The Rolling Stones perform at Cleveland Browns Stadium

CLEVELAND, Ohio – OK, let’s make the best of this.

The core trio of The Rolling Stones are weak, good-looking downright bad. Although 80 is the freshest 70, The Sparkle Twins – Mick Jagger and Keith Richards – and Ronnie Timbers, the youngest of the three, who celebrated his 77th year on June 1, are undeniably seasoned senior voters. And, in a touch of (possibly beneficial) self-realization, the band’s Flow Hackney Diamonds excursion, which is banned at Cleveland Browns Stadium on Saturday, has been endorsed by the American Association of Retired Individuals.

After all, the Stones don’t appear to be retiring. In fact, they’re on the road once again and they (finally) return to Cleveland on Saturday for only the second time this century.

indistinguishable: The Rolling Stones at CLE: If It’s ‘The Last Time’ No One Can Ask for Extra Extras (Pictures)

indistinguishable: The Rolling Stones in Cleveland 1964-2002: Complete Performances, Complete Assessment

With COVID derailing their scheduled 2020 tour cancellation, so many segment fans have waited 22 years for another prospect to get their Yes-Yes out in their own backyard. On Saturday night, the Stones gave fans a musical entourage at their event and offered a 19-song, 2-over set of hits from the 60s to 80s, skipping the 90s and aughts. It’s entering the twenty-first century with some fresh tunes.

Before the performance, enthusiasts flocked to all kinds of antique (or at least replicas of antique) T-shirts, and as always, die-hard fans raved about the collection of Stones productions, in which they had performed several times. Have participated. Year.

Sadly, as many fans were attempting to make selections for the performance, they could be heard complaining about having trouble finding their seats. Be wary of stadiums hosting concert events: please inform concert-goers of any wristband requirements for their online communications before the performance to streamline the seating process and they may ultimately lose sight of your innocent, stiff But don’t express your disappointment. Working employees.

However, as soon as the performance began, all (or at least most) was forgiven with the opening notes of “Start Me Up”. Jagger, stunning in a light green sequin blouse and light jeans and shoes, gave fans and photographers a handy guide to some of his signature moves as he swayed, swayed, swayed and swayed just like Jagger, well, emaciated. .

The 11-piece traveling version of the band included longtime sidemen including keyboard player and musical director Chuck Leavell, bassist Darryl Jones, background vocalists Bernard Fowler and hornmen Tim Rees and Carl Denson, as well as newcomer drummer Steve Jordan in the seat previously occupied by Are included. Through overdue, cherished Charlie Watts.

It’s a rock and roll system, a live jukebox filled with Rolling Stones classics and some fresh songs from his much-discussed recent novel, “Hackney Diamonds,” from which he sang three songs.

A fitness shade and the vigorous “It’s Only Rock and Roll” answered “Let’s Spend the Night Together” before delving into “Hackney Diamonds’s” government single “Angry”.

Early on, Timbers did a lot of the heavy lifting on the solos, providing some clever fretboard painting in the fan-voted “Doo Doo Doo Doo (Heartbreaker)” and “Tumbling Dice” and some delicious slide licks in the slow tempo. Presented. Main Funky “Monkey Man.”

Jagger was known for his strong on-stage performances, but Timbers was constantly on tour and apparently playing on his own. Like Jagger, Timbers explored massive range, sometimes walking without a catwalk in his solos, and ensuring that nosebleeds and parents lining the sides of the stadium were willing to watch him perform hugely. Don’t get a chance. On every side and above the degree time Richards usually fiddled through his Fender amps and Jordans.

Of the recent songs, “Whole Wide World” probably had the most power, featuring a quietly punk-tinged riff and another fiery solo from Timberlake.

“It’s good to do something new,” Jagger said ahead of the song. “Because the new becomes the old.”

After, during the lengthy “You Can’t Always Get What You Want,” Jagger walked down the catwalk, bringing the band to the beat of a heart-pounding kick drum and leading the enthusiastic crowd into a singalong, to which They were grateful. The song’s coda was doubly upbeat with a soulful gospel feel.

In his joking moments, Jagger noted the 22-year gap between the Cleveland appearances and the band’s first local performance at Society Hall in 1964. He also raved about the Rock and Roll Hall of Reputation and suggested that all attendees vote broadly. US elections in November. “This may be the last time you get a chance to vote,” he said ominously, drawing murmurs from the population.

As soon as Jagger finished his good work, Richards stepped to the mic for 3 tunes, and led the cast on the fresh song “Tell Me Straight” (“We’re still breaking that one down,” he later noted), the juicy The vocals were highlighted with the fan favorite “Little T&A”, some thick Chuck Berry influenced riffage and naturally many others’ favorite Keef song, “Happy”.

Shortly thereafter, the giant screens on either side of the stage turned pink, and a fresh Jagger came out to play “Sympathy for the Devil.” Jagger ignored his vocal cue once or twice, but it didn’t matter because the fans were already “hoo-hoo-ing”, and Richards eventually left his safe circle and walked away. went, much to the chagrin of enthusiasts of that aspect, as Leavell became enthralled with the song’s busy piano groove.

“Miss You” was delivered live in a similar manner to the 12-inch combination, with Jagger taking a hot harp solo and Jones extending the song’s funky disco bass range into an in-the-pocket solo. “Gimme Shelter” features alternative singer Chanelle Haynes chanting “Rape!, Murder!” Gave him a chance to change his voice while shouting. And the ensuing harmonies, dancing and strutting with Jagger at the entrance of Degrees with some Tina Tuner-like ferocity.

Wound up curiously from a trio of the band’s ’60s hits, “Paint It Black,” and “Jumping Jack Flash,” with the strings of Richards’ intro jumping out of the giant audio system and Jagger still strutting around like Jagger. Used to be.

Rolling Stones, Inc. Rock and Roll System ended the show with “(I Can’t Get No) Satisfaction”, which featured one of Richards’ best solos of the night and Jagger briefly getting sick on all fours to emphasize his inability to Is. To succeed in the purpose specified by the name of the tune.

Who knows when or where the Rolling Stones will return to Cleveland (within the zone beyond the street, please), but enthusiasts of the young, the disabled, and all places in between recognize that their Stones Zone has become saturated as they wait for their favorite band. (as Bob Marley’s “Exodus” was played on the pitch device).