Rock’s longest-running boys club came to Soldier Field for the first of two shows Sunday, and the good times rolled.
Still spindly legged, still British, still with a glint of mischief in their eyes, the Rolling Stones aren’t really telling us anything new these days. The capacity crowd came to hear the “Hot Rocks”-era hits, and got them in a breathless bunch at the end.
The show had little import beyond the sex and swagger on ample display-whether pumped through Bobby Keys’ saxophone on “Brown Sugar,” transmitted from Mick Jagger’s impossibly thin hips on “Miss You,” or in a Marilyn Monroe pucker during a hilariously ribald video accompanying “Honky Tonk Women.”
But there was fun to be had in watching the boys pal around: Jagger in his muscle T-shirts and tails, Keith Richards in his death-skull jacket, Ronnie Wood in his leopard spots and a perpetual trail of cigarette smoke, all trading hugs and playful shoves and sticking their noses together to share a microphone, or bowing roguishly at the end of “Beast of Burden.” Impassively navigating from behind, as always, was Charlie Watts, he of the supple wrists and inimitable sense of swing-and even he was caught smiling a half-dozen times.
Keeping everything buttoned down was new bassist Darryl Jones, a Chicagoan who had a large contingent of family stationed about 20 rows from the stage. Whereas the departed Bill Wyman often functioned like a third guitarist, leaving gaps in the music for Watts to fill, Jones is all about staying in the pocket and accenting the beat. His pile-driver groove on “Street Fighting Man” shook the rust off the song.
The two-hour show was leaner and nearly 30 minutes shorter than the tour opener six weeks ago at RFK Stadium in Washington; it was also less idiosyncratic and inspired in song selection. Six songs were dropped, including two from the new “Voodoo Lounge” album, which has met a tepid response in concert. But “Live With Me” and a Memphis soul version of the Temptations’ “I Can’t Get Next to You” were missed. Also departing, without lament, were some extraneous special effects, such as a stilt-walking couple.
Which is not to say the show still isn’t huge. As played out across a 220-foot stage, it gives plenty of room for Jagger to prance and preen, while flash pots blind the first 50 rows, an inflatable menagerie leers during “Love is Strong” and fireworks finally tell everyone that it’s time to go home.
But even more so than in Washington, the concert was pretty much about the band instead of the spectacle. There was less staggering around and fewer glitches-though the guitars went out completely during the first few verses of “Satisfaction.”
Jagger’s showmanship was tireless, but it has become shtick. Richards’ heart is what makes the Stones viable in their dotage. His “Before They Make Me Run” was the one resonant moment in this otherwise frivolous big night on the town.
