The Cavern
Rock & Words
The Rolling Stones, Olé Tour 2016
March 17th, 2016
Foro Sol, Mexico City
Those of us who are over 30 will remember the TV series "The Wonder Years," which chronicled the adventures and tragedies of middle-class teenager Kevin Arnold, set in the late 60s and early 70s. The one with the great intro to Joe Cocker's version of "With A Little Help From My Friends" gave those of us who were children of that generation a powerful perspective on the era. So, what's the point of all this? Well, I vividly recall an episode where the Rolling Stones were supposed to perform at a small bar near where Kevin, Winnie, and their friends lived. The owner was supposedly a friend of Keith Richards, and the kids ran away and went through all sorts of mishaps before realizing it was a hoax (not entirely), but in the end, they had the best night of their lives. Anyway, I remember that at some point in that episode, they mentioned that the 1973 tour was possibly the Rolling Stones' last. The LAST ONE!!! This has been rumored for over 40 years!
To be honest, I never thought I'd get to see the Rolling Stones live. So, as soon as I heard about the tour and the date in Mexico, I didn't hesitate for a second. Well, actually, the tickets for the first show, on Monday, March 14th, sold out in seconds, back in November 2015. "They're old now anyway," I tried to console myself, "and we have to travel all the way to Mexico City or whatever it's called." But when they added a second date, I made arrangements in advance with El Rojo, a friend of mine since the Moby Dick days, and we bought tickets. The bonus was that we'd be going with his uncle, Jaño, who had lived through that whole era and who, in our teens, had taught us a few guitar tricks during Moby Dick rehearsals. Jaño was accompanied by George and Agustín, aka "Angus," all rock aficionados who had experienced the golden age of rock firsthand. So the trip was a lot of fun, listening to anecdotes from the 60s and 70s, exchanging information about bands, and watching that show where Rojo and I seemed like the adults and they were the kids.
Once in Mexico City, we left the airport and strolled around Coyoacán for a while, killing time until the concert. Towards sunset, we arrived at Foro Sol, where the crowds were starting to swell. It was no surprise to see five generations gathered there with a band like the Stones, all wearing black t-shirts with their tongues sticking out, browsing the vendors of bootleg merchandise.
Hours before it started, the vibe was unbeatable. The immense venue was beginning to fill up. Around 8 pm, Little Jesus, a Mexican band that's something like psychedelic indie, opened the show. They came and went without much fanfare. I honestly didn't know them, and I have no idea why the Stones chose them over other bands. They finished after about 25 minutes. The beer started flowing, clouds of smoke (not necessarily cigarette smoke) rose, and the three gigantic screens behind the stage lit up and began displaying images of the Stones' logo, which took on different textures with surprising clarity. Before it started, I should mention that I'd already been warned about what to expect. David had told me that the concert in Peru a couple of weeks earlier was the best he'd ever seen, surpassing McCartney's. And a coworker had also been blown away by the first concert in Mexico City. "After all, it's their last tour..."
It was 9 pm. The Stones are known for their punctuality. A few more minutes passed, and the lights finally went out. Total euphoria. The three giant screens lit up with the Mexican flag and the Stones' logo instead of their crest. A voice introduced the band, and an incredible video, customized for Mexico City, began, showing the Rolling Stones' South American tour with the band members at different times, their album covers, and images that symbolized their songs, in the purest psychedelic and hyperrealistic style of the Beatles' Rock Band intro, lasting just under a minute and a half. Then a roar, which simply introduced the band: “Ladies and Gentlemen, THE ROLLING STONES!”
And then it happened… The furious, powerful, incredible riff of “Jumpin’ Jack Flash,” with an explosion of lights, sent the 60,000 souls into a frenzy. I was in total ecstasy, screaming the lyrics at the top of my lungs, and delirious with Keith Richards’ magical guitar, tuned to open G, which gives that almost sensual touch to one of the best riffs in history. Keith came out wearing a bright blue jacket and carrying a green Telecaster. Mick wandered around the T-shaped stage, which allowed him to get a little closer to the crowd. He came out in a jacket and shirt, black pants, and with a devastating attitude and energy that I could only dream of. Ronnie wore a blue-green jacket, also carrying a Telecaster and sporting his untamed mane. Charlie wore a simple dark green t-shirt, very serious in the back, as always. Darryl Jones wore a gray suit, playing his bass almost vertically at times as a tribute to Wyman, barely captured by the cameras. The version, faithful to the original but with a more modern touch, featured incredible interplay between Keith and Ronnie, compelling the 60,000 voices to scream the chorus: “But it's AAAAALL right now, in fact is a gas, but it's AAAAAAAAAAAAAALL right now, I'm Jumpin' Jack Flash it's a gas, gas, gaaaaas!” That tone, that guitar riff Keith delivers right after the chorus and before launching into the next verse… Pure rock perfection. They kicked things off with one of my three favorite songs from their entire discography, I think even better than with “Start Me Up,” which they used to open the first show.
Keith stepped off for a moment to change guitars, a black Epiphone Sheraton, I think. Then Keith played an intro to what I thought was "Carol," but it was simply to set the tone for Mick to launch into "It's Only Rock 'n' Roll." Perhaps not their best song, but it's the one that defines the spirit and philosophy of the Stones, an anthem. Yellow tones flooded the stage, while the guitars sizzled with the R&R of the title. The euphoria was immediate, and the people at the front began to jump to the rhythm, already chanting the chorus with a monumental roar, while we raised our fists with every "I Like It." Richards and Wood blended their guitars like they'd been playing together for 40 years, alternating roles in that mix of Blues and Rock & Roll. The song rose and fell in intensity at Mick's whim, with Richards' licks interspersed throughout. The concert was off to a flying start.
“Thank you, thank you very much! Many thanks, hello Mexico!” Jagger shouted after the ovation. The rhythmic opening of “Tumblin’ Dice,” from the legendary album Exile, followed. The Stones logo transformed into a giant die before the camera focused back on Mick, who was swaying from one side of the stage to the other with his characteristic impatient movements. Sasha Allen, the spectacular backing vocalist they had brought along, was already showcasing her powerful voice, and the horn section also made its presence felt. “You got to roll me and call me the tumblin’ die.” Woods took over the solo, while Keith continued to unleash his guitar riffs. They joined forces in the center, smiling; it was clear they were thoroughly enjoying themselves, as they began to build the intensity for the coda, which everyone accompanied with clapping. “You got to roll me…” The song faded out as the dice flooded the three giant screens.
“It’s so awesome to be back! I hope this second concert is totally better than the first,” Mick said in somewhat halting Spanish (but the gesture was appreciated), before introducing Darryl Jones, now on screen, who kicked things off with the dark bass line of “Out of Control” from Bridges to Babylon, the newest song they would play all night. Ronnie contributed with a Gibson Les Paul full of wah pedals. It’s incredible how Jagger handles those spectacular crescendos with just his voice, generating a tension that explodes in the chorus with the addition of the two guitars and Watts at full blast. Jagger danced wildly all over the stage, with the dark ambiance of London’s slums, almost stealthily during the verses, increasing the intensity along with the song, throwing off his red jacket and unbuttoning his shirt at one point. He also played a great harmonica solo. Keith, with his reggae-colored bandana on his head, had already taken out his legendary 1953 Telecaster, with which he inserted the Power Chords and generated the sonic explosions.
“Now for the song you voted on… This is spectacular!” They continued with “Let’s Spend The Night Together,” the song they had left open for voting and the one I was most eager to hear over the other options. It was a shame that one of the sacrificed songs was “She’s a Rainbow.” The song was explosive, modernized, with a much more dynamic and refined bass line from Darryl. Personally, part of the charm of the original is the rough, pick-based bass line that Keith played. From the very beginning, the 60,000 voices of the Foro Sol joined together to sing the choruses “Pararará Papa-parara!” The stage changed from blue to violet tones. There would be no pyrotechnics tonight due to the environmental emergency the city was experiencing. Mick came out again with his red shirt open and untucked. “Let’s Spend The Night Together, Now I need you More Than Ever…” I love that moment when the song seems to fade out and then they reignite it with even more energy. “Pararará Papa-parara!”
Most of the lights went out, and the glow of cell phone lights flooded the Forum. “This is for the romantic Mexicans,” Mick said, as Keith ran to get a Spanish guitar to play the acoustic opening notes of “Angie.” The lighting bathed the venue in nostalgic shades of purple. This song replaced “Wild Horses” in the set, but it didn’t matter, at least not to me. The beauty of the song completely enveloped me. Chuck Leavell, on keyboards, added those beautiful piano scales, while we all sang along to “With no loving in our souls and no money in our coats…” It was at that moment that the magnificence of this band, this living piece of Rock & Roll history, the gigantic legacy, the meaning of the precious song Keith composed for his daughter Angela—the song that accompanied her down the aisle at her wedding—hit me like a ton of bricks. I couldn't help but feel the first lump in my throat and shed a few tears, a little overwhelmed by it all. “Comon Baby, dry your eyeeeeees.” Ronnie accompanied Keith with a black Stratocaster and a cigarette in his mouth. Mick whispered the verses to make the atmosphere even more intimate. The song ended with thunderous applause, and I think more than a few people felt the same way I did.
Keith thanked everyone. “It’s great to be here… I want to make an announcement: Today is my wife’s birthday, so I want to say Happy birthday… is that right? Yes, that’s right. To Patricia. For her, I’m going to play Happy.” He picked up his green Telecaster, and after a few chords, he didn’t seem happy with the tone or the tuning. He took his time to get it right, and then Charlie inserted that drum roll, and the song kicked in at full speed. Ronnie sat down to play the steel guitar on a small table, a cigarette in his mouth, while he made the powerful slide vibrate. “I need a love, to keep me happy… Happy! Happy!” These two songs are perhaps my favorites by Keith, and I was glad he played “Happy” instead of “Before They Make Me Run” from the first concert. Richards enjoyed the song, strolled around the stage, smiled, blew kisses to his wife of four years, and showed off his rhythm, although she was admittedly a bit off-key. “Thank you so much!”
The stage was once again bathed in shades of blue. Mick emerged, clad in a silver jacket, and began playing the harmonica, close to Ronnie, engaging in a dialogue with the gleaming Gibson Les Paul he was carrying. Keith appeared from the other side with his favorite Telecaster and launched into the driving riff of “Midnight Rambler,” instantly raising the intensity. An epic song, it provided the perfect opportunity for improvisation, jumping around, and alternating solos, some bluesy, others rock and roll. Mick removed his jacket again and danced all over the stage as if he were 20, generating thunderous applause. How is it possible that he's 72 and still moves like that? The song faded almost completely, and then Mick revived it with “Ohhh Yeah?” which we all mirrored en masse while Keith, now wearing a white jacket with black polka dots, playfully twirled with little spiders. The crowd was completely captivated as Watts reignited the engine with a relentless beat. Silence fell again. Jagger knelt down and made us scream like monkeys as he interacted, first with Charlie and then with Wood. The instruments kept the song from burning out, creating constant tension. They reignited with the section of stops and starts, slowly but surely finding their rhythm, like a locomotive struggling to get going, but once it gains power, nothing can stop it. The ending was apocalyptic, creating a tremendous sonic explosion and eliciting one of the longest ovations of the night. Not because "Rambler" is a fan favorite, but because of the incredible display of energy and the interaction with the audience they showed on stage for almost 15 minutes. These guys are the freaking gods of the stage!
“Are you doing goooooood? Sing with me!” A few chords from an electric piano rang out. Mick picked up a black Stratocaster, started a disco riff, and immediately the harmonica and the powerful bass line of “I Miss You” kicked in. Did you realize that Darryl has been an unofficial Stone for over 22 years? This is perhaps my favorite Wyman bass line, a pretty complicated one that took me years to figure out, which is why it's another very significant song for me. Possibly the second-best disco song by a non-disco band. Mick took off his guitar halfway through the song, right before “I've been walking Central Park, Singing after dark, People think I'm craaazy…” to stroll provocatively across the bridge through the crowd. The song slowed down, and Mr. Darry Jones took the opportunity to play his slap guitar solo, accompanied only by Charlie's cymbals. Mick was dancing (what energy, what a beast!) and Keith and Ron were clowning around, now wearing light-colored jackets. “Sing with me, Mexico!” and we all chanted “Uhhh UUUh Uhh UhUU uhuhhh,” accompanied by a sea of cell phones. “You got it!” The song extended with a sax solo before an intense finale. “COME ON, COME ON!” roared. We continued chanting “Uhhh UUUh Uhh” en masse for a few more moments, until Mick said, “You sing beautifully, Mexico,” before launching into the next song.
The first few notes almost made me faint. Sasha Allen and another backing vocalist kicked things off with that devastating, chilling, incredibly powerful whisper, “Uhhh Uhhh UUUh,” while Keith unleashed those blazing notes of one of my all-time favorite riffs. Charlie drummed in, and “Gimme Shelter” took on the crushing force of a river tearing everything apart in its path. Mick came out in a blue silk shirt: “Oh, a storm is threatening, my very life today, if I don’t get some shelter, oh yeah, I’m gonna fade away.” Wood jammed guitar riffs like thunder. Sasha gradually became more prominent. The guitars merged in the middle, and Keith played his first solo, which touched my soul, bringing a lump to my throat. Sasha stepped forward, leg showing, and let out that heart-wrenching cry, “Waaaaaaaaaar, children, it's just a shot away, it's just a shot away,” which disarmed me and loosened my throat. For the second time that night, I was overcome with emotion at being in the presence of this piece of history. Jagger and Allen launched into a formidable duet, sometimes alternating. The song stretched on with Keith improvising and giving a masterclass on guitar. The song gradually faded away, leaving those menacing “Uhhh Uhhh UUUh” in a slow fade-out. The entire Forum erupted in applause.
It took me a while to recover. They continued with “Start Me Up,” which was the song they'd opened the previous concert with. Perhaps it was because I'd been completely shocked by the performance of “Shelter,” or maybe “Start Me Up” isn't particularly one of my favorites, but it left me somewhat indifferent. Ronnie did the solo, the crowd went wild and sang along. By that point, I barely had a voice left. Mick was still dancing as if it were the first song. “You, you, you make a grown man cry…”
The lights went out. A samba rhythm began with maracas and congas, and the three screens were painted with devilish reds, pentagrams, and hallucinatory effects. Skulls, demons, crosses, mystical symbols, goats, rivers of fire amidst a red fog. The entire Forum joined in with the “Uhh-Uhhh” of “Sympathy for the Devil.” Mick came out in a red feathered coat-cape. “Please allow me to introduce myself, I'm a man of wealth and taste…” Charlie kept the rhythm in the background, while the piano sprinkled notes. “Pleased to meet you, HOPE you guess my NAAAAME!” The guitars hadn't yet entered, but the tension was enormous; practically no one in the audience made a sound. For the second chorus, Keith came into action with power chords, followed by a solo. “Uhh-Uhhh…” By the time of “Just as every cop is a criminal, And Aaaaaaall the sinners saints,” Jagger was practically convulsing. Richards kept launching into solos. The rhythm section never really kicked in. I mean, not like the original; they stripped away the rock to make it a massive samba from beginning to end, though Keith certainly shone, and Mick didn't stop dancing during the extended coda. “Uhh-Uhhh,” the Forum was a single voice even after the song faded away. Their Satanic Majesties formed a caravan after the audience's enthusiastic performance.
“One last one and we’re off!” announced the tireless Mick. Keith crouched almost to the ground to launch into the legendary riff of “Brown Sugar,” which kept the energy high. A rush of adrenaline fueled by the guitar. “Brown sugar, how come to taste so good, now?” we shouted in unison, jumping and creating the effect of a living tide. Ronnie did Taylor’s job without being asked. Keith kept laying down licks. A long sax solo followed. Jagger ran down the catwalk and for a moment it looked like he was going to dive into the crowd, but he stopped just before. “I said yeah, yeah, yeah Whoooo.” The coda stretched out with the horns dominating, and this was a huge party. Keith stole the show with his '53 Telecaster, which he hadn’t put down in ages. In front of me, some kids around 12 or 13 years old were dancing and singing. I tell Rojo, “At this rate, in 10 years we’ll be like this with our guys.” The band’s energy is incredible, and it makes me think they really have a huge respect for their audience if they do this at every show, or maybe they really know they’re saying goodbye and that’s why they’re giving it their all, every last drop of sweat, every last bit of energy. Richards ended up on his knees on the floor. “Mexico is the best,” Mick said, before the lights went down and they came back out for the short encore break.
The moment was ripe for the obligatory "Olé olé olé olé"s from the crowd, applause demanding an encore, the "One more, one more!" Meanwhile, the Elementuum choir took their place on a platform to the left of the stage. I thought it was a great touch that the band chose a local choir for each of their stops during "You Can't Always Get What You Want." The screens lit up, the stage was bathed in blue light, and the members of Elementuum launched into that heavenly intro, which unleashed a sea of applause. Then came the strumming of the riff, courtesy of Mick, who was wielding a Spanish guitar and wearing a black beret. The short French horn solo followed, and then Mick entered with the beautiful lyrics, "I saw her today at the reception, a glass of wine in her hand." After the first verse, he handed the guitar to an assistant. Ronnie played the licks on a Gibson Les Paul, and Mick, now with more freedom, strolled around the stage again, interacting with the choir whenever they responded to a phrase. Leavell's piano played its melancholic notes. In the audience, we tried to be louder than the choir on the chorus, "You can't always get what you wa-aaaaant." The guitars joined in the middle for a double solo, while the choir launched into that orgasmic, slow crescendo, like a thousand angels singing. Before it exploded, Mick abruptly stopped everything and had us sing the chorus, one time him, one time us. Now the coda came in full force, accelerating even more than in the studio, with the piano leading the way with a boogie rhythm. We all clapped along to the beat, until that final, frantic "But if you try sometimes, you might find… You get what you need." The audience went wild.
Mick shouts, “Are you ready?” and Keith doesn't wait for a response before launching into the legendary circular riff of “Satisfaction.” Keith put a hard rock overdrive effect on his Gibson, instead of the charming, sixties-style fuzzbox of the studio version. That didn't stop him from belting out the lyrics, “I can't get no!!! I can't get no!!!” Mick kept dancing. “Hey hey hey hey, That's What I said!!” By the time they finished what should have been the normal length of the song, Keith launched into a long solo, venturing onto the catwalk and running through the crowd. Then Mick took over and once again had us repeating every verse he sang, turning the whole place into a carnival. Even Charlie was smiling this time. “Thank you very much everybody, Muchas gracias Méxicoooo!” The Foro Sol erupted, hands in the air, keeping time with the rhythm. The horns joined in, mirroring the riff. Jagger sprinted from one end of the stage to the other, and after more than two hours of nonstop energy, he still looked as fresh as a daisy. “I can’t get no!!!” Richards continued tirelessly, running over and over the most famous riff in rock history, until they delivered a final flourish and the band finally decided to set off some pyrotechnics to close the show. “Thank you so much.” The band moved to the front of the stage as the chant of “Olé olé olé, Stones, Stones” echoed once more. They formed a procession and left, beaming. The hope of one more song faded as the venue lights slowly came back on and the music from the sound system signaled that the magic had ended.
An epic night, one to remember for a lifetime. It's hard to say, "This is the best concert I've ever been to." Many factors come into play: whether it was the concert with the best vibe (Paul's), the most powerful (Metallica's), the most technically impressive or with the most impressive effects (Waters' with DSOTM)... But I think it was a great combination of everything that makes me think that maybe it is, the best concert I've ever been to, with all due respect to Macca. With him, I saw a quarter of the Beatles; here, I saw two-thirds of the original Stones. The vibe was incredible, and I probably couldn't have chosen a better setlist, although they left out a few songs (with a catalog like theirs, we could have stayed up all night, so it's not a complaint).
I have to admit a few things. The Rolling Stones are far from being a washed-up band. At seventy-something years old, with 54 years on the road, they exude more energy than twenty-something bands who just give their all and play hour-long concerts. The Stones have great respect for their audience. Although they're far from putting on perfect shows (you might notice mistakes, an extra chord, or a string out of tune), those details add to the experience and show that it's not playback. On the contrary, the band radiates energy and good vibes; they don't play carbon copies of the albums, but they respect the essence of the songs. I also think I should take this opportunity to clarify that the Rolling Stones are giants, not despite, but because of, their legacy throughout the '80s, '90s, and 2000s. That is to say, in these decades, so criticized by me in the introduction, they've still managed to produce a good number of high-quality songs, something some bands would envy. And finally, I apologize for what I said in the intro about Ronnie Woods. This concert proved me wrong. He showed me that he can handle the guitar solos with mastery, that he has talent, energy, and that he has earned his place as a Rolling Stone through sheer hard work. I take my hat off to Ronnie.
Anyway. We left hoarse. Without knowing if they'll announce their retirement in the coming weeks, or if they'll announce a new album (a blues album, as rumored), and whether I'll see them again in 4 or 10 years, with my children. What is certain is that I saw them and I won't forget this night. Someday I'll tell my grandchildren, "I was one of the last generations to see the Rolling Stones live, the Greatest Band in the World."
By Corvan
Apr/8/2016
