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The 1975 management team, the 1975 agent.

London, United Kingdom

New York, NY United States

The 1975 Manager

The 1975 publicist, the 1975 tour dates, about the 1975.

The 1975 is a pop-rock band formed in Manchester, England in 2002 by high-school mates Matthew Healy (lead vocals), Adam Hann (guitar), Ross MacDonald (bass), and George Daniel (drums). Their first two original EP’s “Facedown” and “Sex” went out in 2012 and earned them a spot in BBC Radio 1, after which they toured the United States and released their self-titled debut album, topping the UK’s album chart. While touring North America for their second LP, they made an appearance on Sunday primetime comedy show Saturday Night Live. In 2018, their single “Give Yourself a Try” reached the fourth spot on Billboard’s top 200. 2020’s album “Notes on a Conditional Form” features a collaboration with Swedish environmental activist Greta Thunberg .

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Meet the crew behind The 1975: At Their Very Best

In an industry where scale often trumps concept, The 1975 present a dynamic production where conceptual narrative, a positive workplace culture and scarcity breeds creativity.

The 1975’s prior touring campaigns have concentrated on the role social media plays in our lives and the weight of technology that we find ourselves under, depicted by monolithic LED walls, floating cubes, and a 11m-wide treadmill. This time around, maximalism has made way for storytelling, as the production spotlights the type of content we consume through these screens and the prevailing confusion between masculinity, sexuality and politics. The 1975: At Their Very Best takes this divisive content, which for the most part is challenging and uncomfortable to acknowledge in person, and places it in front of thousands of live music fans in venues across the globe each night. At First Direct Arena – fittingly a venue based in a city home to The 1975’s first ever live show – TPi went behind the scenes to discover the inner workings of this complex production.

Words: Jacob Waite

Photos: Jordan Curtis Hughes

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The 1975 Announces North American Fall Tour

By Ethan Shanfeld

Ethan Shanfeld

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The 1975 has announced the “Still… At Their Very Best” fall tour, the band’s biggest North American tour to date. The Matty Healy-led group will take their fifth album, “Being Funny in a Foreign Language,” across the U.S. and Canada for the second time since its October 2022 release.

The tour will kick off Sept. 26 in Sacramento, Calif., and end Dec. 2 in Seattle.

The band had teased the tour on social media throughout the month, posting vague visuals and linking to an online registration form.

Popular on Variety

The tour evolved throughout its initial North American run, from altered setlists to surprise guest cameos from Phoebe Bridgers and Bleachers. Healy made headlines for bringing fans onstage during “Robbers” and passionately kissing them.

Variety praised the band’s latest performance at Madison Square Garden , calling the concert a “captivating exposition from a band that embraces nearly every pop trope yet demands to be taken seriously.” The band will return to the famed New York City venue on Nov. 14.

A fan presale begins June 21 at 10 a.m. local time, while public tickets will go on sale June 23 at 10 a.m. on the 1975’s website .

View the list of new tour dates below.

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The 1975's Matty Healy Says the Band Is Going on 'Indefinite Hiatus' from Live Shows After Current Tour Ends

The band is currently in the midst of their North American leg of their Still... At Their Very Best tour

Samuel Bradley 

Matty Healy has announced that The 1975  will be taking a break — at least from live shows.

The "I'm in Love with You" singer shared that the group would be going on an "indefinite hiatus" following their current tour during their Golden 1 Center set in Sacramento, California on Tuesday.

According to fan-posted video , prior to the band performing their hit "Sex," Healy, 34, delivered the news to the crowd.

"Thank you so much for coming — this tour will take us about six months. It's crazy to think about. We always love ... playing for you guys whenever we have the chance. It’s wonderful you’re all here,” he told the audience. “After this tour, we will be going on an indefinite hiatus of shows, so it’s wonderful to have you guys with us tonight. Thank you so much.”

The 1975's manager Jamie Oborne has insinuated as much recently, warning fans ahead of the ticket onsale that the concerts would be the "final dates of this era and for quite a while" and that "they are gonna be something to remember !"

A rep for The 1975 had no additional comment.

The 1975 — Healy, drummer George Daniel, guitarist Adam Hann and bassist Ross MacDonald — just kicked off the North American run of their Still ... At Their Very Best tour in support of their latest album, Being Funny in a Foreign Language .

The alt-rock outfit is set to perform in San Jose and San Diego this week before a string of dates taking The 1975 across the country through December . The tour then heads to the band's native UK and Europe in February before wrapping in March 2024.

Earlier this summer, Healy took aim at Malaysia's anti-LGBTQ+ laws during a performance with the band in Kuala Lumpur.

During their set at Good Vibes Festival in the capital city of Malaysia, Healy  expressed his frustrations  about the country's  LGBTQ+ restrictions  and knowingly inviting the band to perform there.

"I made a mistake when we were booking shows, I wasn't looking into it. I don't see the f---ing point, right? I do not see the point of inviting The 1975 to a country and telling us who we can have sex with," Healy told the audience.

"And I'm sorry if that offends you and you're religious, but your government ... I don't care anymore. If you push I'm gonna push back. I'm not in the f---ing mood. I'm not in the f---ing mood anymore."

Samuel Bradley

He then announced that the band "pulled" their headlining festival slot the day prior before deciding to proceed.

As their 2018 track "I Like America & America Likes Me" played, MacDonald  walked over to Healy and gave him a long kiss . After wrapping the song and playing another, Healy revealed the band had to leave as they "just got banned from Kuala Lumpur."

While the Good Vibes Festival did not confirm the The 1975 was banned, they said in a statement that they "regret The 1975 had to be cut short due to non-compliance with local performance guidelines," and by the following day, the remainder of the festival had been canceled "following the controversial conduct and remarks made by UK artist Matty Healy from the band The 1975."

Related Articles

The 1975: At Their Very Best

Monday 20th March 2023

In an industry where scale often trumps concept, The 1975 present a dynamic production where conceptual narrative, a positive workplace culture and scarcity breeds creativity.

The 1975’s prior touring campaigns have concentrated on the role social media plays in our lives and the weight of technology that we find ourselves under, depicted by monolithic LED walls, floating cubes, and a 11m-wide treadmill. This time around, maximalism has made way for storytelling, as the production spotlights the type of content we consume through these screens and the prevailing confusion between masculinity, sexuality and politics. The 1975: At Their Very Best takes this divisive content, which for the most part is challenging and uncomfortable to acknowledge in person, and places it in front of thousands of live music fans in venues across the globe each night.

At First Direct Arena – fittingly a venue based in a city home to The 1975’s first ever live show – TPi went behind the scenes to discover the inner workings of this complex production. Production Manager, Josh Barnes explained that when the band returned to the touring circuit post-pandemic, they placed an emphasis on being “more live”. He furthered: “The band wanted to break conventions to present an intimate, homely, soft furnished, warmly lit show that entices the connection of the audience.”

In addition to the band, sessions playersintegral to the recording of 2022s Being Funny In A Foreign Language joined the fold to create a larger, live show and remove elements from tracks. “This is a jazz-based approach, with no two nights the same. Although we still run tracks with timecode to sync with the visuals, lighting and video, as well as scene changes and cues for click tracks for actions that happen on stage, there are still gaps and moments within songs where the band can extend an intro of a chorus,” he reported.

Routing is a major challenge for Barnes. “We have a lot of shows with not much time in between them,” he stated. “We’ve also got high expectations for making sure we provide the best show possible for all audiences, so trying to get everything to the right places, on time and on budget as normal, is a big challenge.”

The team solves this problem by working closely with trusted vendors – Beat the Street, Christie Lites, CSE Radiotek, EFM Global Logistics, Eighth Day Sound (a Clair Global company), PRG, Reverb, Road Ramps, SafeTour, Sarah’s Kitchen, TAIT and Transam Trucking with rehearsals at Rock Lititz in the US and LH2 Studios in the UK.

“As we move across all markets, we require global support, so we use vendors who are proven in the market for their networks and share a like-minded ethos,” Barnes said. Tour Manager, Maarten Cobbaut – who was supported by Tour Assistant, Lien De Lentdecker and Tour Accountant, Seb Satchell – has been with the band for eight years, and shared some of his major challenges.

“There is much more paperwork involved with Brexit, and as soon as you go to Ireland, there are carnet issues. You have to deal with the same expensive and time-consuming processes that you had to deal with 20 years ago. Everything has risen in price – you can easily add 25% to every pre-pandemic budget. Thankfully, this tour is more sustainable than past tours, and fits with where the band is at creatively.” Barnes – who was assisted by Production Coordinator, Judit Matyasy and Production Assistant, Kerry Harris – highlighted relationships with account handlers as vital to overcoming the state of play.

“One of the new vendors we’re working with on this run is PRG Projects, which created the scenic design. We have a part-purchase, part-rental agreement with them, so we will only ship the custom pieces that we need to and they can integrate into their standard decking on each side of the Atlantic – which has allowed us to make the move from the US in December through to the UK in January efficiently and cost effectively.”

Click here to read the full article via TPI Magazine, and see how Green Hippo’s Hippotizer Media Servers were involved.

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The 1975 Announce Dates for 2023 Fall/Winter N. American Tour

The band's biggest U.S./Canadian outing to date is slated to kick off off in late Sept. in Sacramento.

By Gil Kaufman

Gil Kaufman

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The 1975 announced the dates for their biggest North American tour to date on Tuesday (June 13), a 32-stop outing they’ve dubbed “Still… at their very best.” The fall arena outing continues the tour that has taken the Matty Healy-led band across the U.S., Canada, Europe, Australia and New Zealand in support of the group’s fifth studio album, last year’s Being Funny in a Foreign Language .

The 1975’s Matty Healy Opens For His Own Band, Responds to Noel Gallagher Diss With Even…

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See the 2023 North American tour dates and the “Intimate Moment” video below.

Sept. 26 – Sacramento, CA – Golden 1 Center

Sept. 28 – San Jose, CA – SAP Center

Sept. 30 – San Diego, CA – Pechanga Arena San Diego

Oct. 2 – Los Angeles, CA – Hollywood Bowl

Oct. 5 – Glendale, AZ – Desert Diamond Arena

Oct. 7 – Greenwood Village, CO – Fiddler’s Green Amphitheatre

Oct. 12 – New Orleans, LA – Smoothie King Center

Oct. 17 – Miami, FL – Kaseya Center

Oct. 18 – Tampa, FL – Amalie Arena

Oct. 20 – Charlotte, NC – Spectrum Center

Oct. 22 – Nashville, TN – Bridgestone Arena

Oct. 23 – St. Louis, MO – Enterprise Arena

Oct. 25 – Kansas City, MO – T-Mobile Center

Oct. 26 – Minneapolis, MN – Target Center

Oct. 28 – Milwaukee, WI – Fiserv Forum

Oct. 31 – Detroit, MI – Little Caesars Arena

Nov. 3 – Columbus, OH – Nationwide Arena

Nov. 5 – Pittsburgh, PA – PPG Paints Arena

Nov. 8 – Baltimore, MD – CFG Bank Arena

Nov. 10 – Philadelphia, PA – Well Fargo Arena

Nov. 12 – Boston, MA – TD Garden

Nov. 14 – New York, NY – Madison Square Garden

Nov. 17 – Montreal, QC – Bell Centre

Nov. 18 – Toronto, ON – Scotiabank Arena

Nov. 20 – London, ON – Budweiser Gardens

Nov. 22 – Grand Rapids, MI – Van Andel Arena

Nov. 26 – Salt Lake City, UT – Delta Center

Nov. 27 – Boise, ID – ExtraMile Arena

Nov. 29 – Vancouver, BC – Rogers Arena

Dec. 1 – Portland, OR – Moda Center

Dec. 2 – Seattle, WA – Climate Pledge Arena

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The 1975 review – a tale of two halves packed with raw meat and talent

Brighton Centre Matty Healy plays the role of the drunk and arrogant rockstar in the first act’s bizarre show-within-a show – before the second act morphs into a tsunami of hits

M atty Healy is chewing on a slab of raw steak. Minutes later, after doing push-ups while images of Liz Truss, Rishi Sunak and Margaret Thatcher flash on screens, he crawls into an old rear-projection television and the stage goes black, thus concluding act one of the first UK date of a tour they’ve titled The 1975: At Their Very Best.

Fans with Twitter or TikTok will already be aware of Healy’s recent on-stage antics . Since the band’s tour began in the US last year, clips of the 33-year-old have gone viral: showing him berating security via Auto-Tune, snogging various fans and complaining about menthol cigarettes being thrown on stage. It’s the sort of memeable behaviour one has come to expect from the always-online Healy who, over the last decade, has become one of music’s most compulsively watchable provocateurs thanks to his inescapable charisma, open-mouthed honesty and his band’s self-aware and sparkling 80s pop-rock.

Still, while such virality is surely great for engagement – probably pleasing to the band’s label – it has perhaps overshadowed what might be one of the most inventive, bizarre and entertaining arena shows in recent memory. Split into two distinct acts, the band has done away with the often awkward and well-rehearsed dance between artist and fans where new material is slotted somewhere between the hits. Instead, the first 75 minutes of the show is material almost entirely from the band’s latest album, Being Funny in a Foreign Language , delivered as a conceptual show-within-a-show that feels constructed to test the audience’s patience and their expectations about the nature of pop shows.

Set against a meticulously crafted set designed to look like the inside of a house, it’s presented as if Healy and his band are recording a TV special: there is even an interlude where they halt the show in order to re-do a take of a song, movie clapper and all. Staggering around the stage, Healy is loose-hipped and bendy, a bottle in one hand and a cigarette in the other as he mumbles to the audience between songs. The role being played here – drunk and arrogant rockstar – clearly aligns with the thematic concerns of Being Funny in a Foreign Language, which explores the dichotomies of modern masculinity with all its fragility and toxicity: “Men are confused,” Healy says at one point, images of Andrew Tate and Prince Andrew flashing on the screens, before proceeding to grope at himself.

It would be annoying if songs weren’t so kinetic and expansive: Oh Caroline is a swirl of contradictions, a piano glissando clashing with Healy’s gravelly and emotionally wrought vocals. The open Laurel Canyon strum of I’m in Love With You becomes hunched and introverted as whirring synths go off like an alarm. The smoky end-of-the-night smoothness of All I Need to Hear, which Healy performs with his back to the crowd, is distorted by guitars. And the harmonies of When We Are Together feel like they’re enveloping you in their spine-tingling beauty.

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Then, following the meat-eating and television exit, the band return to the stage for the show’s second act. “We just played about an hour of music that came out about eight weeks ago and none of you left,” Healy says. “Now let’s get into business.”

What follows is a tsunami of hits. The shimmying If You’re Too Shy (Let Me Know) feels like a refreshing glass of water after the previous hour, the crowd jumping like they’re at a trampoline park as Healy morphs from awkward incel into competent pop heartthrob. Somebody Else, with its glassy synths and chugging beats, becomes the singalong of the night. There’s a tiny detour as Healy throws his support behind striking workers (“Being anti-Tory is not a hot take,” he says when the crowd cheers), before an energetic performance of The Sound.

Of course, at just over two hours long, and given its perhaps alienating first half, this show may prove divisive for some. But whether you see the bewildering two-act structure as innovative, or simply an exercise in trolling, may supply the truth behind the tour’s name: you certainly wouldn’t get this from anyone else.

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with special guest, Dora Jar

• Date November 12 , 2023
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The 1975 have announced details of their biggest North American tour to date; The 1975 ‘Still … at their very best’.*

The newly announced tour dates will see the band play arenas across North America and Canada throughout the Fall, including a stop at TD Garden on November 12, 2023. Tickets are available via Exclusive Fan Presale from Wednesday, June 21st at 10am local time, with tickets then on general sale on Friday, June 23rd at 10am local time on Ticketmaster.com. You can sign up for the Exclusive Fan Presale HERE.

To celebrate the newly announced dates, the band have also released a new episode of ‘A Theatrical Performance Of An Intimate Moment’. You can watch episode fou r HERE.

The band’s ‘At Their Very Best’ tour has taken in arenas across USA, Canada, UK & Europe, Australia, New Zealand, and Asia over the last nine months with an impressive 500k+ tickets sold to date. Between the impressive staging, high concept performance art and surprise appearances from friends, the tour has been lauded as a band truly in their prime; a claim backed up by the plethora of five-star reviews from critics. The 1975 ‘Still … at their very best’ will set the bar even higher, featuring newly expanded production.

Over the last decade, The 1975 have firmly established themselves the defining band of their generation with their distinctive aesthetic, passionate fanbase and unique sonic approach.

Released last October, the band’s fifth studio album ‘Being Funny In A Foreign Language’ was met with lavish praise, with The FACE labeling it “an album of massive tunes, pristine production and sincere romanticism” and Rolling Stone vowing the album saw the band “reassert themselves at the forefront of 2020s pop-rock”. It outsold the rest of the Top 5 combined to land the band their fifth Official UK Number 1 album in a row. The band were also crowned ‘Best Rock/Alternative Act’ at the 2023 BRIT Awards.

*With special guest, Dora Jar.

* Lineup subject to change without notice.

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Watch The 1975 kick off world tour with ambitious and impressive stage show

Kicking off the tour in connecticut, the band debuted a stage design centred around a sprawling house..

By Nick Reilly

The 1975  begun their ‘At Their Very Best’ world tour with a show in Connecticut last night (November 3), which gave them the opportunity to debut an ambitious live show and a fresh selection of new songs.

The band’s new stage design comprised of a sprawling house set across two floors, which proved the perfect backdrop as they played the majority of new album Being Funny In A Foreign Language , before returning for a second section that saw them running through their biggest hits to date.

About You by The 1975 pic.twitter.com/58MpWq0VjG — The 1975 TH (@the1975_thteam) November 4, 2022

Fallingforyou by The 1975 pic.twitter.com/8bKJgWvuAJ — The 1975 TH (@the1975_thteam) November 4, 2022

I’m In Love With You by The 1975 pic.twitter.com/ajB0xZXoHX — The 1975 TH (@the1975_thteam) November 4, 2022

การแสดงล่าสุดของ The 1975 'Matty Healy ขึ้นหลังคาแล้ว' pic.twitter.com/EOzBvVTw6w — The 1975 TH (@the1975_thteam) November 4, 2022

#the1975 #BFIAFL #setlist the 1975 setlist pic.twitter.com/kUZppcPyHH — Kaylie Fairfield (@FairfieldKaylie) November 4, 2022

The band will continue across the U.S. for the rest of their ‘At Their Very Best’ tour, before heading to UK and Europe in January 2023. You can see the dates in full and buy tickets here .

The 1975’s 2023 UK and Ireland tour dates :

JANUARY 08 – Brighton, The Brighton Center 09 – Bournemouth, Bournemouth International Center 10 – Exeter , Westpoint Arena 12 – London, The O2 15 – Birmingham, Resorts World Arena 16 – Cardiff, Motorpoint Arena 19 – Glasgow, SSE Hydro 20 – Manchester, Manchester Arena 22 – Nottingham, Motorpoint Arena 23 – Leeds, First Direct Arena 25 – Newcastle, Utilita Arena 26 – Liverpool, M&S Bank Arena 29 – Dublin, 3Arena 30 – Belfast, The SSE Arena

In  Rolling Stone UK’s recent cover story , Healy discussed embracing ideals and being more earnest on the band’s upcoming album.

“This record definitely takes those ideas and says, ‘Well, nihilism in your 20s is very sexy, and very cool and well done, and maybe appropriate,’” he said.

“As you get a little bit older, those postmodern, exciting ideas have to — do — start making way for more traditional values, which aren’t that sexy, which aren’t that hip-shaking. They’re responsibility, adulthood, these kinds of ideas.

“What I’m asking on this record in the context of love is, can you find true love, versus all of this irony, all of this postmodernism, all of this… I don’t want to say neoliberalism but versus the internet, versus technology?”

He continued: “Can we find true love in a way that we were culturally in pursuit of at the beginning of the 20th century?” Well, can we find true love now? “I don’t know. It’s really hard.”

In a four star review of Being Funny In A Foreign Language , Rolling Stone UK said of the record: “Generational rallying cries are replaced by dick jokes and tender romance on the band’s most straight-forward album yet.”

“In taking the pressure off themselves to define a generation and trimming the fat of their swollen recent work, The 1975 distill the essence of their appeal down into 40 superb, exhilarating minutes on a true return to form,” our verdict added.

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Like all of The 1975’s work, Being Funny sees Healy striving to improve and trying to figure out how to tangibly do so. And it all comes back to the album’s title. “When I've seen people being funny in a foreign language, it's the height of intelligence, and, therefore, the height of empathy. I think that if everybody was able to be funny in a foreign language, it would probably save the world.”

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Like a Rolling Stone

By Hendrik Hertzberg

Entrance: Filippo Tommaso Marinetti would have loved the Rolling Stones. The author of “The Futurist Manifesto,” which burst on a still shockable world back in 1909, was nuts about action, speed, aggressiveness, “dynamic sensation,” artistic excess of all kinds (verbal, musical, visual), and, above all, The Machine. The Stones dished out enough of all that, the Sunday they opened their six-night stand at Madison Square Garden, to sate the most wild-eyed Futurist. Inside the Garden—itself a gigantic machine, with a ceiling that suggests the hub of a huge turbine—symbols of military and industrial power had been amassed. The arena was bathed in an eerie greenish-blue light. Some hundred members of the Steel Bands Association of the Americas pounded at the rate of ten beats a second on instruments made out of oil drums. They made a sound like riveters and jackhammers working in synchrony. The spectators, who had passed through half a dozen checkpoints manned by uniformed guards to get to their seats, were more than routinely excited. Huge, fierce-looking stylized eagles, projected on the walls, glided around silently and inexorably, like a fleet of bombers darkening the sky. Thousands of tiny blue lights, strung in arcs on the ceiling, pulsated rapidly in time with the steel drums. The focus of attention was the specially built stage. The stage was a kind of heavy, gleaming mechanical flower. It had six massive, sharply pointed petals, which were folded to reveal their metal undersides and to hide the Stones from view until they were ready to show themselves. Suspended from the ceiling over the stage was a white conical curtain, narrow at the top and wide at the base. It billowed faintly, like a colossal wind sock over a hissing volcano. Big searchlights on either side of the stage sent thick beams of white light upward. At nine-fifteen, an hour and a quarter after the announced beginning of the show, the crowd grew impatient. Waves of boos, rumbling like the sound of a rocket straining for lift-off, alternated with cheers at the slightest sign of activity beneath the curtain. Finally, at nine-twenty-five, the houselights dimmed. The crowd was roaring. Out of the speakers, at peak volume, came the dramatic opening notes of Aaron Copland’s “Fanfare for the Common Man,” followed by the opening chords, on electric guitar, of “Honky Tonk Women.” The searchlights shifted so their beams hit plastic mirrors in the rigging over the stage and were reflected back. As the curtain collapsed slowly upward, the stage, more slowly still, began to open. At the apex of the foremost petal as it unfolded and descended toward the crowd was Mick Jagger, his hair streaming on his head like snakes, his eyes shadowed, and his capacious mouth rouged and grinning, a diamond bracelet glinting on his left wrist.

Well! Such entrances are not made without a bit of preparation. We had had a glimpse of the working of the machine the evening before, at a technical rehearsal. Paul Wasserman, the bearded ironist who is the head press agent for the tour, managed to sneak a handful of visitors into the Garden. He had to hide the visitors periodically, because the Stones’ manager didn’t much want anybody there apart from the people on the payroll. At one point, the visitors were hidden in an exit ramp, and we found ourself in the absurd position of standing next to a “No Standing” sign in a room where there were nineteen thousand empty seats. While the lighting engineers tested their equipment and the rest of the band tuned up in a leisurely way, Jagger walked and ran around his domain. (He walks and runs as he dances—liquidly, on the balls of his feet.) Near the stage, he conferred with his tour manager, Peter Rudge, whose official title is Commander. (Continuing the military motif, Rudge’s assistant is Admiral Mike Crowley.) Under the stage, with the petals down, was a tangled metal underbrush of supports, hydraulic equipment, and electric wiring. Jagger wore a jacket emblazoned with the emblem of the tour—an angry metallic eagle with flaming jet engines slung under its wings. The Stones ran through their opening and their closing, and in between they played a reggae number, which Jagger sang in a perfect Jamaican accent. Neon lights were embedded in the stage; toward the end of the rehearsal, Jagger methodically stamped on them, trying to put them out. They stayed on. The machine was ready.

The concert that followed the technological triumph of Jagger’s entrance on Sunday night was as exciting and skillful as the buildup to it. If the imagery the Stones chose to surround themselves with was a trifle unsettling (an awful lot has happened since 1909, at Nuremberg and elsewhere, and Futurism was never all that appetizing anyway), their music remains the best rock and roll that it is possible to hear. Speaking of Futurism, we’re still wondering about the fortune that came in a box of Cracker Jack we bought at the refreshment stand. “You will meet a man named Stone,” it said. “Do not take him for granite.” ♦

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On the Road With the Rollind Stones

By John Rockwell Special to The New York Times

• June 9, 1975

KANSAS CITY, Mo., June 7—Early yesterday afternoon, a few hours before the Rolling Stones concert at Arrowhead Stadium here, Keith Richard and Ron Wood, the rock band's inseparable guitarists, emerged from the gloom of the Sheraton‐Royal Hotel and basked in the sun by the pool.

They were a curious sight, accompanied by two security men, one a black karate expert named Duane Vaughn who was carrying a walkietalkie, and by two adoring young women. The two musicians sat with their shirts off and their jeans rolled up, Mr. Richard barefoot and Mr. Wood with his snakeskin boots rolled down to his ankles.

The scene was a typical. Usually, when the Stones pass through a hotel lobby, especially dressed for a concert, they look like slightly dazed visitors from Mars. They are determinedly night people, even if Mr. Richard does have a tan. And Mr. Richard especially, who seems to be a shy man, wraps This mystique around him like a Gothic cloak. Yet here they were by the pool, looking almost human.

Military Organization

A week on the road with the Stones tells one many things but hardly all. This is a private band, as any superstar aggregation must be, and the tour is organized to preserve that privacy.

The Stones tour party ranges from 25 to 35 in the group's chartered Boeing 720 jet; an advance crew of 20 that goes ahead on commercial flights to set up the show; 12 truck drivers, and assorted employes (lawyers and the like) based in New York.

Overseeing everything is Peter Rudge, the 28‐year‐old tour manager. Mr. Rudge, a Cambridge University graduate of working‐class background ran the 1972 Stones tour, as well, and claims credit for having pioneered and perfected the sort of hierarchic, minutely planned tour of which this is the most highly refined example.

“Yeah, it's military,” Mr. Budge (who lists himself as “commander” in the tour credits, with his second‐incommand, Mike Crowley, as “admiral”) said in a backstage make‐up room the other night. “Ultimately, it's my job to get the band going. The Stones have a certain, uh ... aura ... about them that has destroyed many of the people who have hung out with them. I don't hang out with them. For me it's work.”

Statistics about this tour are everywhere, but they are a little slippery. Some 56 people seem to be actively involved in the planning and execution of the tour, with 30 stagehands hired on in each tour city, plus varying contingents of local hall security forces. The top seven people are nearly all British and nearly all repeaters from previous Stones tours. The statistics for the stage show —half a million watts of power, 22 tons of sound and light equipment, 71 feet across the stage—are solid enough, but financial details are harder to come by.

“I don't want to give exact figures,” Mr. Rudge says. “But you can figure that the band will keep about 20 per cent of the gross, after all expenses and taxes. Yes, they'll make money, but not as much as people think.”

Based on the hall capacities and ticket prices for the group's two months in North America, the Stones stand to gross some $9‐million, and thus clear about $2‐million net profit. The band divides most of its revenue equally, although Mick Jagger and Mr. Richard, the two song writers, gain extra income from royalties.

Sometimes the smoothness of Mr. Rudge's operation seems compromised by needless double‐casting in key positions, with resultant squabbles for power, or by temperamental outbursts from the “commander.” But one has to sympathize with him: for all their musicianship and onstage professionalism. the Stones can be aimlessly lax about schedules. It is Mr. Rudge's job to get them from Point A to Point B on time.

To this end, every day sees a daily schedule photocopied and distributed to all members of the tour party, full of eager instructions and optimistic orders (“Rolling Stones onstage by 9 P.M.!!” in San Antonio; they made it by 9:45). Every action, be it waiting for the Lone Star Beer truck to whisk them from the hotel to the San Antonio Convention Center or going out to a restaurant in the San Antonio suburbs at 3:30 A.M. (it was kept open for them long past the usual closing time), involves hours of hanging out in hotel rooms, hallways and lobbies, waiting for everybody to get it together. It is usually Mr. Richard who brings up the rear, just another indication of the pecking order.

The most protracted waiting period so far took place last Saturday night. The entire band and entourage had driven from New Orleans to the Louisiana State University Assembly Center in Baton Rouge, where the first two shows of the tour were to take place the next day.

As of 8:30 P.M., everything was in order for final rehearsals, except that when Keith Richard wafted in, he was amazed to find that Ron Wood wasn't there ahead of him. It turned out that Mr. Wood was back in New Orleans, left behind.

Three hours later—Mr. Richard batting out songs on the piano, he and Billy Preston, the keyboard player, listening to new Stones songs on a cassette recorder, the rest of the band chatting idly with members of the press and other hangerson—Mr. Wood strolled in, as ever the best‐natured of men; rehearsals began shortly before midnight and lasted six hours.

The average person's picture of a rock tour is of a Bacchic frenzy of groupies and drugs. But during the first week, at least, while everybody was sorting out his place in the hierarchy and the band was working out the show, the partying was either nonexistent or rigorously discreet.

Jack Daniels Popular

Drugs (including alcohol) are common enough; everybody I talked to in the tour party who would discuss the subject at all assumed automatically that the band was high on something most of the time. And yet the most popular high seemed to be the ever‐present bottles of Jack Daniels, on stage and on bedside tables. There is simply no way that the Stones could work as energetically and concentratedly as they do if any one of them was really out of control. And for some of them, to be mildly high has long since become an inseparable part of their personalities.

Among the audience, drug use is far more open but it is hardly restricted to Stones concerts.

With concerts in Baton Rouge and the tour party based in New Orleans, the hotel scene in New Orleans was relatively sedate. In San Antonio, with the hotel a block from the hall, it was different: the whole town seemed in heat, and the lobby crawled with young women arrayed in small, barely functional patches of suede, loosely tied halter tops and the like.

Up on the 18th floor of the Hilton Palacio del Rio, where the band was staying, all was calm. Stones security men policed the elevators, confining their use to those with room keys, and two others slouched by the elevator bank, idly practicing karate chops. (There are six security men in all, headed by the bearded Jim Call?? ghan.) Mick Jagger strolled unconcernedly up and down the halls in his bathrobe, untroubled by fans, popping in and out of the ever‐open doors. Mr. Richard and Mr. Wood slouched on their single beds, copies of Viva and Penthouse strewn about, guitar cases open (Mr. Richard's guitar is festooned with skulls).

Bianca Jagger was in San Antonio, and Astrid Lundstrom, Bill Wyman's longtime girlfriend, is traveling with him throughout the tour. But mostly, the whole band on the road (the more retiring Mr. Wyman excepted) seems more like a jocular bunch of guys out on a fishing trip than anything else, free from domestic concerns and in search of a good time. What their good times consist of may seem decadent to some, but innocent is probably the apter word. Even when things get a little raucous, as after the concert here last night, the mood is more locker‐room brothel or opium den.

No doubt things will loosen up as soon as tour members (band included) begin to relax about their jobs. At the moment, there are all sorts of worries, from the over‐reactions of the local press and law‐enforcement officers along the way to what costume to wear to what songs to sing and in which order.

One San Antonio paper, given to huge headlines like “Army to Poison 350 Puppies,” egged on the vice squad to threaten arrests onstage if the band deployed its principal special effect, a huge phallic balloon. After consultations with a Stones lawyer, a former Secret Service agent from Little Rock, Ark., named Bill Carter, the police relaxed, and the band agreed to keep the balloon packed away.

Musicians Above All

But is was the musical questions that were uppermost in the band members' minds in the first week: Whatever else they are, the Stones are musicians; they think and feel music all the time, and all the passing excitements and boredom of life on the road revolve ultimately around music.

There were meetings after each show, usually, in Mr. Richard's room, to listen to that night's cassette and to discuss what had happened. There were spot rehearsals late at night to work up new songs and tighten up old ones. And even when at play, as at the suburban San Antonio restaurant at 5 A.M. after the post‐show meeting, Keith Richard, Ron Wood, and Charlie Watts, the drummer, retired to a back room to jam together.

Mr. Wood's presence (he is still officially a member of Faces, Rod Stewart's band, on loan for this tour), the departure of Mick Taylor, his predecessor as lead guitarist, and the absence of horns have all conspired to lend the band a tougher, more basic rock sound than it has produced in years. That means a higher level of excitement and energy than at any time since the nineteensixties, but it also means that songs have to be reconsidered and reworked with painstaking care. It's a way of proving the band's continued viability by going back to what it has always done best.

Of all the Stones, it is Mick Jagger and Keith Richard who seem happiest to be on the road. But that is only because they are doing what they do best when they are performing. “Touring can be incredibly boring,” Mr. Jagger is fond of saying. “unless you have a job to do.”

The Stones job is playing rock ‘n’ roll, and it consumes them. And when one hears and sees the results — heartstopping musical excitement and 53.000 smiling, cheering. dancing young people fused into one ecstatic whole yesterday evening at Arrowhead Stadium — all the peculiarities and annoyances of tour life suddenly make perfect sense, as part of a process whose final result is the making of music.

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Rocking the Americas: The Rolling Stones’ Tour of 1975 in Photos

In the annals of rock ‘n’ roll, there are legendary tours that have taken on a life of their own, and The Rolling Stones ’ Tour of the Americas in 1975 is certainly one of them. It was a tour that saw one of the most iconic rock bands of all time taking on a new member, introducing a new stage persona, and embarking on a wild journey across North and South America. Let’s roll back the years and revisit this significant milestone in the history of The Rolling Stones.

A Band in Transition

The 1975 tour was a pivotal moment for The Rolling Stones. It marked the first time the band toured with guitarist Ronnie Wood, who had recently replaced Mick Taylor. While Taylor’s departure had initially caused some anxiety among fans, Wood quickly proved himself to be a more than capable replacement. His chemistry with the band, both on and off the stage, was palpable, and it wasn’t long before he became an integral part of the Stones’ sound and identity.

A New Stage Persona

The tour also marked the introduction of a new stage persona for lead singer Mick Jagger. Donning a series of elaborate costumes and embracing a flamboyant performance style, Jagger commanded the stage with an unprecedented level of theatricality. He was no longer just a rock singer; he was a performer in the truest sense of the word. This transformation added a new layer to The Rolling Stones’ live performances and made the 1975 tour a visual spectacle as much as a musical one.

Touring the Americas

The Tour of the Americas saw The Rolling Stones playing in stadiums across North and South America, bringing their unique brand of rock ‘n’ roll to hundreds of thousands of fans. From the concrete jungles of New York to the vibrant landscapes of Brazil, the Stones left no stone unturned.

Each concert was an event, with the band playing a mix of their greatest hits and new songs from their then-recently released album, “It’s Only Rock ‘n Roll”. The response from the fans was overwhelming, further cementing The Rolling Stones’ status as one of the greatest rock bands in history.

The Legacy of the Tour

The Tour of the Americas ’75 was more than just a series of concerts; it was a defining moment in The Rolling Stones’ career. It helped to establish the band’s reputation as a dynamic live act and set a new standard for rock ‘n’ roll performances. Even today, the tour is remembered as one of the band’s most iconic outings.

Beyond its significance to The Rolling Stones, the tour also had a profound impact on the music industry. It demonstrated the potential of rock concerts as major events capable of filling stadiums, paving the way for the large-scale rock tours that have since become commonplace.

Relive the exhilarating energy and infectious rhythm of The Rolling Stones’ Tour of the Americas ’75 through these stunning stunning photos. These captivating images not only capture the electrifying performances of the iconic band but also showcase the vibrant and enthusiastic audiences that made each show an unforgettable experience.

#1 Keith Richards, Ronnie Wood, Bill Wyman, and Charlie Watts perform live on stage , 1975.

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#2 Mick Jagger, draped in an American flag, performs with Keith Richards, Bill Wyman, and Ronnie Wood , 1975.

#3 Mick Jagger, draped in an American flag, performs with Keith Richards, Bill Wyman, and Ronnie Wood , 1975.

#4 Mick Jagger, with Bill Wyman and Charlie Watts, performs with The Rolling Stones , 1975.

#5 Mick Jagger, wearing an American football shirt, performs with The Rolling Stones , 1975.

#6 Mick Jagger, wearing an American football shirt, performs with The Rolling Stones , 1975.

#7 Keith Richards, wearing a ripped vest, performs with The Rolling Stones , 1975.

#8 Keith Richards, wearing a ripped vest, performs with The Rolling Stones , 1975.

#9 Mick Jagger announces the ‘Tour of the Americas ’75’ on a flatbed truck on 5th Avenue, New York, May 1975.

#10 The Rolling Stones announce the ‘Tour of the Americas ’75’ on a flatbed truck on 5th Avenue, New York, May 1975.

#11 Mick Jagger performs on a flatbed truck to announce the ‘Tour of the Americas ’75,’ New York, May 1975.

#12 Mick Jagger announces the ‘Tour of the Americas ’75’ on a flatbed truck on 5th Avenue, New York, May 1975.

#13 The Rolling Stones announce the ‘Tour of the Americas ’75’ on a flatbed truck on 5th Avenue, New York, May 1975.

#14 Mick Jagger performs on a flatbed truck to announce the ‘Tour of the Americas ’75,’ New York, May 1975.

#15 Ronnie Wood, Charlie Watts, Mick Jagger, Keith Richards, and Bill Wyman perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#16 Mick Jagger poses with a parasol, while Charlie Watts is visible, as The Rolling Stones perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#17 Charlie Watts, Mick Jagger, Keith Richards, and Bill Wyman perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#18 Ronnie Wood, Charlie Watts, Mick Jagger, Keith Richards, and Bill Wyman perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#19 Mick Jagger and Billy Preston perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#20 Charlie Watts and Keith Richards perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#21 Billy Preston, Ronnie Wood, Mick Jagger, Charlie Watts, and Keith Richards perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#22 Charlie Watts, Mick Jagger, and Keith Richards perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#23 Charlie Watts, Mick Jagger, and Bill Wyman perform on a flatbed truck on Fifth Avenue, New York City, 1975.

#24 The Rolling Stones perform on their tour in the United States, June 1975.

#25 Mick Jagger seated in a limousine car during the tour, June 1975.

#26 Mick Jagger and Keith Richards perform on stage during the tour, June 1975.

#27 Ronnie Wood and Mick Jagger perform on stage during the tour, June 1975.

#28 Mick Jagger and Ronnie Wood perform on stage during the tour, June 1975.

#29 Mick Jagger and Keith Richards perform on stage during the tour, June 1975.

#30 Ronnie Wood, Mick Jagger, Charlie Watts, and Keith Richards perform on stage during the tour, June 1975.

#31 Mick Jagger and Keith Richards perform on stage during the tour, June 1975.

#32 The Rolling Stones perform on their tour in the United States, June 1975.

#33 The Rolling Stones perform at Arrowhead Stadium during their “Tour Of The Americas” on June 6, 1975, in Kansas City, Missouri.

#34 Mick Jagger performs on stage at Madison Square Garden during the band’s “Tour of America ’75” on July 23, 1975, in New York, New York.

#35 Mick Jagger performs on stage at Madison Square Garden during the band’s “Tour of America ’75” on July 23, 1975, in New York, New York.

#36 Ronnie Wood, Mick Jagger, and Keith Richards perform on stage at Madison Square Garden during the band’s “Tour of America ’75” on July 23, 1975, in New York, New York.

#37 Mick Jagger performs on stage at Madison Square Garden during the band’s “Tour of America ’75” on July 23, 1975, in New York, New York.

#38 Billy Preston, Mick Jagger, Ronnie Wood, Charlie Watts, and Keith Richards perform on stage at Madison Square Garden during the band’s “Tour of America ’75” on July 23, 1975, in New York, New York.

#39 Ronnie Wood and Mick Jagger perform on stage at Madison Square Garden during the band’s “Tour of America ’75” on July 23, 1975, in New York, New York.

#40 The Rolling Stones perform at Madison Square Garden with Mick Jagger, Ronnie Wood, Keith Richards, Charlie Watts, Billy Preston, and Ollie Brown on June 25, 1975, in New York, New York.

#41 Mick Jagger swings over the crowd at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#42 Mick Jagger, Keith Richards, and Charlie Watts perform with percussionist Ollie Brown at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#43 Mick Jagger swings over the crowd at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#44 Ronnie Wood, Mick Jagger, Keith Richards, and Charlie Watts perform with percussionist Ollie Brown at Madison Square Garden during the band’s ‘Tour of America ’75” on June 25, 1975, in New York, New York.

#45 Ronnie Wood, Keith Richards, Charlie Watts, Mick Jagger, and Bill Wyman perform with percussionist Ollie Brown at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#46 Ronnie Wood, Mick Jagger, Charlie Watts, and Keith Richards perform with percussionist Ollie Brown at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#47 Mick Jagger performs at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#48 Mick Jagger performs with Ronnie Wood at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#49 Mick Jagger performs at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#50 Ronnie Wood, Keith Richards, Charlie Watts, Bill Wyman, Mick Jagger, Ollie Brown, and Billy Preston perform at Madison Square Garden during the band’s “Tour of America ’75” on June 25, 1975, in New York, New York.

#51 Mick Jagger performs with Keith Richards at Madison Square Garden during the band’s ‘Tour of America ‘ 75″ on June 25, 1975, in New York, New York.

#52 Mick Jagger performs on one date of The Rolling Stones Tour of the Americas ’75 in July 1975.

Written by Heather Brown

Heather Brown is a writer and historian with a passion for all things vintage. She shares her knowledge of the past through her blog, with a particular focus on historical photos and the stories they tell.

© 2024 Bygonely

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Neil Young considering performing lost ‘Cortez The Killer’ verses on Crazy Horse tour

Young has revealed that he found the lost verses "just a couple of days ago"

Neil Young has revealed that he has uncovered the “lost verses” from the 1975 song ‘Cortez The Killer’, and that he’s considering playing them during his upcoming tour with Crazy Horse .

• READ MORE:  Neil Young & Crazy Horse – ‘Barn’ review: rugged and rural beauty, with a sense of hope

According to a Rolling Stone report , Neil Young recently hosted a Zoom session with a handful of fans who are subscribed to his official website. During this call, Young revealed that he had recently found “the other verses” from ‘Cortez The Killer’ that were either cut from the song, or lost due to technical difficulties while recording the track.

He also teased performing them, though nothing is set in stone just yet: “Just a couple of days ago, I found the other verses. Just the lyrics… we may have those lost lyrics in the show, which will be fun for me.”

Young also reflected on the lost verses, recalling that he and his band were recording “a good take” when the power went off and they lost a verse that had been recorded. When producer David Briggs told them of what had happened, Young recalled saying that he “never liked” the verse anyway.

“It was a good take,” Young recalled. “So what we did was take the master tape and find ways to cut it together so that it would work, but we lost a couple of verses. They were gone. Now that I’ve found they lyrics, I’m trying to find exactly where they come in the song. I need to look at the tape and see where the cut is, where we lost some. I’ll insert them there.”

In February, Crazy Horse revealed their upcoming album ‘FU##IN’ UP’ , which will contain songs from the band’s 50 year career, freshly recorded for 2024. The album will have its initial release on Record Store Day (April 20); it will arrive in all formats on April 26.

Recommended

Young said of the new album: “In the spirit it’s offered…made this for the Horse lovers. I can’t stop it. The horse is runnin’. What a ride we have. I don’t want to mess with the vibe. I am so happy to have this to share.”

They will tour North America between April 24 and May 23 . Tickets are on sale here .

Neil Young and Crazy Horse last reunited in 2014, where they  played London’s Hyde Park BST  joined by  The National ,  Tom Odell ,  Caitlin Rose , Phosphorescent and  Flyte . Read everything that went down  here .

The band also last released music in 2021 with ‘Barn’, which  NME   gave four stars: “As Young wrote in his 2012 memoir  Waging Heavy Peace : “There is a big wind blowing today and I’m part of it. I want to make a difference.” This record lives up to those words. Of all the messages we should listen to on this album, the overriding one is that Neil Young remains as vital as he always has been.”

• Related Topics
• Neil Young & Crazy Horse

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‘snl 1975’: muna’s naomi mcpherson to make acting debut with jason reitman film (exclusive).

McPherson, whose group was part of Taylor Swift's Eras Tour, will play 'Saturday Night Live' musical guest Janis Ian in the film focusing on the show's premiere night.

By Ryan Gajewski

Ryan Gajewski

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Musician Naomi McPherson is joining the star-packed cast of SNL 1975 , Jason Reitman ‘s forthcoming film about the debut night of the long-running NBC sketch series Saturday Night Live .

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Courtney love says taylor swift is "not important," disses beyoncé's 'cowboy carter', taylor swift reacts to ryan gosling and emily blunt's cover of "all too well" on 'snl'.

McPherson is a member of the Los Angeles-based band Muna and handles production duties for most of the group’s music. Muna has spent the past two years touring in support of the self-titled 2022 album that includes the single “Silk Chiffon” featuring Phoebe Bridgers. The band, including fellow members Katie Gavin and Josette Maskin, served as an opening act on Taylor Swift ‘s record-setting Eras Tour and previously opened for Harry Styles, The 1975 and Kacey Musgraves.

Ian is a two-time Grammy winner whose 1975 album Between the Lines reached No. 1 on the Billboard 200 chart. Ian was the second musical guest on the premiere episode of SNL after Billy Preston and performed her songs “At Seventeen” and “In the Winter.” Jon Batiste, who is composing the score for the film, will portray Preston .

Reitman and Gil Kenan penned the screenplay for SNL 1975 (which is the working title) based on their interviews with living cast, writers and crew about the debut of the show that is now airing its 49th season. Reitman, Kenan, Jason Blumenfeld and Peter Rice are producers on the movie, while Erica Mills and JoAnn Perritano serve as executive producers.

Portraying SNL’ s inaugural players are Dylan O’Brien (as Dan Aykroyd), Lamorne Morris (Garrett Morris), Cory Michael Smith (Chevy Chase), Matt Wood (John Belushi), Ella Hunt (Gilda Radner), Emily Fairn (Laraine Newman) and Kim Matula (Jane Curtin).

Also appearing in the movie are Nicholas Braun (Jim Henson), Kaia Gerber (Jacqueline Carlin), J.K. Simmons (Milton Berle) and Finn Wolfhard as an NBC page.

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Soccer-Klopp farewell tour fizzling out as Liverpool struggle to keep up momentum

L IVERPOOL, England (Reuters) - Liverpool manager Juergen Klopp's farewell tour could end with a whimper after Crystal Palace delivered a huge blow to his side's Premier League title chances with a 1-0 win at Anfield on Sunday that left the German reeling.

"This one feels really, really rubbish. I need time to process that," Klopp told Sky Sports.

Liverpool appeared poised to write Klopp a fairytale ending in his last season before leaving the club after they won the League Cup and sat atop the league table with just two losses.

But Eberechi Eze scored in the 14th minute on Sunday and unlikely foes Palace held on to hand Liverpool a third league loss of the season and their first at home since October 2022 while ending their own 10-match winless run on the road.

The defeat was the latest in a string of disappointing recent results for Klopp's men, who have dropped five points in their last two league games to sit third, level on 71 points with second-placed Arsenal, who themselves lost on Sunday.

Manchester City climbed to the summit with a 5-1 rout of relegation-battling Luton Town on Saturday, while Arsenal squandered a chance to go top with a 2-0 loss to Aston Villa.

"Of course you have to ask these questions -- what does it mean for the title race and stuff like this," Klopp told reporters on Sunday. "I'm not dumb, I know that.

"The answer is pretty easy: if we play like we did in the first half why should we win the league?

"If you play like in the second half, we can win football games. So if we can win football games then we will see how many we can win. We have to be around when the other guys now struggle, if they struggle, so that's how it is. For us, obviously we have to win football games anyway."

There was talk of Liverpool claiming four trophies in Klopp's finale after they won the League Cup in February but they were ousted from the FA Cup by Manchester United's 4-3 win in extra time in a thrilling quarter-final last month.

Liverpool's Europa League hopes also suffered a massive blow when they were beaten 3-0 by Atalanta at Anfield on Thursday in the first leg of their quarter-final tie.

Now their Premier League title hopes are floundering after a 2-2 draw with rivals United last week and a stunning loss on Sunday that saw them squander 21 shots to Palace's eight.

"For winning, as a manager you find a lot of explanations, 'This was great, this was great,'" Klopp said.

"When you lose, it's not as easy to find these things and they might be obvious but it's not about now putting the finger into that or that or that. The solution is always being really together on the pitch for us.

"Where we are we got because we were against the ball an absolute machine and that's what we have to be. We planned this day completely differently. But here we are and, how I said, we have to deal with that."

Liverpool head to Atalanta for the second leg of their Europa tie on Thursday and then travel to Fulham on Sunday to try to get their Premier League title tilt back on track.

(Reporting by Lori Ewing; editing by Ken Ferris)

Legendary St. Louis Cardinals manager Whitey Herzog dies at 92

ST. LOUIS ( KMOV /Gray News) – Legendary Hall of Famer and former St. Louis Cardinals manager Whitey Herzog has died at age 92.

Herzog’s representative Kathy Dampier confirmed his death.

Herzog was the Cardinals’ general manager for 18 years and led the team to win the 1982 World Series.

As general manager, he also had 1,281 regular season wins and won three National League championships, according to the Baseball Hall of Fame.

Before Herzog was with the Cardinals, he was with the Kansas City Royals from 1975-1979, where he won at least 90 games.

Copyright 2024 KMOV via Gray Media Group, Inc. All rights reserved.

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Legendary St. Louis Cardinals manager Whitey Herzog dies at 92

ST. LOUIS ( KMOV /Gray News) – Legendary Hall of Famer and former St. Louis Cardinals manager Whitey Herzog has died at age 92.

Herzog’s representative Kathy Dampier confirmed his death.

Herzog was the Cardinals’ general manager for 18 years and led the team to win the 1982 World Series.

As general manager, he also had 1,281 regular season wins and won three National League championships, according to the Baseball Hall of Fame.

Before Herzog was with the Cardinals, he was with the Kansas City Royals from 1975-1979, where he won at least 90 games.

Copyright 2024 KMOV via Gray Media Group, Inc. All rights reserved.

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