roll (1987). One year earlier, Berry had released "Run Rudolph Run", a Christmas song with the same melody.

Live from A&R Studios is an album by the Allman Brothers Band. It was recorded on August 26, 1971, at A&R Studios in New York City for a live radio broadcast. It was released on April 1, 2016.

• ↑ Burks, John, "Rock & Roll's Worst Day: The aftermath of Altamont" , Rolling Stone , 1970-02-07, URL retrieved 18 April 2007
• ↑ Bangs, Lester. "The Rolling Stones: Get Yer Ya-Ya's Out" Archived 30 November 2006 at the Wayback Machine . Rolling Stone . 12 November 1970 (accessed 28 April 2007)
• ↑ "Blues before sunrise – Marquee Club, 165 Oxford St, London W1D →2JW" . stonesexhibitionism.com . July 2016 . Retrieved 13 July 2016 .
• ↑ "12th July 1962" . rollingstones.com . July 2016. Archived from the original on 19 June 2015 . Retrieved 13 July 2016 .
• ↑ The Rolling Stones' 12 July 1962 debut show 14-song setlist was as follows: Kansas City (Wilbert Harrison cover); Honey What's Wrong (Bully Fury cover); Confessin' The Blues (Chuck Berry cover); Bright Lights, Big City (Jimmy Reed cover); Dusty My Blues (Elmore James cover); Down The Road Apiece (Chuck Berry cover); I Wanna Love You (Charles Smith cover), I'm Your Hoochie Coochie Man (Muddy Waters cover); Back In The U.S.A. (Chuck Berry cover); Kind Of Lonesome (Jimmy Reed cover); Blues Before Sunrise (Elmore James cover); Big Boss Man (Jimmy Reed cover); Don't Stay Out All Night (Billy Boy Arnold cover); Happy Home (Elmore James cover). The line-up was: Mick, Keith, Brian, Stu, and Dick, but no drummer. [4] [5]

Works cited

• Carr, Roy . The Rolling Stones: An Illustrated Record . Harmony Books, 1976. ISBN   0-517-52641-7

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Every Rolling Stones Tour, Ranked: Critic’s Picks

The legendary rock band has been performing live since the early '60s.

By Gary Graff

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On July 12, 1962, The Rolling (then Rollin’) Stones played their first show at the famed Marquee Club in London. By the fall of 1963 they were on the road in Europe, on the low end of a package with the Everly Brothers, Little Richard, Bo Diddley and more.

Flash forward 60-plus years, and they’re filling the world’s biggest stadiums — as they have been since the mid-’70s — with the current North American leg of their Hackney Diamonds Tour.

Few acts boast the kind of road resume the Stones have built over the decades. Conservative estimates put the group’s tally at more than 2,000 concerts for more than 45 million people — including an estimated 1.5 million alone on Feb. 18, 2006 at Copacabana Beach in Rio de Janeiro, Brazil. And sometimes it seems like Mick Jagger has worn precisely that same number of outfits during all those years of performing.

Two of the Stones’ treks — A Bigger Bang from 2005-2007 and No Filter from 2017-2021 — are among the top 10 grossing tours of all time, according to Billboard Boxscore . The group’s two ’90s tours, Voodoo Lounge and Bridges to Babylon, ranked No. 1 and No. 2 for that decade, and A Bigger Bang topped the 2000s. Clearly, we like it when the Stones come to town — yes we do.

Why? So many reasons — not the least of which is a wealth of rock anthems the Stones dependably deliver most every time they hit the stage. There’s also staging, which is just as dependably awesome, and a sense of seeing bona fide history on display. We can certainly marvel at (and maybe be a little jealous of) Jagger’s continued vigor as he nears 81, and take comfort in the fact that Keith Richards, also 80, is still inexplicably with us despite behaviors that would take most everyone else off this mortal coil. “How do you make rock ‘n’ roll grow up? It seems to me that’s a very interesting question, and we’re the only answer,” Richards told this writer back in 2005. “When we finally croak, you’ll find out how long we can do this.”

The Hackney Diamonds Tour, which began April 28 in Houston and runs through July 17 in North America, is showing that the Stones have yet to gather any moss. Invigorated by a strong new album of the same name, the early shows have featured strong performances and changing set lists, and fans are still coming in droves.

And that has us thinking back over the group’s touring history, and the enormous legacy that’s been created since those Stones started rolling. Check out our ranking of the band’s 17 tours below,

British and American Tours (1964) / Irish Tour (1965)

Dubbed “England’s Newest Hitmakers,” The Stones began headlining on Jan. 6 at London’s Granada Theatre and would not be looking back after that. With Ian Stewart alongside on piano, the group was more exciting than seasoned, playing mostly covers, along with the “I Wanna Be Your Man” single John Lennon and Paul McCartney gifted to them. The footage and recordings that exist seem charmingly modest and rudimentary now, but those deafening audience screams showed that, undeniably, this was just the start of something substantial.

British, European, American and Irish Tours (1965)

The Stones had every reason to have more swagger throughout 1965, as the group released three albums ( The Rolling Stones No. 2, The Rolling Stones, Now! and Out of Our Heads ) and began to put originals on the charts. “(I Can’t Get No) Satisfaction” started being played on the second Irish Tour (documented in the film Charlie Is My Darling ), while “Get Off My Cloud” and “19th Nervous Breakdown” also became part of the setlists before the end of the year. Got Live If You Want It! , recorded during the year’s first British Tour in March and released in late 1966, captures that early mania.

Australasian, European, American and British Tours (1966-1967)

The Stones were clearly coming into their own, with increasingly evolved albums like Aftermath and Between the Buttons , which meant the shows became more about the band than its influences — especially by the time the U.S. arena dates started in June. It was still hard to hear the group over the screaming, but this last run with Brian Jones showed exponential growth — although it would be a couple years before they’d hit the road again.

U.K. Tour (1971)

About to go into tax exile in the south of France (and make Exile on Main Street ), the Stones made a quick (18 shows, 10 dates) March run of their homeland. They retained the horn section from Europe ’70 and played a number of songs from the Sticky Fingers album, which came out a month after the tour ended.

Bridges to Babylon Tour (1997-1998)

Playing 102 dates in 25 countries for more than 4.5 million people, this was one of the Stones’ most extensive tours yet — though box-office wise it came in second, at the time, to the Voodoo Lounge Tour in 1994-1995. Former Beach Boys member Blondie Chaplin joined the backing vocalist team this time, and a genuine bridge came forward from the front of the stage to take the Stones to a B-stage for three songs each night. The tour also introduced in Internet vote that allowed fans to choose one song each night; “Gimme Shelter,” in fact, was added to the regular set after topping the poll four shows in a row. The tour also brought the Stones to Russia for the first time, playing Luzhniki Stadium in Moscow on Aug. 11, 1998.

Tour of the Americas (1975) / Tour of Europe (1976)

Another two-year break, and another new guitarist: Ron Wood had joined from the splintering Faces to replace Mick Taylor. The horn section was gone, but Billy Preston was back from ’72, even playing two of his own hits in the middle of the Stones set. The glimmering, flower-shaped stage was the Stones’ glitziest yet and Jagger’s wardrobe his most eclectic, while the shows were the longest the group had performed to date, clocking in at two hours or more to keep up with industry standards, after being criticized for being too short on previous tours.

The trek also took the Stones into stadiums for the first time. With no new album, the ’75 sets focused on the greatest hits, while the European leg repertoire the following year featured several tracks from the just-released Black and Blue album. Eric Clapton and Carlos Santana were guests at the Madison Square Garden spot, while Clapton returned for a ’76 show in Leicester, England. The Paris ’75 shows yielded three sides of eventual live release Love You Live , while notorious shows the following year at the El Mocambo club in Toronto — in the wake of Richards’ drug bust and near incarceration — filled out the fourth.

U.S. Tour (1978)

This relatively brief — 24 shows — trek came on the heels of Some Girls , the Stones’ best studio album in at least six years, and maybe more. Wood was clearly more comfortable in the ranks at this point, and the new material provided a spark that was missing on the previous North American run in ’75. The itinerary mixed stadiums, arenas and theaters, and an intriguing roster of opening acts — Patti Smith, Van Halen, Journey, Kansas, the Doobie Brothers, Peter Tosh, Eddie Money, Etta James, Peter Tosh — brought new flavors each night. This was also the first time the idea of a farewell tour was invoked, but 46 years on…well, yeah, right.

No Security Tour (1999)

The Stones got “small” again — a relative term, but they moved from stadiums to arenas, at least during the early-year winter leg in North America, for the first time since 1981. Promoting a live album of the same title, No Security was dominated by hits and other favorites, though it was nice to hear the Stones roll out “(Get Your Kicks on) Route 66” again. In Europe that spring, meanwhile, the group was back in stadiums, making up postponed dates from the Bridges to Babylon tour.

Steel Wheels Tour/Urban Jungle Tour (1989-1990)

The vaunted comeback after a seven-year hiatus and an acrimonious schism between Jagger and Richards that kept the Stones from rolling. They kissed, made up, made a new album ( Steel Wheels ) and then made a lot of money — a record-setting $175 million in North America alone. Also covering Japan and Europe, these tours introduced an expanded band with more than twice as many adjunct musicians than actual Stones, including the Uptown Horns, longtime saxophonist Bobby Keys, keyboardist/musical director Chuck Leavell (Allman Brothers Band, Sea Level) and backing vocalists Lisa Fisher and Bernard Fowler. The stadium-sized, Mark Fisher-designed staging was generous, introducing inflatables and pyrotechnics, which provided a title to the subsequent live album Flashpoint .

Zip Code (2018) / America Latina Ole / No Filter Tour (2017-2021) / Sixty (2022)

With these interchangeable tours the Stones introduced their contemporary modus, playing a limited number of shows at a time, with plenty of days in between. The result has been consistently strong performances although, without new material to speak of, a sense of treading water. That said, the hits have been as good as ever, and new arrivals such as Karl Denson on saxophone and Sasha Allen fit in well. The 2021 U.S. dates, of course, were the Stones’ first ever without Charlie Watts, who passed away Aug. 24, 2021 at the age of 80; Steve Jordan proved to be the right fill-in, and with mortality raising its inevitable head (unless, perhaps, you’re Richards), the Stones seemed a different kind of driven and more visibly appreciative of the legacy they’re maintaining.

50 & Counting (2012-2013) / 14 On Fire (2014)

They did it for 40, so why not 50? The Stones’ golden anniversary tour was a limited affair, with just 30 dates in North America, the U.K. and France, mostly in arenas. Bill Wyman and Mick Taylor made guest appearances in London, while Mary J. Blige, Gwen Stefani, Eric Clapton, Bruce Springsteen, John Mayer, Keith Urban and others showed up at various dates. For those who couldn’t join the celebration in person, there was a book ( The Rolling Stones: 50 ), a documentary ( Crossfire Hurricane ) and a compilation album ( GRRR! ). During 2014, the Stones took the party to Europe, Asia, Oceania and Israel — the band’s first appearance there, after authorities had banned the band back in the 60s.

Voodoo Lounge World Tour (1994-1995)

The Stones’ first trek without founding bassist Bill Wyman (and with Darryl Jones, who’s been there ever since) was another box office triumph, setting a new record with $320 million in North America and 6.5 million attendees worldwide. Songs from another solid new album, Voodoo Lounge , took their place alongside the weathered favorites as the Stones rolled their way through Africa, Asia, Australia and New Zealand on the band’s most comprehensive global journey yet. And keeping to the Voodoo theme, there were stilt-walkers and other New Orleans-style touches, plus more inflatables.

A Bigger Bang (2005-2007)

The Stones’ first new studio album in eight years — at No. 3, its 23rd consecutive Top 5 on the Billboard 200 — put the group back on the road again for two years (albeit with long breaks between legs). The vehicle to the second stage this time was a moving platform, which glided along the ramp Jagger also used to get closer to the crowd. An extensive video production and pyrotechnics dominated the visuals, and balconies were constructed as part of the stage set for big spenders.

A Bigger Bang set another box office record, with $558.3 million just in North America, and special shows included the Stones’ first-ever appearance in China; a Beacon Theatre date in New York City and a benefit for the Robin Hood Foundation at New York’s Radio City Music Hall nearly seven months later; a halftime performance at Super Bowl XL in Detroit; and a Feb. 18, 2006 performance on Copacabana Beach in Rio de Janeiro for a reported crowd of more than 1.5 million. On that night, the Stones may well have gotten some satisfaction.

Licks Tour (2002-2003)

The Stones’ celebrated their 40th anniversary in exuberant fashion, with flexible set lists — reportedly 80 songs were played throughout the tour — and three night stands in some cities that included a gig each at a stadium, arena and theater. For some shows the group included segments spotlighting one of its classic albums. The outing took the group from Toronto to it’s first-ever performances in Hong Kong, with an HBO special filmed at Madison Square Garden. Its most notable show, perhaps, was July 30, 2003 at the Molson Canadian Rocks for Toronto, a day-long benefit before nearly half a million fans to help the city recover from the SARS outbreak that began the year before.

American Tour (1981) / European Tour (1982)

The Stones had another solid album, the vault-diving Tattoo You (its eighth consecutive No. 1 on the Billboard 200), to promote on its return to the road after three years off — and made the most of it with long (at least two dozen songs) shows that included covers of the Temptations’ “Just My Imagination (Running Away With Me),” Eddie Cochran’s “Twenty-Flight Rock” and the Miracles’ “Going to a Go-Go,” which was released was released as a single from 1982’s Still Life souvenir. Kazuhide Yamazaki designed the colorful stage, which included a cherry picker that took Jagger above the crowd.

Ticket sales broke records, and the band raised eyebrows by accepting a reported $1 million sponsorship from Jovan Musk — which opened the floodgates for the practice within the industry. Mick Taylor, meanwhile, returned to guest at the Dec. 14 show in Kansas City — and, on Oct. 9 a pre-superstardom Prince was booed off stage while opening for the Stones at the Los Angeles Memorial Coliseum, and only appeared the next night after getting a pep talk from Jagger.

American Tour (aka S.T.P. Tour) (1972) / Pacific Tour (1973) / European Tour (1973)

Legends of drugs, debauchery (this was where the unreleased Cocksucker Blues documentary was filmed, after all) and riots abound from this global jaunt — especially the U.S. leg, where memories of the 1969 Altamont tragedy fueled sensational coverage and there were battles between fans and police in many cities. A bomb blew up the Stones’ equipment truck in Montreal, and after Jagger and Richards were jailed following a fracas with a photographer in Boston, Mayor Kevin White bailed them out to keep things peaceful at Boston Garden. Phew.

On stage, meanwhile, the Stones were hot, and buoyed by strong new material from that year’s Exile on Main Street . Guitarist Mick Taylor was even more fully integrated into the band, the horn section made its U.S. debut, Nicky Hopkins joined Ian Stewart on piano and Stevie Wonder kicked ass in the opening slot. The cycle included a Jan. 18, 1973 benefit concert for victims of the December 1972 earthquake in Nicaragua, before the Stones headed Down Under — and the arrival of Goats Head Soup before the European tour brought more fresh material into the set, while Billy Preston served double duty as opening act and keyboardist for the Stones.

American Tour (1969) / European Tour (1970)

This is arguably where the Stones earned their Greatest Rock ‘n’ Roll Band in the World sobriquet. The group had been off the road for a then-unheard-of two years, but had made plenty of news with drug busts, new albums ( Their Satanic Majestics Request, Beggars Banquet ) and so on. The cycle was both triumphant and tragic; it began with Brian Jones’ dismissal from the band and his subsequent death, with the famed July 5, 1969 concert in front of up to half a million people in London’s Hyde Park occurring just days after his passing.

The American Tour, meanwhile, ended with the ill-fated closing concert at the Altamont Speedway in Tracy, Calif., where security clashed with fans and one man was fatally stabbed (documented, along with the tour, in the Maysles brothers’ 1970 documentary Gimme Shelter ). Prior to that, however, the Stones were on fire, as captured by the Get Yer Ya-Ya’s Out live album, with material from the Beggars Banquet and Let It Bleed albums and opening sets by Ike & Tina Turner, B.B. King and Terry Reid. The group added two horn players for the European Tour, and even began previewing Sticky Fingers songs such as “Brown Sugar” and “Dead Flowers.”

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• American Tour 1972  ( 51 )
• América Latina Olé  ( 14 )
• Australasian Tour 1965  ( 31 )
• Australasian Tour 1966  ( 18 )
• Between the Buttons  ( 28 )
• Bridges to Babylon  ( 118 )
• British Tour 1963  ( 141 )
• European Tour 1965  ( 101 )
• European Tour 1966  ( 13 )
• European Tour 1970  ( 23 )
• First US Tour 1964  ( 11 )
• Hackney Diamonds  ( 20 )
• In the Desert  ( 4 )
• Let It Bleed  ( 28 )
• Licks World Tour  ( 116 )
• No Filter  ( 59 )
• No Security  ( 35 )
• North American Tour 1965  ( 25 )
• Out of Our Heads  ( 43 )
• Pacific Tour 1973  ( 12 )
• Sixty  ( 14 )
• Some Girls  ( 25 )
• Steel Wheels  ( 74 )
• Tattoo You  ( 86 )
• Tour of Europe '76  ( 41 )
• Tour of the Americas '75  ( 46 )
• U.K. Tour 1964  ( 228 )
• U.S. Tour (2nd Leg) 1964  ( 15 )
• UK Tour 1971  ( 18 )
• Urban Jungle  ( 41 )
• Voodoo Lounge  ( 135 )
• Winter/Spring 1965 British Tour  ( 27 )
• Zip Code  ( 15 )
• Avg Setlist
• Concert Map

Songs played total

This table lists how often a song was performed. Multiple performances from the same setlist are also counted towards the total.

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Hi there. The Rolling Stones in Prague the best show ever. The concert was absolutely amazing, fantastic, super great. The performance of the Rolling stones is in the highest quality, they are the living legend,I love them for ever and wish to all of them the best off everything. Thank you for unforgettable experience. So this was about the show, but I would like to tell you my worst nightmare I also had just before the concert. I bought three tickets from Viagogo office and to my horror I find out that the tickets were not valid and they were not in database. I paid 23.000KC.So to get to the event I've had to buy another three tickets for standing. THERE WAS MORE fans off the Rolling stones with some experience. I don't what to do about the matter. So this was MY best experience and the worst. Yours Luda Horakova Krasicka 53 Prostejov Czech republic .

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The greatest rock n roll band in the world - No doubt about it. Mick, Keef, Charlie and Ronnie were sensational. From the opening Street Fighting Man to the encores of Gimme Shelter and Satisfaction they were as great as ever. Mick was the imperious frontman, Keith the axe wielding lunatic, Charlie the rock upon which the driving rhythms of Paint it Black are built, Ronnie the joker whose rhythm guitar convinces you the Stones play the devil’s music. Sensational just sensational. It was a privilege to be there.

The Rolling Stones concert was absolutely amazing. The singing, the music, the lighting, the fireworks and those large screens were great. They strutted their stuff through all the favourite numbers and some other great songs. Before you go, read the list of items not allowed inside the concert because you will lose them. Handbags larger than A5 size not allowed, including bumbags, cameras and camera bags, to name a few. All in All, everything went very smoothly, everyone loved it and we all had an amazing night, never to be forgotten.

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Get your tour dates seen everywhere.

The Rolling Stones announce tour dates for 2024 across North America

Last month, The Rolling Stones released  “Hackney Diamonds,”  their first album of original material in 18 years.

Tuesday, the legendary English band announced they’re taking it on the road.

Starting on April 28 in Houston and concluding in Santa Clara, California, on July 17, the Stones will make their way across the U.S. and Canada.

The tour hits 16 major cities, including New Orleans, Las Vegas, Seattle, Atlanta, Philadelphia, Denver, Chicago, Los Angeles and Vancouver, British Columbia.

Fans can expect to experience the Stones’ most popular hits as well as new tracks from “Hackney Diamonds.”

The Stones last performed across the U.S. in 2021 for their No Filter tour, marking the first time the band had toured without drummer Charlie Watts since 1963. Watts, the self-effacing and unshakeable Rolling Stones drummer who helped anchor one of rock’s greatest rhythm sections,  died in August 2021. He was 80.

Tickets for the Stones’ North American Hackney Diamonds tour go on sale on Dec. 1.

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The Rolling Stones Announce 2024 Stadium Tour in Support of 'Hackney Diamonds' Album — See the Dates!

The Rolling Stones' upcoming 16-date run marks the U.K. rock band's first U.S. concerts since 2019's No Filter Tour

MARK SELIGER

The Rolling Stones are taking Hackney Diamonds to North America!

On Tuesday, the legendary U.K. rock band announced the Stones Tour '24 Hackney Diamonds, sponsored by AARP, a 16-date run of stadium concerts across the United States and Canada set for next year.

Kicking off April 28 in Houston, the Rolling Stones will perform shows in cities including New Orleans, Las Vegas, Seattle, Atlanta, Philadelphia, Los Angeles and more before wrapping on July 17 in Santa Ana, California.

Kevin Mazur/Getty

The Stones Tour '24 Hackney Diamonds marks the "Jumpin' Jack Flash" group's first time returning to the U.S. for an official string of concerts since 2019's No Filter Tour — as well as its first since the death of longtime drummer Charlie Watts in August 2021.

Tickets for the upcoming tour go on sale Dec. 1 at 10 a.m. local time, with more information available at the Rolling Stones' website .

Before releasing Hackney Diamonds last month, the band held an intimate concert at club Racket in New York City, where members Mick Jagger , Keith Richards and Ronnie Wood performed songs including such as “Shattered,” “Angry,” “Whole Wide World” and "Jumpin' Jack Flash."

The performance also included the live debut of Hackney Diamonds track "Sweet Sounds of Heaven" with a surprise appearance from Lady Gaga , who provides guest vocals on the song.

The Stones  announced  Hackney Diamonds   at a press event in London earlier this month, where Jagger, Richards and Wood took the stage to talk to  Jimmy Fallon  about the album.

"We wouldn't have put this album out if we didn't really like it," Jagger, 80, said to Fallon. "We must say that we are quite pleased with it. We’re not big-headed but we hope you like it."

In an emotional moment, the trio also touched on what it was like to record the album without Watts. "Ever since Charlie’s gone it’s different, he’s number four," Richards, 79, said. "He’s missing, he’s up there. Of course he's missed incredibly."

See below for the full list of Stones Tour '24 Hackney Diamonds dates.

April 28 - Houston, TX - NRG Stadium

May 2 - New Orleans, LA - Jazz Fest

May 7 - Glendale, AZ - State Farm Stadium

May 11 - Las Vegas, NV - Allegiant Stadium

May 15 - Seattle, WA - Lumen Field

May 23 - East Rutherford, NJ - MetLife Stadium

May 30 - Foxborough, MA - Gillette Stadium

June 3 - Orlando, FL - Camping World Stadium

June 7 - Atlanta, GA - Mercedes-Benz Stadium

June 11 - Philadelphia, PA - Lincoln Financial Field

June 15 - Cleveland, OH - Cleveland Browns Stadium

June 20 - Denver, CO - Empower Field at Mile High

June 27 - Chicago, IL - Soldier Field

July 5 - Vancouver, BC - BC Place

July 10 - Los Angeles, CA - SoFi Stadium

July 17 - Santa Clara, CA - Levi's Stadium

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The Rolling Stones are going back on tour: How to get tickets to the 16 stadium dates

Six decades after their first U.S. tour, the Rolling Stones are still commandeering stages.

The venerable rockers will embark on a 16-city jaunt April 28 in Houston to support their well-received new album , “Hackney Diamonds,” and plug into their extensive hits parade.

The stadium tour, sponsored by the age-appropriate AARP , will also hit cities including Las Vegas, Atlanta, Philadelphia and Los Angeles. The band will detour May 2 to play the New Orleans Jazz & Heritage Festival.

Tickets will go on sale at 10 a.m. local time Dec. 1 via ticketmaster.com.

It hasn't been too long since the band worked stadium stages: In September 2021, they resumed their No Filter tour , which had been on a 16-month pandemic delay.

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

Interested in going? Check out tickets at Vivid Seats , StubHub , SeatGeek , and Ticketmaster .

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The Stones – Mick Jagger, Keith Richards and Ronnie Wood – are basking in a bit of a studio revival with “Hackney Diamonds,” their first new album since 2005 .

The album debuted at No. 1 on the U.K. albums chart and No. 3 on the Billboard 200 album chart, making them the first act with a top 10 album each decade since the 1960s.

The single, “Angry,” is nominated for best rock song at the Grammy Awards on Feb. 4. (The band has three career wins .)

“Hackney Diamonds” is also the Stones’ first album since drummer Charlie Watts died in 2021.

The band premiered songs from the album at an intimate, invitation-only show of a few hundred people at the Racket NYC club in October, running through a handful of visceral new tracks and leaning into classics including “Shattered” and “Jumpin’ Jack Flash” with youthful vigor. Lady Gaga, who sings on the album track “Sweet Sounds of Heaven,” joined Jagger for a thunderous duet.

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The Rolling Stones 2024 tour dates

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

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Rolling Stones Background Singer Chanel Haynes on Her First Tour: ‘I Was Living in My Dream’

By Andy Greene

Andy Greene

When we last spoke to singer Chanel Haynes, it was June 2022 and she was still reeling from a surprise call from the Rolling Stones that led to her joining them for “Gimme Shelter” at a show in Milan. Haynes was staring as Tina Turner in a London production of Tina , and had to jet off to Italy at the last minute to make the show. With just 30 minutes of rehearsal, she faced a soccer stadium packed with Stones fans.

“The sound they made was like trees in a jungle in a storm,” she said. “It’s primal, like a war. When that hit my body, all of those voices, all of those eyes, were shooting into my body. I had to hold and possess all of that. It was a very surreal experience … It was a magnificent gift. I’m still savoring it.”

A couple of weeks after the tour wrapped up in Ridgedale, Missouri, we hopped on a Zoom call with Haynes from her home in London to hear all about the second chapter of her saga with the Rolling Stones.

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I don’t remember when I learned for sure that it was happening, but I’ll tell you this. I knew once I experienced that stage in Milan … the feeling that went through my body was shockwaves. I knew that I was home. I felt grounded. I also felt like I was soaring in the heavens. It was just this amazing alignment that I felt, and it just became something I absolutely wanted to manifest.

It became my focus. “I must be home with my family.” It was a feeling like that, and I will say it’s what I prayed for. I have a beautiful, amazing family, and I always thought, “Well, why can’t I have that in my career as well?” And so, it became a prayer, and I found my family.

Watch the Rolling Stones Wrap Up 2024 Tour at a Remote Amphitheater in the Ozarks

The rolling stones rehearsed 60 to 70 songs for 'hackney diamonds' tour, watch the rolling stones play 'time is on my side' with irma thomas at jazz fest.

You hopped on a plane and went right into rehearsals? I went right into rehearsals. I went from performing on the stage with them that one time, and having not even a half hour rehearsal for Milan. And then I’m ushered into this room with just the Stones in a rehearsal, learning their new material and some of the old, and I did it.

I was directly in front of the stage. The feeling in that little room was unreal. It felt like it really mattered to the Stones. Everyone felt that intensity and how precious and important this moment was to them, because we were all vulnerable. It was all new material. And the most magical thing about working with them is there’s nothing stale. There’s nothing to be assumed. You show up, and you’re ready to tap in, if that makes any sense.

And we were all tapped in onstage. You’re waiting just as much as the people in the audience are waiting. We’re all waiting to find out, where are we going?

Prior to the rehearsals in Los Angeles, did you take a crash course in their catalog? I had a very unique process. For a week, all I did was study the lyrics of the songs, and wanted to know in what decade was this song written, who wrote it, what socially was happening in the world? I did a deep dive into the actual writing, the lyrics. Then, another week, I was studying every girl who’d ever sang “Gimme Shelter” with Mick to see where there was more chemistry than others, what made them tick. I was just studying their interactions.

Then, I had to figure out who I wanted to be. I watched the other people, and then I decided, “Who am I? What do I have to offer and what do I bring to the table?”

But honestly, I dreamed all of it. I saw it first, and I let my body and my heart feel it, so that when I showed up, I was living in my dream. So for example, every note, every flight on that jet, every dinner, every rehearsal, soundcheck, my dressing room, walking with security from the stage to the motorcade, I already fantasized that all these things would happen, so that when it did, I was like a kid in the candy store. I was like, “It’s really happening.”

How did you approach your job as a background singer? You obviously don’t want to overpower Mick, but you want to punch up certain parts. I’m sure Bernard helped you with that. It’s definitely a collaboration. Obviously, Bernard for over 30 years has mastered the tones and textures of everyone onstage, particularly Mick. And he was very supportive and patient with me, because I’ve never been a background singer. And my voice isn’t really a blending-in kind of voice. It’s kind of out there. And so I just listened.

There’s no space and time for ego like, “Oh, this is my thing.” No, you listen and you get the pulse and understand what is needed. I remember Mick asking me. “Do you have any questions? Is there anything that we can do to support you?” I said to him, “I want to make sure that you are OK. I want to support you. The last thing in the world I want is for you or anyone to worry about me. I’ll do my homework, but my gift is to support you wherever you need me on that stage.”

Prior to rehearsals, did you know you’d be doing the Lady Gaga parts in “Sweet Sounds of Heaven”? Yes, I did. I think the thing that still to this day blows me away is I don’t know if, ever in the history of the Stones, that someone was featured twice singing.

Nope. It’s the most prominent role they’ve ever given a background singer. When that dawned on me, I certainly was humbled by it, and knew that with that opportunity comes a great deal of responsibility. And these are singers that I’ve admired. Obviously, Gaga and the incredible Merry Clayton … it’s big shoes to fill, and I embraced it with my whole heart, and I think it was felt.

They’ve been doing “Gimme Shelter” for over 50 years. But “Sweet Sounds of Heaven” is a brand new song. That gives you a lot of space to find your place in it. Like anything, in the beginning, you’re finding it, but oh, my God, by the end, it’s one of the most beautiful things I feel I’ve ever been able to create and co-create with the kings. Not only was I so looking forward to the experience of rocking out with the kings, I wanted to know how the kingdom worked, so I just did a deep dive every chance or opportunity I got.

I am no interviewer, but I’m a very curious person: I wanted to understand how it all works. It was the entourage, the band, sound engineers, the pilot, flight attendants, lighting stage manager, stage designer, public relations, hospitality, physical therapist, choreographer, hotel coordinator, transportation, hair, makeup, management, personal assistants, catering, doctors, truck drivers, accountants, the chef, merch, ticket office, the promoter, videographers, and then my absolute favorite, security, they’re like zen warriors.

Everyone came together so beautifully. When the show is over, it’s like almost like the Hackney Diamonds glass breaking off. Everybody kinds of goes their own way, and then it all merges back together. I swear to God, it felt like that every day of the show. It was all these pieces just sort of coming together in this beautiful way. I’m like, “This is the most beautiful kingdom on planet earth.”

You can imagine the Rolling Stone fans. I’ve been singing my whole life, and I’ve had my own fans, but dude, this is otherworldly. And so sometimes when it was a little bit too much for me to process or handle, oftentimes I’d have what I call my red-room parties. And whoever was also sort of in the same mood, it was like, “Let’s just hang back.” My room is always red. I always travel with red light bulbs, and we’ll just have snacks, drink wine, hang out, and listen to music. It has just really been a blessing.

They’re all great guys. I think, for example, of the job Steve Jordan has done filling Charlie’s shoes. He’s incredible. I was really shy at first. He was in front of me at the hotel, and he’s going to get dinner and he sees me, and he sees I’m shy, by myself. And he says, “Hey, you want to have dinner with me?” I was just so touched.

View this post on Instagram A post shared by Chanel Haynes (@iamchanelhaynes)

I saw that great photo of you on the plane with Keith Richards. Did you grow close to him? Oh, my God. I can’t even go into the details of how much he’s touched my heart. I had a little routine before the shows, where we’d have a little bite of shepherd’s pie with him. He always has it, and I am sort of a foodie, so whenever I might feel a little … sometimes there’s a lot going on backstage and can be a little unsettling, but Keith is the calmest. He’s grounding, so whenever I’m around him, I just really feel so grounded. Watching him strum his guitar, while I totally devour his shepherd’s pie, is one of my favorite memories.

I did a note one night, and actually, it was rehearsal, and I was kind of just being lazy. I’m like, “No, he’s not going to notice this note.” I just did a lower note when I should have done a higher note. He totally caught it. He said, “Yeah. Next time, can you …” I was like, “Oh yeah. You’re right.” I learned, in that rehearsal, he’s going to catch every single thing, so you might as well lock it down, girl.

I really think that “Gimme Shelter” is one of the greatest rock songs ever written. Did singing it every night give you a deeper appreciation of its power? “Gimme Shelter,” in my opinion, is not even a song. It’s a war cry. It’s in a zone that is not like any other song written because, I mean, this might sound sacrilegious, but almost like the Bible. You know how they call it the living word? I’m a preacher’s daughter, so bear with me.

It’s called the living word, because every time you read it, you get something different. It’s just alive in you. Every time I sang that song, it would rip me apart. I mean, I’m shredded, shredded onstage, and as we continue, I’m slowly being put back together again. I often wore metal dresses. They felt like armor to me. It made it feel like war. And it’s bringing everyone together for this epic moment in time. That’s the kind of feelings I’m channeling, really.

One of the best moments of the show came when you first step into the spotlight and belt out, “Rape! Murder!” I could see everyone around me get chills at once. I’m channeling. It comes down from above through my head, through my heart, and then it goes out into the audience, and then they feel it, and then it goes back up, and that’s the cycle. That’s what’s happening the whole time for me, because it’s not just one component. We’re being elevated together all at once.

There’s no way to describe it. All I can tell you is we were reacting to each other, and there’s no one person in that moment. And there are the tiniest details that I would catch. It could be his hands shaking a little faster than normal. That might indicate something to me, so it really was just a delicate dance of our souls.

Did you ever get used to facing 50,000 people at once? It’s never something to take for granted. But I’ll also say that it felt like home since it becomes familiar in the most beautiful way, and there are obviously all these generations. You are seeing little children with their grandparents, and knowing what those moments mean for everyone. You really care about their experience. And you also know that tomorrow is not promised. We can plan all we want to, but the worst mistake ever is to live in the past or to plan too much, and you completely missed out on this incredible, special experience now. And I’m very much about that. I’m very present. I’d much rather be present, so I just felt like lightning struck every night.

“Sweet Sounds of Heaven” was a big moment since it kicked off the encore, and it gives you a chance to make a grand entrance. You added a real gospel flavor to it. Well, again, I wanted to understand what the song means to them. My favorite line is, “Let the old still believe that they’re young,” and then it’s, “young, young, young,” this climax. When I think about that, it’s about their stamina, their approach, and their attitude to their work and their legacy. I felt the energy of that every night in that song, because it’s such a ballsy move to have a new song as an encore.

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I hope that tour happens next year. As you said, you’re really at home on that stage. The greatest reward, truly, at the end of the show, to be in the arms of everyone else. Your arms are stretched. You can feel everybody’s vibration. When we bow and we say thank you, that’s what the bow is for, thanking everyone else, and simultaneously thanking each other for getting us here. It’s just such a beautiful reward at the end, all that hard work that we did. And we did this together.

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Rolling Stones Concert Tours

Over the past three decades, McLaren Engineering Group has made its mark on music history with work on six Rolling Stones concert tours! Our team has provided entertainment engineering for epic concerts beginning with the Voodoo Lounge Tour (the highest grossing tour at the time), Bridges to Babylon Tour, 40 Licks Tour, A Bigger Bang Tour (featuring the Stones’ largest concert), 14 On Fire Tour, and most recently, the No Filter Tour . The shows have included the largest sets ever envisioned, the tallest LED screens ever used for an outdoor concert and other illustrious features.

Concert Tours

No filter tour (2017-2019).

This European/North American tour utilized some of the tallest ever LED screens for outdoor concert use to create a towering and sleek visual display. McLaren was contracted by TDF Productions Inc. to perform a structural analysis of the four LED screens designed by Set Designer Ray Winkler of Stufish and Creative Director & Lighting Designer, Patrick Woodroffe. McLaren worked closely with Solotech and WI Creations, who provided the LED screen modules and framing system, to develop wind bracing back to the stage roof structure, which was supplied by StageCo. McLaren collaborated with these suppliers to develop a High Wind Action Plan (HWAP) for the screens and evaluated the custom frames that housed large moving lights.

14 ON FIRE (2014)

When the Rolling Stones decided to repurpose previous show set designs for their “14 and Fire” tour, McLaren reviewed several large and complicated show elements and made recommendations to promote structural safety and adequacy. This included extra bracing, guidance for the head rigger, recommendations to protect the building and rigging, and chain hoist operation tips, to name a few. McLaren also developed structural engineering calculations of life-safety related in-scope elements furnished by scenic vendors, and for the equipment not properly rated, calculations reports were developed.

McLaren provided a HWAP that was an integral part into the Operations and Maintenance Plan. The HWAP included wind speed thresholds at which the fabric must be removed from the Stadium Portal, and when all Stadium Portal elements must be lowered to the ground and stowed. Due to the transient nature of the show set, each structural component was evaluated to determine its ability to be dismantled in the event that high winds occur or are forecast to occur at the venue.

A BIGGER BANG TOUR (2005-2007)

This international tour featured a massive stadium stage structure, supported pyrotechnic effects, huge speaker clusters, hundreds of lights and thousands of square feet of high- and low-resolution video screens. McLaren engineers provided structural engineering, reviews, and certification for the 85-foot-tall, 200-foot wide stage structure and components. In addition to all this touring equipment, this enormous structure also supported two pairs of balconies, one 30 feet and the other 55 feet above the ground. Each of the four balconies supported 65 lucky fans that viewed these rock-and-roll legends from the stage structure itself. McLaren engineers reviewed and confirmed the safety and code compliance of each of stages unique access features, two large stair towers located in the rear of the stage structure and an ADA lift. McLaren engineers continued to assist the Rolling Stones throughout the touring process by working with local permitting agencies to explain safety features and to provide advice regarding protection of venue grounds and features. This tour also featured the Stones’ biggest concert of all time, with over 1.5 million attendees in Rio de Janeiro, Brazil. McLaren engineers provided on-site inspection and consultation during the state erection process for many of the venues.

40 LICKS TOUR (2002-2003)

“40 Licks” played theatres, arenas and stadiums worldwide, featuring one of the largest sets ever envisioned at the time. The rear wall configuration alone, rose to over 80 feet. McLaren provided structural and mechanical engineering services as part of the staging and scenic elements for the tour. This included a 46 feet high by 52 feet wide moving screen as well as its associated driving mechanism and rigging, two sets of moving fabric panels, and a collection of belt driven elevators to support articulated lights. McLaren engineers provided structural development and analysis, performed finite elements and dynamic modeling of the structures and elements, and reviewed all systems for possible single point failure locations. McLaren also provided mechanical designs, assistance with the development and selection of mechanical components, on-site observations of this initial set-up, and periodic inspections of the set at various venues.

BRIDGES TO BABYLON TOUR (1997-1998)

This worldwide concert tour celebrated the Rolling Stones’ Bridges to Babylon album and was designed as an eclectic representation of the seven deadly sins. Grossing over $274 million, it became the second-highest-grossing tour at that time (behind their Voodoo Lounge Tour). McLaren reviewed the calculations and drawings prepared by Atelier One for the band canopy, back wall, curtains, inflatables, bridge, bridge structure, side fill PA, jumbotron and fascia, column capitals, stage primary frame and fixed cladding, delay towers and mix position. The design drawings, provided by Tait Towers, were examined for performance and AISC and the Aluminum Association requirements. As a result of the examination, McLaren required additional safety supports to be added so the stage could monitor and withstand wind loads.

This was also the first tour where a B-stage was featured. A 160-foot-long telescoping bridge was designed to connect the two stages. The mechanical action was modeled on a ladder truck and deployed from the main stage, over the audience to the B-stage. McLaren provided structural development and analysis, performed finite elements and dynamic modeling of the structures and elements, and reviewed all systems for possible single point failure locations for this special structure. McLaren worked with multiple stakeholders to ensure this highly sensitive piece of machinery worked for this high grossing tour. Safeguards such as automatic cutouts were installed and periodic inspections were scheduled every 4th to 6th tour stop in the United States to maintain the integrity of both the equipment and the certification. The detailed site inspection checklist, and reporting cause of concern were integral to the bridge’s success.

VOODOO LOUNGE TOUR (1994-1995)

The Rolling Stones Voodoo Lounge concert toured 40 venues across the United States and Canada. It featured a unique stage that was designed by Architect, Mark Fisher and Atelier One, and built to support the performers, sound equipment and a large screen during each of the performances. Complexities of the design included an irregularly shaped stage floor, consisting of several tiers, and two 60-foot high towers supporting an 18-ton public address system and rear wall trusses. McLaren provided engineering consultation to the team, and assisted with the conceptual design, design details and schematic drawings. McLaren examined codes at each tour location for suitability of design loads and material limitations.

Image Credit for Images 1 and 2: Manfred Vogel; Images 3, 4, 5, 13 and 14 Photograph Reproduced Courtesy of Stufish