Rolling Stones No Filter Tour - POSTPONED

May 22, 2019 at CenturyLink Field

Wednesday, May 22nd at 7:30pm
CenturyLink Field
800 Occidental Ave S
Seattle, WA 98134
United States
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Event Description:

The Rolling Stones are bringing their No Filter Tour to CenturyLink Field on May 22nd! Tickets for this once and a lifetime are on sale now! 

THIS SHOW HAS BEEN POSTPONED

THE ROLLING STONES - the story so far

When the nascent Rolling Stones began playing gigs around London in 1962, the notion that a rock & roll band would last five years, let alone six decades, was an absurdity. After all, what could possibly be more ephemeral than rock & roll, the latest teenage fad? Besides, other factors made it unlikely that such a momentous occasion would ever come to pass.

Times and attitudes quickly changed, in short, but the Rolling Stones are still the Rolling Stones. At their first show at London’s Marquee Club, the group was billed as the Rollin’ Stones and, of what would become the band’s original lineup, only Mick Jagger, Keith Richards, Brian Jones and keyboardist Ian Stewart performed. Bill Wyman and Charlie Watts would formally join in January of 1963.

Five decades later and the Stones were still rolling, commemorating their 50th anniversary in style. Acclaimed filmmaker Brett Morgen directed a no-holds-barred documentary about the band - ‘Crossfire Hurricane’ - and the band released ‘GRRR!’ - a Greatest Hits collection. The Stones went back on the road for the ’50 and Counting Tour’, visiting London, New York and other cities across North America and Canada, culminating with a legendary performance at the UK’s Glastonbury Festival plus two major outdoor shows in London’s Hyde Park, chronicled in the concert film ‘Sweet Summer Sun – Hyde Park Live’. A book was produced, ‘Rolling Stones: 50’, chronicling the group’s legendary history through rare and previously unseen photographs, including images from every aspect of the Stones’ history.

Of course, the Rolling Stones themselves are among the most important reasons for the dramatic breakthroughs and transformations that have taken place over the last six decades and beyond. Indeed, it’s essentially impossible to overestimate the importance of the Rolling Stones in rock & roll history. The group distilled so much of the music that had come before it and has exerted a decisive influence on so much that has come after. Only a handful of musicians in any genre achieve that stature, and the Stones stand proudly among them. They exist in a pantheon of the most rarefied kind.

Needless to say, having lived life in the whirlwind of the Stones’ history, the band itself doesn’t see it in exactly those terms. “It’s been surprisingly organic,” Keith Richards says. “I mean, there was no sort of master plan. We were flying by the seat of our pants. That is what amazes me, that the whole thing was improvised. We’ve been an amazingly resilient bunch of lads, that’s all I say. We’ve been part of everything that’s happened, and we’re an important part, I suppose. If you say I’m great, thank you very much, but I know what I am. I could be better, man, you know?”

“I can understand a bit about the kind of influence the Rolling Stones have had, because we were in the same position,” Mick Jagger says. “We modeled ourselves on lots of people who came before us, and I learned to sing from various blues artists and from Chuck Berry and others. When we’d play with someone like Little Richard, I would be incredibly impressed, and I’d go on stage and try to be as good as I could be because I knew that Little Richard was watching me.”

The effort clearly paid off. Every album the Stones released from The Rolling Stones in 1964 to Exile on Main Street in 1972 is essential not simply to an understanding of the music of that era, but to an understanding of the era itself. In their intense interest in blues and R&B, the Stones connected a young audience in the U.S. to music that was unknown to the vast majority of white Americans. Though the Stones were not overtly political in their early years, their obsession with African American music – from Robert Johnson, Muddy Waters and Howlin’ Wolf to Chuck Berry and Marvin Gaye – struck a chord that resonated with the goals of the civil rights movement. If the Stones had never made an album after 1965 they would still be legendary.

Soon, of course, the Stones became synonymous with the rebellious attitude of that era. Songs like “(I Can’t Get No) Satisfaction,” “Street Fighting Man,” “Sympathy for the Devil” and “Gimme Shelter” captured the violence, frustration and chaos of that time. For the Stones, the Sixties were not a time of peace and love; in many ways, the band found psychedelia and wide-eyed utopianism confusing and silly. The Stones always were – and continue to be – tough-minded pragmatists. Against the endless promises of Sixties idealism the Stones understood that “You Can’t Always Get What You Want.” You simply want to Let It Be? It’s more likely, given the harsh world we live in, that you might have to Let It Bleed.

For those reasons, as the Sixties drained into the Seventies, the Stones went on a creative run that rivals any in popular music. Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972) routinely turn up on lists of the greatest albums of all time, and deservedly so. All done with American producer Jimmy Miller – “an incredible rhythm man,” in Richards’ terse description – those records shake like the culture itself was shaking. As the Stones were working on Let It Bleed, Brian Jones died, and the band replaced him with Mick Taylor, a profoundly gifted guitarist whose lyricism and melodic flair counterbalanced Richards’ insistent, irreducible rhythmic drive, adding an element to the band’s sound that hadn’t been there before, and opening fertile new musical directions.

After that, the Stones were an indomitable force on the music scene, and they have continued to be to this day. The albums Goats Head Soup (1973), It’s Only Rock ‘N’ Roll (1974) and Black and Blue (1976), found the Stones creating such hits as “Angie” and “It’s Only Rock ‘N’ Roll” and exploring their way through a period of transition, with guitarist Ron Wood coming on board in 1975 to replace Mick Taylor, contributing another key element to the band’s evolving sound. Then in 1978 the album, Some Girls, rose to the challenge of punk (“When the Whip Comes Down”) – whose energy and attitude the Stones had defined a decade earlier – but also swung with the sinuous grooves of disco (“Miss You”). The album is one of the very best of that decade. Tattoo You (1981) added the classics “Start Me Up” and “Waiting on a Friend” to the Stones’ repertoire, and took its prominent place among the Stones’ most compelling – and most popular – later albums. Possibly the most underrated album of the Stones’ career, Dirty Work (1986) finds the band at its rawest and most rhythmically charged, a reflection of the tumult within the band when it was recorded. True Stones fans have long worn their appreciation of Dirty Work as a hip badge of honor.

With the release of Steel Wheels in 1989, the Stones went back on the road again for the first time in seven years and inaugurated the latest phase of the band’s illustrious career. They’ve made strong, credible new studio albums during this period – Voodoo Lounge (1994), Bridges to Babylon (1997), A Bigger Bang (2006) – along with the excellent live album Stripped (1995) and the fun, immensely satisfying hits collection, Forty Licks (2002).

While the Stones have raised the bar significantly in the studio, they have simultaneously continued to set a standard for live performance. That is an achievement completely in accord with the band’s history, something that has defined the group from the very start. Mick Jagger remembers that “As soon as we got in front of audiences, they went crazy. It started in clubs, and then it just continued to grow.”

“Something was happening in 1963 and afterwards,” Keith Richards says, “because suddenly hundreds and then thousands of people were queuing up to see us. And it doesn’t take a nail driven through your head to realize that something’s going on and that you’re part of it. It was an amazing experience and it happened so fast, starting in London and then moving out from there. It was like hanging onto a tornado.”

When the Stones began to be introduced on their 1969 tour as “The Greatest Rock and Roll Band in the World,’ they were staking that claim on the basis of their live performances. It was almost fashionable for bands to withdraw from the road at that time – Bob Dylan and the Beatles had both done so. But the Stones set out to prove that writing brilliant songs and making powerful records did not mean that you were too lofty to get up in front of your fans and rock them until their bones rattled. The Stones’ live shows – epitomized, of course, by Jagger’s galvanizing erotic choreography – had earned the band its reputation, and that flame was being rekindled. 

It was lit again twenty years later, and it’s burning still. Since 1989 the Stones have repeatedly toured to ecstatic response. Bassist Darryl Jones, who had formerly played with Miles Davis, began performing with the Stones in 1994, replacing Bill Wyman, and the Stones turned what could have been a setback into a rejuvenating rush of new energy. The Stones’ live success during this period is not a matter of dollars or box-office breakthroughs, though the band has enjoyed plenty of both. It’s about demonstrating a vital, ongoing commitment to the idea that performing is what keeps a band truly alive.

And that’s the critical misunderstanding of the question, “Is this the last time?” that has been coming up every time the Stones have toured for more than forty years now. It’s true that over the decades the Stones have been in the news for many reasons that have little to do with music – arrests, provocative statements, divorces, feuds, affairs, stints in rehab, all the usual detritus of a raucous lifetime in the public eye.

But, for all that, the Stones are best understood as working musicians, and their own acceptance of that fact is what has enabled them to carry on so well for so long. For all the tabloid headlines, Mick Jagger is ultimately an extraordinary lead singer and one of the most riveting performers – in any art form – ever to set foot on a stage. Keith Richards is the propulsive engine that drives the Stones and makes their music instantly recognizable. Their complementary styles, incomparable collaborative genius as songwriters and even their all-too-public battles have made them the very definition of the rock & roll singer/guitarist partnership, battling brothers who have often been imitated and never surpassed.

Ron Wood, meanwhile, is a guitarist who has formed a rhythmic union with Richards, but who also colors and textures the band’s songs with deft, melodic touches. And Charlie Watts, needless to say, is one of rock’s greatest, most supple drummers. He is both the rock that anchors the band, and the subtle force that swings it. At once elegant in their simplicity and soaring in their impact, none of his gestures are wasted, all are necessary. He and Darryl Jones enliven the often-monolithic notion of the rock & roll rhythm section with an irresistible, unpretentious, jazz-derived sophistication.

“Of course, members have come and gone over the years,” acknowledges Jagger. “But it is still the Rolling Stones. Inevitably it makes you think about the mortality of it. But here we are making plans and attempting to get things organized for the future!”

“It’s still too early for me to talk about the Stones’ legacy,” Keith Richards says. “We haven’t finished yet. There’s one thing that we haven’t yet achieved, and that’s to really find out how long you can do this. It’s still such a joy to play with this band that you can’t really let go of it. So we’ve got to find out, you know?”

Indeed, the Rolling Stones continue to break new ground in many different ways. One of the key components of their 50th anniversary celebrations was EXHIBITIONISM, which opened at London’s prestigious Saatchi Gallery from April to September, 2016 and shows no signs of stopping as it tours the world. The exhibition assembled over 500 original Stones’ artifacts – ranging from hand-written song lyrics, artwork, instruments and stage costumes to a recreation of Richards, Jones and Jagger’s legendary Edith Grove flat from 1963, complete with overflowing ashtrays and ‘authentic’ smells!  A huge success in London – where almost half a million people saw it – EXHIBITIONISM has since travelled to New York, Chicago, Las Vegas and Nashville – it arrives in Sydney, Australia, in November 2018 to take up residence at the city’s state-of-the-art International Convention Centre.

While EXHIBITIONISM wowed audiences in London, the Rolling Stones were on the other side of the world, preparing for another record-breaking engagement. On March 25, 2016, the Rolling Stones played a free concert in Havana, Cuba to an audience of 500,000.  The Stones have always understood the purpose of grand ventures – such as playing to 1.5 million people on Copacabana beach in 2006 – and the show in Cuba was another first for the band. Fortuitously, it was captured on by director Paul Dugdale and became the subject of two complimentary films. As a concert film, Havana Moon offered a robust reminder of the Stones’ core strengths: showmanship, craft, song tunes, delivered with customary style, theatricality and wonder. Meanwhile, Olé Olé Olé!: A Trip Across Latin America was a compelling feature-length document of the band’s 14-date América Latina Olé Tour which reached its historic finale in Havana. As Latin America reveals itself to the band and Dugdale’s crew, taken together, it is possible to see both these films as a poignant insight into the band’s unparalleled legacy and the wide-ranging influence their music has had on numerous generations across the globe.

Unsurprisingly, there have been yet more impressive accomplishments. In late 2016, the Stones performed at the inaugural Desert Trip Festival in Indio, California, where they joined a world-class line-up including Paul McCartney, Neil Young, The Who and Roger Waters. Not many bands can claim to have Bob Dylan as their opening act – but it says much about the band’s status among their peers that the Nobel Prize winning artist was essentially willing to warm up the crowd for Mick, Keith and co.

As it transpired, 2016 proved to be a vintage year for the Stones. The arrival in November that year of Blue & Lonesome was yet further cause for considerable celebration. Recorded intuitively and at speed in just three days, not only was it the band’s first studio album for 10 years, but it put them right back at the very top of the charts, reaching No 1 in 16 countries and winning several key awards – including a prestigious Grammy. Coming off the back of their landmark 50th anniversary celebrations, Blue & Lonesome is a collection of covers that found the band circling back to their earliest inspiration: the Chicago blues. Continuing this theme – and another first for the band – the Stones curated Confessin’ The Blues in November 2018, an essential sampler to the music that inspired them during their formative years, including tracks by Chuck Berry, B.B King, Howlin’ Wolf, John Lee Hooker and Muddy Waters.

After the far-flung travels of their Latin America tour, the band decided to stay closer to home for their 28-date No Filter tour, which ran across Europe during 2017 and then again in 2018. No Filter marked the Stones’ first European shows for four years – and their first official UK tour for 12 years. As if to underscore the band’s continued appeal, 1.5 million people saw the Stones during the No Filter tour, where the band continued to remind audiences that their vitality, commitment and passion remains as strong as ever.

Musicians live and create in the moment, and that’s why fans still yearn to go see and hear the Stones. Certainly there’s a catalogue of songs that very few artists could rival. Surely there’s the desire on the part of fans, both young and old, to encounter a band that has played a pristine role in shaping our very idea of what rock & roll is. But seeing the Rolling Stones live is to see a working band playing as hard as they can, and there’s no last time for that.