Ronnie Wood in Lisbon: rock’n’roll never gets old

At 79, Ronnie Wood continues to keep alive the blues-infused rock’n’roll that has run through his entire career. Performing in Lisbon with Imelda May, Chanel Haynes and a band of musicians with impressive credentials, the Rolling Stones guitarist treated the Coliseu dos Recreios to a generous, spontaneous evening deeply rooted in the music that shaped him. Marc Loison was there for Blues Actu.

Live report
🎸 Artist: Ronnie Wood
🎤 Guests: Imelda May & Chanel Haynes
📍 Venue: Coliseu dos Recreios – Lisbon, Portugal
📅 Date: September 14, 2026
✍️ Live report: Marc Loison
📷 Photos: Tiago Cortez / Everything is New

A magnificent venue!

Ideally located in the city centre, the Coliseu dos Recreios in Lisbon, literally the “Coliseum of Leisure”, is a magnificent Italian-style theatre venue inaugurated in 1890, with a capacity ranging from 2,800 seated to 4,000 standing. Its 50-metre-wide dome, its twelve-sided shape surrounded by balconies and boxes, and its unusual architecture make it an imposing and magnificent venue, far removed from the modern concrete blocks that so often pass for concert halls.

It was an indescribable pleasure to see Ronnie Wood featuring Imelda May and Chanel Haynes here on Monday, September 14! First, because this concert at Lisbon’s Coliseu dos Recreios meant avoiding all the hassles of Parisian transport and parking by choosing not to see them at the Olympia on September 5. And then because Portuguese audiences, like Italian and Spanish ones, are by nature far more responsive to a rock and blues concert than a French audience might be, even though his Paris appearance was greeted with great enthusiasm. Here, the audience genuinely moves with the stage, and the energy flows perfectly in both directions throughout the show.

Ronnie Wood: a life carved out of rock

Ronnie Wood needs little introduction. An outstanding guitarist and singer, he was born on June 1, 1947, in Hillington, England. Everyone knows, of course, that he joined The Rolling Stones in 1975, gradually replacing Mick Taylor, who himself had succeeded the late Brian Jones. Less well known are the other bands he played with during the golden sixties: The Birds (1964-1967), The Creation (1968), Jeff Beck Group (1967-1969), The Faces (1969-1975), as well as The New Barbarians with Keith Richards from 1979. We could also attempt to draw up the beginning of an impressive list of collaborations: Rod Stewart, George Harrison, Bob Dylan, Eric Clapton, Aretha Franklin, B.B. King, Bo Diddley, Muddy Waters, Chuck Berry, Donovan, Ringo Starr, Buddy Guy, John Cale, Bobby Womack, U2, Neil Young, The Band… Stop!

Although he remains a good singer, still capable of some wonderful flashes of brilliance, Ronnie Wood is first and foremost an instinctive guitarist. The slightly chaotic nature of his concerts, his inaccuracies and fleeting hesitations are an integral part of both the character AND the musician. All of this contributes to an absolutely irresistible stage presence. He has an undeniable advantage over pure guitar heroes: he listens enormously. You can almost physically see the ideas coming to him… The older he gets, the more technically fragile his playing can sometimes seem, yet the more its melodic character comes through. He is no longer trying to prove anything. He tells a story. Perhaps that is ultimately what separates a great guitarist from a great musician; Ronnie Wood definitely belongs in the second category. In his solos, he leaves plenty of room for accidents, interaction with the other musicians and the moment itself. All of this comes with an almost permanent smile, giving off a sense of pure humanity that clings to him just like that lovable untidy hair which, despite the passing years, still refuses to leave his head… Above all, he possesses something very particular: he can be imprecise without ever losing the groove, and that is probably where a large part of his genius lies. Even when a note arrives a little late or a transition seems uncertain, the feeling remains. On harmonica, or when he switches to slide, the approach is the same: rootsy, sometimes basic but essential, capable both of correcting a stumble and embracing imperfection. Ronnie Wood does not give the impression of simply performing a concert; he seems to be experiencing it at the same time as the audience. At 79, watching Ronnie Wood still pick up his guitar, smile and launch into a song without trying to lock everything down is part of the spectacle. It is precisely what makes him so deeply human.

The band

The sense of connection and the simple joy of sharing two hours with such a warm audience could be felt throughout the entire band.

Born in Dublin in 1974, Imelda May broke through in 2008 with Love Tattoo, an album blending rockabilly, blues and rock’n’roll that brought her international recognition. With her powerful voice and retro look, she became a major figure on the roots scene. She later expanded her musical world towards soul and pop, collaborating with the likes of Jeff Beck, Jools Holland, Tom Jones, Mark Knopfler and… Ronnie Wood!

Chanel Haynes, on vocals and backing vocals, was born in New Orleans in 1978. She began in gospel and became a member of Trin-i-tee 5:7, a group nominated several times for Grammy Awards. A singer and actress, she later portrayed Billie Holiday and then Tina Turner on stage. In 2022, she performed Gimme Shelter with the Rolling Stones in Milan. After catching Mick Jagger’s attention, she joined the Stones for their 2024 and 2025 tours.

Drummer Andy Newmark has performed with Sly & The Family Stone, John Lennon, George Harrison, Joe Walsh, Cat Stevens, George Benson, David Bowie, Pink Floyd and Roxy Music.

Guitarist Johnny Lee Schell has played with Bonnie Raitt, as well as John Fogerty, Eric Burdon, Joe Cocker, John Lee Hooker and Taj Mahal.

On keyboards, Andy Wallace has accompanied Roger Waters, David Bowie, Tom Jones, Robbie Williams and Whitney Houston.

Perhaps the most impressive résumé belongs to bassist Willie Weeks, who has performed with David Bowie, George Harrison, Eric Clapton and Aretha Franklin, as well as Donny Hathaway (The Ghetto) and Stevie Wonder (Innervisions). He is also credited with playing on the first version of the Rolling Stones’ It’s Only Rock ’n’ Roll, replacing Bill Wyman, with Kenney Jones sitting in for Charlie Watts on drums.

A mouth-watering setlist

The setlist is a genuine treat for anyone who likes their rock’n’roll steeped in the most down-to-earth blues and their blues soaked in the most primal rock’n’roll… Knowing that it barely changes, if at all, across the 12 dates of his 2026 European tour initially gives the impression of a very tightly structured show, despite Ronnie Wood’s spontaneous nature. But within that carefully defined setlist, he allows countless little things to move: the introductions, exchanges with the musicians, certain guitar phrases, glances, hesitations… On September 14, 2026, Lisbon’s Coliseu added a welcome extra touch of soul: a relatively intimate venue, with Ronnie Wood only a few metres from the audience… for a musician like him, it is almost the ideal setting! It was a delight for the many fans who threw themselves not only into the “hits”, but also supported the band through more obscure songs and borrowed material. There were some particularly tasty examples: River Deep, Mountain High by Ike and Tina Turner, where the superb Chanel Haynes claimed the lioness’s share. Imelda May had plenty of opportunities to captivate Lisbon’s enthusiastic crowd, notably with a beautifully delivered Remember (Walking in the Sand) by the Shangri-Las, which she had already performed with Jeff Beck.

From the opening notes of It’s Only Rock ‘n’ Roll (But I Like It), the tone is set: the Stones are here. But not always… Am I Grooving You calls on Freddie King for inspiration. Then come Take It Easy, followed by a lively Flying from the Stones’ Exile on Main Street period. Hey Negrita, deliciously syncopated, heads towards reggae without ever completely surrendering to it. Seven Days, from Black and Blue, is delivered with passion. Remember (Walking in the Sand) bears little resemblance to the Shangri-Las version, but still sends a shiver through the audience. The cover of the Falcons’ You’re So Fine (1959) may come as a surprise, although less so when you know Ronnie Wood’s appetite for rhythm and blues classics… Jimmy Reed is called upon next and would surely have approved of this Baby What You Want Me to Do, played in the right spirit with plenty of slide guitar glissandos. Show Me raises the temperature among an audience constantly torn between remaining seated and getting up to dance as close to the stage as possible… Mystifies Me brings a relatively calmer moment, while those who know the lyrics make themselves heard, bringing a smile to Ronnie’s face. River Deep – Mountain High by Ike & Tina Turner takes us back 60 years to the Phil Spector era at Motown; this version is thoroughly invigorating. Country Honk is essentially Honky Tonk Woman, providing an excuse for a country-flavoured take on the Stones classic thanks to Mera Royle’s violin, her only (!) appearance during the two-hour show… a moment of togetherness for an audience eager to sing along. The welcome Chain of Fools brings both Don Covay and Aretha Franklin back to life. Boogie Disease sees the pianist lending a hand to the percussion, carefully applying his congas to the floor tom, while Ronnie Wood dives headfirst into an all-out guitar boogie. With Imelda May back on stage, Willie Dixon’s Spoonful hardly recalls Koko Taylor, but offers fresh and unusual colours, especially thanks to the combined vocal efforts of Chanel Haynes; forget about whether the arrangements are perfectly faithful, they are playing first and foremost for the spirit of the song, and everyone is clearly having an enormous amount of fun, both on stage and in the hall… Ooh La La unites the audience like nothing before it, and the excitement rises another notch… Can’t You Hear Me Knocking, with its wild solo, calls everyone to dance; the harmonica passage invites a more reflective mood, but the bass remains enveloping and the groove stays intact through every shift in dynamics. Outlaws (They Don’t Make Outlaws) binds an already ecstatic audience even more tightly together! For the encore, Ronnie Wood returns alone with his guitar before gradually being joined by the rest of the band for a skilful medley featuring Dust My Broom by Elmore James, the Stones’ Black Limousine from Tattoo You, and Gasoline, written by Ronnie Wood and featured on his pre-Stones album Now Look. It all has the feel of a carefully assembled tour through the catalogue, and that is exactly why 2,000 fans came out tonight! The show concludes with the Faces’ 1971 classic Stay With Me, bringing this remarkable feat to an end: still being able, in 2026, to thrill three generations of Portuguese fans, plus a few tourists, without ever being dismissed as dated or a has-been. The music Ronnie Wood plays and champions simply has no age, and tonight it is embraced by everyone!