Amid the throbbing heartbeat of rock ‘n’ roll, where an astonishing mass of over one and a half million fervent enthusiasts can amplify the atmosphere of a 2006 outdoor concert in Rio de Janeiro, the allure of a more intimate gathering cannot be overstated. Smaller crowds—while perhaps lacking in sheer numerical might—infuse a unique warmth and closeness that transforms a concert into a shared experience profoundly personal. This intimate backdrop allows the legendary Rolling Stones to experiment, to connect on a deeper emotional level, to stray from the predictable setlist of audience favorites.
Delving into the band’s past, we unearth moments of clandestine performances at snug venues, often executed without a whisper of forewarning. In 1977, they invaded Toronto’s 300-seat El Mocambo club, delivering a surprise show that remains legendary. Fast forward to 2002, and we find them unexpectedly gracing the 2,500-seat Wiltern Theatre in Los Angeles.
Among these unforgettable gigs, a noteworthy “secret” concert on June 8, 1999, unfolded at London’s Shepherd’s Bush Empire—a modest venue that fits around 1,800 patrons. This particular performance has been meticulously preserved and is now unveiled in the form of a stunning compilation titled Welcome to Shepherd’s Bush. The release is available across a mosaic of formats: vinyl, a Blu-ray-and-two-CD deluxe bundle, and a groundbreaking 4K UHD version, boasting Dolby Atmos sound for a truly immersive experience.
This nearly ninety-minute concert, unlike many Rolling Stones recordings, graces viewers with a crystal-clear DTS-HD Master sound on the Blu-ray, presenting a cinematic treasure amid split-screen visuals that can steal some of the limelight.
Echoing the history of their earlier small-sized shows, the Shepherd’s Bush concert—right before their sold-out stint at the expansive 70,000-seat Wembley Stadium—was graced by a constellation of rock luminaries within the audience. “It’s such a pleasure to be back in London performing for all our friends!” exclaims Mick Jagger, aptly noting the presence of iconic figures like Pete Townshend from The Who and Led Zeppelin’s own Plant and Page.
Accompanied by their steadfast ensemble—Darryl Jones on bass, Chuck Leavell on keys, and legendary saxophonist Bobby Keys—Jagger, Richards, Wood, and the late Watts present an 18-song extravaganza. Among the classics, they deliver powerful renditions of “Brown Sugar,” “Honky Tonk Women” (featuring Sheryl Crow), “It’s Only Rock ’n Roll (But I Like It),” and “Jumpin’ Jack Flash.” Yet, interspersed within this familiar lineup are seldom-heard gems.
Delving into the depths of their catalog, the setlist includes hidden treasures such as “Brand New Car” and the never-before-played live track “Moon Is Up”—both originating from the 1994 album Voodoo Lounge. Also highlighted are “I Got the Blues” from Sticky Fingers and “You Got the Silver,” spotlighting Richards on vocals, which is plucked from 1969’s Let It Bleed. Notably, “Melody,” from 1976’s Black and Blue, had fleetingly graced the stage only once before, at that storied El Mocambo show. Rounding out the experience, four selections from 1978’s Some Girls—including the title track, “Shattered,” “Respectable,” and “Before They Make Me Run”—further enrich the performance, featuring a lively four-piece horn section.
Throughout the enchanting performance, the band exudes palpable joy, reveling in their harmonious connection with the exuberant audience. Even the stoic Watts finds moments to smile, breaking the enigmatic facade typically associated with his presence.
Also Noteworthy
Sun Ra presents an extraordinary release with Lights on a Satellite: Live at the Left Bank. Following the emergence of At the Showcase: Live in Chicago 1976–1977 earlier this year, another gem materializes—this one a captivating live recording from Baltimore’s Left Bank club in 1978. This two-CD set, sprawling beyond 90 minutes of music, delves into the ethereal soundscapes crafted by the late jazz pioneer and his Myth Science Cosmo Swing Arkestra, accompanied by a booklet laden with essays, interviews, and photographs.
Rich with avant-garde originals, the concert also embraces reimagined classics, including a fresh take on “Somewhere Over the Rainbow” alongside compositions by Fletcher Henderson and Miles Davis. Two additional tracks, “Left Bank Blues” and Thelonious Monk’s “’Round Midnight,” find their origins in the 1980 documentary Sun Ra: A Joyful Noise.
Christopher Cross re-emerges with a festive offering, A Christopher Cross Christmas. For those who reveled in the radio waves of 1980, the unmistakable voice of this Texas native remains etched in memory. His self-titled debut unleashed a torrent of hits, including “Ride Like the Wind” and the chart-topping “Sailing.” While his star dimmed in the early ’80s, he persisted, sporadically gracing us with new music—a notable gem being his 2007 holiday release, which now receives a timely reissue.
Anticipate a warm embrace of smooth, mainstream pop aesthetics reminiscent of his debut, as this collection serves up cherished holiday standards such as “Silent Night,” “Little Drummer Boy,” “Do You Hear What I Hear?” and “I’ll Be Home for Christmas,” alongside two charmingly original numbers crafted in collaboration with the late Rob Meurer, his longtime co-writer.
B.B. King delights us with B.B. King in France: Live at the 1977 Nancy Jazz Pulsations Festival. At the pinnacle of his artistry and commercial success, this blues virtuoso graced the stage at the Nancy Jazz Pulsations Festival in 1977. This newly unearthed 79-minute concert stands as a testament to his extraordinary guitar skills and soulful vocal delivery, complemented by a diverse septet encompassing tenor and alto sax, trumpet, organ, guitar, bass, and drums.
The 14-song set radiates with memorable performances, including beloved tracks like “Sweet Little Angel” and “Why I Sing the Blues,” which solidified his R&B status in the mid-1950s to late-1960s. Highlights also include a raw rendition of “The Thrill Is Gone,” a quintessential pop crossover from 1970; a captivating cover of Stevie Wonder’s “To Know You Is to Love You”; and a phenomenal, nearly 10-minute exploration of “It’s Just a Matter of Time,” originally a hit for Brook Benton in 1959, transformed into a simmering blues odyssey.
