At the Hippodrome de Longchamp in Paris, the legendary group offered, on Saturday, a concert full of energy for its sixty years of existence. The atmosphere of this Sixty Tour is not dictated by a melancholy nostalgia, but by a joyful celebration of the group’s 60th career of the group.
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The last time the Rolling Stones had walked the lawn of the Longchamp racecourse, on June 30 and July 1, 1995, we wondered how, at their canonical age – Mick Jagger and Keith Richards were 51 years old -, these billionaires dispersed to the four corners of the planet could continue to play the “largest rock’n’roll group in the world”.
Twenty-seven years later, our legs have a little trouble, this July 23, to browse the kilometers separating the door of Auteuil from the Horse Ring of the 16
“Charlie we miss so much, we would like to dedicate this concert to him,” insists Jagger, in French, after two songs. The arrogant riff of Street Fighting Man – The best song evocation of the spirit of 1968 according to Daniel Cohn -Bendit – and the mocking frenzy of 19
Jagger’s XXL smile 2>
In Lyon, on July 19, for the first of the two French concerts of their European tour, the Stones had surprised by their energy, despite a heat wave that was turning away from more than one fan. No reason that the ideal sweetness of this Parisian evening does not make them do at least as well. In front of a human tide of 56,000 people, the powerful and clear sound system demonstrates, from the first notes, that the singer is in voice. Despite a recent covid, Mick Jagger twirls with a staggering presence.
In 1995, a lighting tower erected like a snake head spitting flames, before giant dolls overhang the crowd of the racetrack. Since the early 1980s, the Stones used to enhance their tours of the stages of a rock circus full of effects. But if the tray remains immense, bordered by two tracks adapted to the jogging of Mick Jagger, and accompanied by a long walk advancing in the audience, the scenographic sobriety is essential. The big scene background and the two smaller hung on each side are satisfied with a few rare video creations, to favor the images of musicians, filmed live. Even at the other end of the racetrack, you can enjoy the singer’s XXL smile and the singer’s malicious eye to wasp size and the swaying of heterosexuality full of femininity. Bandana pink on the rest of silver mop, wrinkles of old pirate, Keith Richards shakes his fender with hilarious joy, followed like his shadow by Ron Wood, friend (more than guitarist) ideal, with ever more protruding cheekbones.
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