You can easily get tons of these massive stadium tours for well below 50% of the face value, obviously depending on just how many stadiums they are visiting on that tour. But even with just the 3 shows announced, I think you'd get tickets for this for less than face value fairly easily if you have the gift of the gab.
Music Stone Roses - Manchester gigs/new material
- Thread starter Zebs
- Start date
I live in the states and I like arctic monkeys. They're not that big over here and their first two albums will probably remain the height of their popularity . Really very few British bands become big in the US, which is basically what people mean when they say biggest bands in the world. Monkeys are closer to Oasis or Blur than U2 or Coldplay
Not the same level as such, but similar as in one of the biggest bands in the world. AM, love it or hate it, was extremely cleverly put together, and that hip-hop type production is sure to help them become really big in the states.
I guess I don't have much idea of who's popular in the States, then, 'cause I thought Oasis were quite popular. Although that might just be because there's some kid on another forum who's massively into them and he's American. Funny how Coldplay are bigger than Oasis were over in America, when that isn't really the case here.
If anyone happens to be lucky enough and get tickets I'd give a bollock for one. I'll have 3 devices all with half a dozen tabs open refreshing each frantically in the hope to get one. This is gonna be the disappointment of Heaton Park all over again I just knows it. I can cut your grass, wash your dishes, do dirty or sexy things or even be put through pain and humiliation. In the slim event anyone has a spare (or 2 lol) message me. I'm begging you! (genuine roses fans will get that pun)
http://www.ticketmaster.co.uk/Stone-Roses-tickets/artist/2198
http://www.ticketmaster.co.uk/Stone-Roses-tickets/artist/2198
Anyone get tickets then? Managed to get 4 but seated me. Ticket Master was a night mare....I'm still in a queue on there it says. Been saying "Less than 4 minutes" for about 45minutes!!
I didn't bother trying this morning. I think £60+fees is a bit steep and I've seen them twice already since 2012. I'm surprised to hear you guys are having a nightmare on Ticketmaster to be honest. I really didn't think there would be so much buzz for these gigs without any new music.
Same message I got. Tickets already in eBay for about £400 but feck that. Shed 7 and Inspirals on Dec 1st will have to do.
I've managed to get a Sunday ticket along with 6 other mates. So fecking happy! Can't wait
Wednesday has been added.
4 fecking nights. . Scenes
4 fecking nights. . Scenes
Managed to grab myself 4 standing tickets for the Friday with an iPad, Laptop and my phone all on the go... BOOM! 
Two extra nights added. Crazy stuff.
Silly money, will definitely go down though.
According to the MEN there's few left for Wednesday mate depending how many of you going etc.
Keeping with tradition at the Etihad, I fully expect no one to turn up
I was on ticketmaster for ages this morning ,gave up when it was announced the original 2 nights were sold out .Luckily my daughter stayed with it and bagged 2 for the Sunday night.Can't wait
Yep I'm all booked for Wednesday
Couldn't get through on Seetickets or Ticketmaster at all.
Luckily someone who works for a ticket company got me a couple
Luckily someone who works for a ticket company got me a couple
Wasn't able to get one myself, absolutely gutted. Was a top night at Heaton park, I'll just have too pay a bit extra for one nearer the time then.
still looks like there may be a few available here @Maccaa
http://www.gigsandtours.com/event/the-stone-roses/etihad-stadium/925616
http://www.gigsandtours.com/event/the-stone-roses/etihad-stadium/925616
Thanks for that mate, one of my mate's has just rang me though saying he has an extra standing ticket for the Friday and he's sorted it me at face value. Couldn't be happier!
Had 3 computers, 2 laptops and two phones set up and didn't manage to get. Managed to get from getmein for about £100 each which isn't too bad. Can't wait to hear This Is The One at the true home of football in Manchester.
This is bizarre... Before I begin, I got into the Roses when I was a kid, through the 2nd coming....I've since adored everything they've produced and think Reni is one of the best musicians of the 20th century....
However, 4 nights at the Etihad?.....Really? I am struggling to grasp that. I can write out the set list for the gigs right now. Where's the new stuff? The Roses have become what they wanted to destroy in the 80's....But 4 dates Especially since Heaton Park was a massive tout failure
However, 4 nights at the Etihad?.....Really? I am struggling to grasp that. I can write out the set list for the gigs right now. Where's the new stuff? The Roses have become what they wanted to destroy in the 80's....But 4 dates
Especially since Heaton Park was a massive tout failureDirty.
I'm talking about the roses gigs with saddos on FB due to a distinct lack of interest by Take That and Ramstein listening tards. Thought there'd be a good few going from here. Weirdos.
These 4 nights plus the T in the park appearance aren't for nothing. I wouldn't be surprised to see a new album released to coincide with the summer gigs. Roses are the kings of head games, said they were only putting on 2 nights when in fact they were doing 4 (touts didn't see that coming and there's still a few tickets available at face value from vendors). Anyway I thought you'd be writing them new material...seeing as you wrote the other 2 albums
These 4 nights plus the T in the park appearance aren't for nothing. I wouldn't be surprised to see a new album released to coincide with the summer gigs. Roses are the kings of head games, said they were only putting on 2 nights when in fact they were doing 4 (touts didn't see that coming and there's still a few tickets available at face value from vendors). Anyway I thought you'd be writing them new material...seeing as you wrote the other 2 albums
I wouldn't put my name to half the shite on the Second Coming
It can take time, but we all eventually find our place in the herd. Fair play.
It is weird how uninterested the Caf is over The Stone Roses, thread like this should be hitting 10-15 pages.
Jaysus did I just hear you right there? Subjective of course, but the SC is a masterpiece. Musically it's magnificent with Squire giving it dixie with shit loads of Page-esque riffs and grooves in plenty of tracks, and Brown's vocals had dramatically improved from the first album where he had to sing chime, hush tones on every track as he was still inexperienced and didn't have much of a vocal range. The debut vocals were studioed to death before it was released.I wouldn't put my name to half the shite on the Second Coming
SC was a change in direction. Madchester was dead in the water, what did you want, another psychedelic album that sounded the same as the first album? Begging you is right up there with anything they've ever done. Love spreads is pure anthem. Daybreak and Your Star Will Shine and maybe the long winded intro to Breaking Into Heaven are the only possible weak bits on a mighty fine album. I don't think you're a real fan at all man.
I love Love Spreads, Daybreak and Ten Story Love Song is probably my favourite Roses song, along with Elephant Stone and Hardest Thing In The World but, there is something that just does not sit well with me with certain songs on the album. I'm not big into the whole Madchester thing. I much prefer songs that are more heavily guitar riff based, like Love Spreads but, some of the songs just don't get me going at all.
Plus, it always reminds me of the fact Robbie Maddox came in after it was released and once that happened, it ceased to be the Roses
EDIT: First album psychedelic? You think so?
Robbie and Ibrahim never played on the SC though. They just gigged with them and filled in for the absent members of the band. With half the band gone the Roses were dead. The proof is in the pudding by not just Brown's atrocious vocals at Reading in 96, but by the whole band as a collective. There and then the whole of music world knew the roses were dead, including the band themselves.
Yes the first album is psychedelic. It's energy Madchester psychedelia fueled with ecstasy rather than the 60s brand of psychadelia. Adored, She bangs the drums, Waterfall, Sugarspun and This is the one we're all psychedelic tracks tbh. You only had to see the videos and the artwork that accompanied the debut to see that, same can be said for tracks of the unofficial debut album Garage Flowers.
trouble is that guitarists like yourself think you know the music scene inside out, when you don't. Now piss off back to your Rammstein
Robbie and Ibrahim never played on the SC though. They just gigged with them and filled in for the absent members of the band. With half the band gone the Roses were dead. The proof is in the pudding by not just Brown's atrocious vocals at Reading in 96, but by the whole band as a collective. There and then the whole of music world knew the roses were dead, including the band themselves.
Yes the first album is psychedelic. It's energy Madchester psychedelia fueled with ecstasy rather than the 60s brand of psychadelia. Adored, She bangs the drums, Waterfall, Sugarspun and This is the one we're all psychedelic tracks tbh. You only had to see the videos and the artwork that accompanied the debut to see that, same can be said for tracks of the unofficial debut album Garage Flowers.
trouble is that guitarists like yourself think you know the music scene inside out, when you don't. Now piss off back to your Rammstein
Can honestly say, I've never heard a Rammstein song in my life. Don't like anything heavy metal.
Hmmm don't know if I'd say Drums or TITO is psychedelic. Adored on record is, certainly wasn't on the last tour the way it sounds now. Half of Resurrection is anyways. Regardless, it's a fooking immense piece of work
As for Maddox, I know he didn't play on it but, he promoted it and toured it. Like a bad smell. Reni is the single most talented musician, in the mainstream, in the last 30 years
Why? surely there's not much to discuss here beyond "I got/didn't get a ticket"? Would be a bit boring over 15 pages!
Stone Roses were great and plenty of people on here will say so, but not everyone lives close enough to attend the show or wants to spend upwards of sixty quid to see them.
There's that and the Caf is full of people of various nationalities. Not everyone is from Manchester. As I said earlier, The Roses were never "massive" in the sense that U2 are
Wow that's a bold statement. As much as the roses are my favourite band ever, Johnny Marr and Weller are better musicians than Reni and both have stood the test of time. Although he's never got much limelight Craig Gill from the Inspirals is actually a better drummer than Reni, just nowhere near as cool.
Nah. Weller is not even a great guitarist. Marr is a great guitarist alright but, his solo stuff is just throwaway to a lot of people, who regard his work in The Smiths to be his best.
I'd pay a 100 quid to see Reni play drums and sing harmonies for a half hour. That's how good he is. Plays a mean guitar too
Recently moved to Manchester and got a Sunday ticket, with 6 other mates. Can't fecking wait
Nah there's plenty to discuss. Playing devils advocate on will there be new material and what sound/influences it would take. Discussing who might support (whispers of Charlatans, Courteeners, Noel G, Shed 7, Mondays and The Farm). What tards want to see on the playlist. Discussing all the new roses merchandise that's appeared from out of nowhere etc etc. I could go on and on, plenty to chat about. I'm pretty sure I could do 15 pages on me own.
Fair enough, looking forward to it!@.Rossi please read, be educated, stfu and don't bother responding
WHY ‘SECOND COMING’ IS THE STONE ROSES’ MASTERPIECE
There’s a moment in 2004’s Shaun of the Dead which brilliantly summarises the awkward legacy of The Stone Roses’ 1994 sophomore effort Second Coming
. Nick Frost and Simon Pegg are deciding what vinyl records to throw at a group of oncoming zombies. When Frost nominates 1989’s The Stone Roses, Pegg unequivocally says no, but when Frost suggests Second Coming, Pegg squeals indignantly ‘I liked it!’ Second Coming’s reputation is immaculately lampooned in a way that makes Roses fans simultaneously laugh and wince.
The general consensus is that The Stone Roses released one truly spectacular album and some brilliant singles like ‘Fools Gold’, before capitulating in a dismal blitz of shambolic bellowing sessions, culminating in their abysmal headline slot at Reading Festival in 1996. The rockier direction the band took on Second Coming is disgracefully viewed as the main contributor to their decline. The embarrassing uncle of the Roses’ abridged back catalogue, Second Coming is often overlooked or mocked by hipster heretics who mechanically follow the party line. Wails of ‘Zeppelin pastiches’ and ‘pretentious fret-noodling’ follow the beleaguered album as it tries to go about its day. As the Roses roll away their stone and emerge into the light again, the case for Second Coming as their greatest work must be made.
There’s a moment in 2004’s Shaun of the Dead which brilliantly summarises the awkward legacy of The Stone Roses’ 1994 sophomore effort Second Coming
. Nick Frost and Simon Pegg are deciding what vinyl records to throw at a group of oncoming zombies. When Frost nominates 1989’s The Stone Roses, Pegg unequivocally says no, but when Frost suggests Second Coming, Pegg squeals indignantly ‘I liked it!’ Second Coming’s reputation is immaculately lampooned in a way that makes Roses fans simultaneously laugh and wince.
The general consensus is that The Stone Roses released one truly spectacular album and some brilliant singles like ‘Fools Gold’, before capitulating in a dismal blitz of shambolic bellowing sessions, culminating in their abysmal headline slot at Reading Festival in 1996. The rockier direction the band took on Second Coming is disgracefully viewed as the main contributor to their decline. The embarrassing uncle of the Roses’ abridged back catalogue, Second Coming is often overlooked or mocked by hipster heretics who mechanically follow the party line. Wails of ‘Zeppelin pastiches’ and ‘pretentious fret-noodling’ follow the beleaguered album as it tries to go about its day. As the Roses roll away their stone and emerge into the light again, the case for Second Coming as their greatest work must be made.
Second Coming slashes on laughably lauded ‘classics’ like OK Computer and Rumours thanks to the intoxicating mixture of disparate influences expressed in the sacred unification of filthy riffs and menacing grooves. Across the twelve tracks (thirteen if you count hidden freak-out instrumental ‘The Foz’), the Roses built on the successes of their debut with more bullish and textured sounds. Every chord falls where you want, every bass line intimately weaves its way around its six-stringed partner, and every drop of the hi-hat consecrates Second Coming’s eclectic recipe.
Guitarist John Squire was the principle songwriter on an album which disturbed fans and iconic frontman Ian Brown with its blunt departure into moodier territory. In a perfect world, it would’ve been seen as a superior follow up to an impossibly sublime debut. The band explored new soundscapes by replacing the chimes of The Stone Roses with mountainous riffs, all the while maintaining Mani and Reni’s gravity-mocking calls to the dance floor. Squire’s fretwork, from the jungle-funk pyrotechnics of ‘Breaking into Heaven’ to the neo-Byrdsian barbs of ‘How Do You Sleep’, shows his versatility as a guitarist and his capacity as a songwriter to frame complex yet likeable instrumentation within accessible pop structures. The sky-scraping ecstasy of ‘Ten Storey Love Song’ comfortably segues into imperious blues leviathan ‘Daybreak’, different styles complimenting each other rather than clashing. The uplifting folk-pop of ‘Tightrope’ echoes Simon & Garfunkel and is elevated by heavenly harmonies that would humiliate the most reverent choir. Though songs flit from style to style in an ostensibly disjointed manner, the band’s inimitable identity was preserved in Brown’s vocal swagger, Squire’s multi-coloured riffs and Mani and Reni’s sumptuous grooves.
Brown and Squire’s song-writing relationship, which produced secular hymn after spiritual anthem on their debut, was eroded due to drugs and creative differences during recording, but still yielded their best song ‘Begging You’. Defined by warped guitars, apocalyptic drumming and cryptic visions, Brown and Squire used Public Enemy’s ‘Fear of a Black Planet’ as the template for the doom laden rave up that gave fans a tantalising glimpse of what direction the band could’ve taken next.
The album is not without its faults. Brown’s vocals are shocking in places, particularly on ‘Daybreak’ and ‘Driving South’, both of which are also saddled with Squire’s limp lyrics. Though it owns one of the best riffs of the nineties, ‘Driving South’ is further mutilated by a soulless drum machine which mystifyingly replaced Reni. Nevertheless, the Roses showed attractive vulnerability in these imperfections and daring experimentation their debut lacked.
Whereas The Stone Roses’s legacy benefitted from superficially optimistic political change and e-driven youth subculture around the time of its release, Second Comingwas flattened by an inclement musical scene dominated by the impressive triumvirate of Pulp, Oasis and Blur. The Roses were quickly overshadowed and criminally underappreciated because Second Coming did not adhere to the retro guitar pop bands were legally obliged to produce. Despite the disintegration of the band as a cohesive unit during its composition, Second Coming is a wondrous testament to their musicianship, and is without a doubt the patron saint of second albums.
WHY ‘SECOND COMING’ IS THE STONE ROSES’ MASTERPIECE
There’s a moment in 2004’s Shaun of the Dead which brilliantly summarises the awkward legacy of The Stone Roses’ 1994 sophomore effort Second Coming
The general consensus is that The Stone Roses released one truly spectacular album and some brilliant singles like ‘Fools Gold’, before capitulating in a dismal blitz of shambolic bellowing sessions, culminating in their abysmal headline slot at Reading Festival in 1996. The rockier direction the band took on Second Coming is disgracefully viewed as the main contributor to their decline. The embarrassing uncle of the Roses’ abridged back catalogue, Second Coming is often overlooked or mocked by hipster heretics who mechanically follow the party line. Wails of ‘Zeppelin pastiches’ and ‘pretentious fret-noodling’ follow the beleaguered album as it tries to go about its day. As the Roses roll away their stone and emerge into the light again, the case for Second Coming as their greatest work must be made.
There’s a moment in 2004’s Shaun of the Dead which brilliantly summarises the awkward legacy of The Stone Roses’ 1994 sophomore effort Second Coming
The general consensus is that The Stone Roses released one truly spectacular album and some brilliant singles like ‘Fools Gold’, before capitulating in a dismal blitz of shambolic bellowing sessions, culminating in their abysmal headline slot at Reading Festival in 1996. The rockier direction the band took on Second Coming is disgracefully viewed as the main contributor to their decline. The embarrassing uncle of the Roses’ abridged back catalogue, Second Coming is often overlooked or mocked by hipster heretics who mechanically follow the party line. Wails of ‘Zeppelin pastiches’ and ‘pretentious fret-noodling’ follow the beleaguered album as it tries to go about its day. As the Roses roll away their stone and emerge into the light again, the case for Second Coming as their greatest work must be made.
Second Coming slashes on laughably lauded ‘classics’ like OK Computer and Rumours thanks to the intoxicating mixture of disparate influences expressed in the sacred unification of filthy riffs and menacing grooves. Across the twelve tracks (thirteen if you count hidden freak-out instrumental ‘The Foz’), the Roses built on the successes of their debut with more bullish and textured sounds. Every chord falls where you want, every bass line intimately weaves its way around its six-stringed partner, and every drop of the hi-hat consecrates Second Coming’s eclectic recipe.
Guitarist John Squire was the principle songwriter on an album which disturbed fans and iconic frontman Ian Brown with its blunt departure into moodier territory. In a perfect world, it would’ve been seen as a superior follow up to an impossibly sublime debut. The band explored new soundscapes by replacing the chimes of The Stone Roses with mountainous riffs, all the while maintaining Mani and Reni’s gravity-mocking calls to the dance floor. Squire’s fretwork, from the jungle-funk pyrotechnics of ‘Breaking into Heaven’ to the neo-Byrdsian barbs of ‘How Do You Sleep’, shows his versatility as a guitarist and his capacity as a songwriter to frame complex yet likeable instrumentation within accessible pop structures. The sky-scraping ecstasy of ‘Ten Storey Love Song’ comfortably segues into imperious blues leviathan ‘Daybreak’, different styles complimenting each other rather than clashing. The uplifting folk-pop of ‘Tightrope’ echoes Simon & Garfunkel and is elevated by heavenly harmonies that would humiliate the most reverent choir. Though songs flit from style to style in an ostensibly disjointed manner, the band’s inimitable identity was preserved in Brown’s vocal swagger, Squire’s multi-coloured riffs and Mani and Reni’s sumptuous grooves.
Brown and Squire’s song-writing relationship, which produced secular hymn after spiritual anthem on their debut, was eroded due to drugs and creative differences during recording, but still yielded their best song ‘Begging You’. Defined by warped guitars, apocalyptic drumming and cryptic visions, Brown and Squire used Public Enemy’s ‘Fear of a Black Planet’ as the template for the doom laden rave up that gave fans a tantalising glimpse of what direction the band could’ve taken next.
The album is not without its faults. Brown’s vocals are shocking in places, particularly on ‘Daybreak’ and ‘Driving South’, both of which are also saddled with Squire’s limp lyrics. Though it owns one of the best riffs of the nineties, ‘Driving South’ is further mutilated by a soulless drum machine which mystifyingly replaced Reni. Nevertheless, the Roses showed attractive vulnerability in these imperfections and daring experimentation their debut lacked.
Whereas The Stone Roses’s legacy benefitted from superficially optimistic political change and e-driven youth subculture around the time of its release, Second Comingwas flattened by an inclement musical scene dominated by the impressive triumvirate of Pulp, Oasis and Blur. The Roses were quickly overshadowed and criminally underappreciated because Second Coming did not adhere to the retro guitar pop bands were legally obliged to produce. Despite the disintegration of the band as a cohesive unit during its composition, Second Coming is a wondrous testament to their musicianship, and is without a doubt the patron saint of second albums.
It's not their masterpiece. Not even the most biased fan of the album would suggest that.
Anyways, listened to it again last night. Not as bad as I remembered. Love Spreads, Day Break and Ten Story Love Song are the still the best tracks on the album for me
Anyways, listened to it again last night. Not as bad as I remembered. Love Spreads, Day Break and Ten Story Love Song are the still the best tracks on the album for me