Like what you see? Help keep it going! This ad-free site runs on the support of readers like you. Your donation helps cover costs and keeps fresh content coming your way every day. Thank you!
If you’ve ever sat through a stadium show hoping for a frantic, pyrotechnic-fueled assault on your senses, Philadelphia 2013 was here to politely disappoint you. Instead of the usual breakneck speed, The Rolling Stones turned the Wells Fargo Center into an intimate jazz club, particularly when Can’t You Hear Me Knocking took center stage. Mick Taylor didn’t just play a solo; he staged an intervention, slowing time to a crawl with a performance so liquid and understated it made the rest of the arena’s frantic energy feel like an afterthought. It turns out, sometimes the loudest statement is the quietest one.
June 21, 2013: Wells Fargo Center, Philadelphia, Pennsylvania, USA (50 & Counting… Tour, North American Leg) Get Off Of My Cloud/It’s Only Rock’n Roll/Paint It Black/Gimme Shelter/Under The Boardwalk/When The Whip Comes Down/ Emotional Rescue/Doom And Gloom/One More Shot/Can’t You Hear Me Knocking/ Honky Tonk Women/Band introduction/You Got The Silver/Happy/Midnight Rambler/Miss You/Start Me Up/Tumbling Dice/Brown Sugar/Sympathy For The Devil/You Can’t Always Get What You Want/Jumpin’ Jack Fash/Satisfaction *With special guests Aaron Neville on Under The Boardwalk and The Crossing Choir on You Can’t Always Get What You Want All photos from IORR
When the Stones Slow It Down, Philly Listens
Philly got a special version of Can’t You Hear Me Knockingin 2013—moody, slow-burning, and utterly captivating. Bobby Keysopened with a smoky, soulful intro that lingered almost two minutes before gently handing it off to Mick Taylor. The lead singer wasn’t rushing things; this moment was all about trust and musical space.
Taylor’s solo didn’t explode—it expanded. He floated through fluid arpeggios, pulling the audience into a trance. It wasn’t flashy, but deeply expressive and jazzy, exploring nuances of the theme in subtle ways. By the one-minute mark, time seemed to stop altogether. Jagger lightly shook maracas while Keith grinned, and Bernard Fowler added percussion to Charlie’s smooth, supportive beat. The whole band felt at ease, letting Taylor take his time with a three minute and a half solo that never felt indulgent—just timeless.
The Rolling Stones in Philadelphia 2013:A Tale of Two Moods
When it came time forMidnight Rambler the mood shifted but stayed relaxed. Jagger teased the crowd with lines about the “midnight gambler” while Taylor leaned into a laid-back boogie. His solo gradually built steam in the sped-up section, locking in tight with the rhythm section as MJ circled the stage. The vibe leaned more Vegas than menace, and the crowd responded in kind.
Despite some weaving and a solid closeout from Ronnie, there were moments of drag—Keith still shaking off rust from recent health struggles. Juxtaposed with Can’t You Hear Me Knocking, Midnight Rambler felt busier and less focused.
Satisfaction brought Taylor back for a subtle, electric appearance. His licks danced underneath the mix while Keith took his turn strutting around the tongue stage. A quieter version than usual, but with no shortage of presence.
Like what you see? Help keep it going! This site runs on the support of readers like you. Your donation helps cover costs and keeps fresh Rolling Stones content coming your way every day. Thank you!
Stones Data on Substack
