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The Rolling Stones on Fire: 1978 U.S. Tour
Stripped-down rock ’n’ roll took center stage as the Rolling Stones adapted to the changing musical climate of the late ’70s. Unlike the extravagant productions of the 1975 Tour of the Americas and the 1976 European tour, this era emphasized raw energy, attitude, and simplicity. Influenced by the rise of punk rock, the band embraced a pared-down stage presentation that put the music front and center, letting riffs, vocals, and rhythm speak louder than elaborate sets or theatrics. With this back-to-basics approach, the Stones proved they could command audiences with sheer presence, proving that rock’s power lies in performance, not spectacle.
The Stones 1978 US tour took place during June and July following the release of the Some Girls album, a total of 25 shows, starting in Lakeland, Florida (June 10) and closing down at the Oakland Coliseum on July 26. *By Marcelo Sonaglioni
The fact that the tour was essentially a return to the band’s foundations in terms of both sound and appearance has led many fans to consider it to be among their best. A lot of songs from the then-newly released Some GirlsLP were included, as well as a return to a mix of classic Stones numbers (Tumbling Dice, Star Star, Happy, Street Fighting Man, etc.) mixed with blues numbers, Chuck Berry covers (Sweet Little Sixteen, Let It Rock) or even Elvis Presley’s Hound Dog.
Surprises, Aliases, and All-Star Openers: Inside the Stones’ 1978 U.S. Tour
In fact, this time the Stones performed in a wide variety of venues—ranging from intimate theaters to sprawling arenas and massive stadiums—a practice they would continue on many of their upcoming tours. They even occasionally played under playful pseudonyms, adding a wink to the audience; for instance, in Lakeland, Florida, tickets billed them as “The Great Southeast Stoned Out Wrestling Champions.” On the musical side, the tour marked a milestone for Charlie Watts. For the first time, he incorporated a china cymbal as a crash, adding a sharper, more explosive accent to the band’s sound. It was also the debut of his iconic Gretsch drum set, which he would continue to play with the Stones for decades, solidifying the rhythmic backbone of the band until his passing.
Among the opening bands, this time the Stones has a large number of artists, including Foreigner, Etta James, Journey, Atlanta Rhythm Section, Van Halen, Patti Smith, The Doobie Brothers, Southside Johnny and the Asbury Jukes, Eddie Money, Furry Lewis, April Wine and The Outlaws.
The Rolling Stones’ established rhythm of performing in Europe every three years—a pattern that had held steadily since 1967—was unexpectedly disrupted when this US tour did not extend across the Atlantic the following year. Fans eagerly anticipating a European leg were left waiting, marking a rare pause in the band’s otherwise relentless touring schedule. During this hiatus, Keith Richards took the opportunity to explore side projects, joining Ronnie Wood on his 1979 solo US tour in support of Wood’s album Gimme Some Neck. Their collaboration on the road led naturally to the formation of The New Barbarians, a loose but potent ensemble that allowed both musicians to experiment with new material, stage dynamics, and improvisational energy, while maintaining the raw, unpolished rock spirit that characterized their work with the Stones. This period highlighted Richards’ restless creativity even during downtime.
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