Rolling Stones Background Singer Chanel Haynes on Her First Tour: ‘I Was Living in My Dream’

When we last spoke to singer Chanel Haynes, it was June 2022 and she was still reeling from a surprise call from the Rolling Stones that led to her joining them for “Gimme Shelter” at a show in Milan. Haynes was staring as Tina Turner in a London production of Tina , and had to jet off to Italy at the last minute to make the show. With just 30 minutes of rehearsal, she faced a soccer stadium packed with Stones fans.

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“The sound they made was like trees in a jungle in a storm,” she said. “It’s primal, like a war. When that hit my body, all of those voices, all of those eyes, were shooting into my body. I had to hold and possess all of that. It was a very surreal experience … It was a magnificent gift. I’m still savoring it.”

At the time, it seemed like the gift was a one-shot deal. But when the Rolling Stones played a surprise club show at New York’s Racket in October 2023, she was back on the stage. And when they launched the Hackney Diamonds tour in April, she was perched next time to longtime background singer Bernard Fowler. She belted out “Gimme Shelter” with stunning power every night alongside Mick Jagger, and then took on Lady Gaga’s parts on “Sweet Sounds of Heaven” during the encore. It was the most prominent role in the show they’ve ever given a background singer, and the feedback from fans and critics was universally ecstatic.

A couple of weeks after the tour wrapped up in Ridgedale, Missouri, we hopped on a Zoom call with Haynes from her home in London to hear all about the second chapter of her saga with the Rolling Stones.

When we last spoke, you thought your gig with the Stones was a one-time thing. When did you hear it was going to be more?
I can’t pinpoint exactly. I did know that they’d done the album. I think that probably was the signal. If you’re coming out with a new album, there’s pretty much a tour that should follow. After the show, of course, I maintained some really healthy relationships with the people that I’d worked with, particularly [Stones keyboardist] Matt Clifford, who was just such a wonderful, wonderful person, along with just countless people. He mentioned to me that, “There might be a tour happening. We should pay attention to that.”

I don’t remember when I learned for sure that it was happening, but I’ll tell you this. I knew once I experienced that stage in Milan … the feeling that went through my body was shockwaves. I knew that I was home. I felt grounded. I also felt like I was soaring in the heavens. It was just this amazing alignment that I felt, and it just became something I absolutely wanted to manifest.

It became my focus. “I must be home with my family.” It was a feeling like that, and I will say it’s what I prayed for. I have a beautiful, amazing family, and I always thought, “Well, why can’t I have that in my career as well?” And so, it became a prayer, and I found my family.

How did you hear about the concert they were playing at the Racket last year?
Two words: Joyce Smyth. She’s been the band’s manager for a long time. She called me. And you see a certain name in your phone, and your heart just stops. I picked up the phone, and it’s just her saying, “Where are you?” I said, “I’m home,” which by the way, we’re neighbors. She lives in England too. She said, “Are you available in two days to come to New York City?” It was almost the same exact thing that happened with me singing with them in Milan.

Talk about staying ready. And it starts with a thought. It’s a vision. You see it in your mind. Then, it becomes something that you have to believe in your heart and hold it, and then, while that’s happening simultaneously, you must be prepared and ready. And those things all come together, and that phone call comes. The answer is, “Absolutely, yes. I’m ready.”

You hopped on a plane and went right into rehearsals?
I went right into rehearsals. I went from performing on the stage with them that one time, and having not even a half hour rehearsal for Milan. And then I’m ushered into this room with just the Stones in a rehearsal, learning their new material and some of the old, and I did it.

I was directly in front of the stage. The feeling in that little room was unreal.
It felt like it really mattered to the Stones. Everyone felt that intensity and how precious and important this moment was to them, because we were all vulnerable. It was all new material. And the most magical thing about working with them is there’s nothing stale. There’s nothing to be assumed. You show up, and you’re ready to tap in, if that makes any sense.

And we were all tapped in onstage. You’re waiting just as much as the people in the audience are waiting. We’re all waiting to find out, where are we going?

That was just seven songs in a club. How did you hear you were going to get the job on the tour?
I remember it was about three o’clock in the afternoon. I was about to leave to go and get my kids from school, and a phone number popped up in my phone that I’d never seen. I just heard, “Chanel. Hey, it’s Mick.” My jaw dropped, because whoever in life gets a call like this? There’s only one Mick, so clearly this is the moment. We had spent the day together in New York [before the Racket show]. We just hung out in the studio, and we sang together, and we talked, and we laughed. It was apparent we had a natural chemistry. And essentially he asked me, “Would you like to join us for the North American Hackney Diamonds tour?” And I remember my response. I said, “Nothing would make me happier. Wild horses couldn’t keep me away.”

Prior to the rehearsals in Los Angeles, did you take a crash course in their catalog?
I had a very unique process. For a week, all I did was study the lyrics of the songs, and wanted to know in what decade was this song written, who wrote it, what socially was happening in the world? I did a deep dive into the actual writing, the lyrics. Then, another week, I was studying every girl who’d ever sang “Gimme Shelter” with Mick to see where there was more chemistry than others, what made them tick. I was just studying their interactions.

Then, I had to figure out who I wanted to be. I watched the other people, and then I decided, “Who am I? What do I have to offer and what do I bring to the table?”

But honestly, I dreamed all of it. I saw it first, and I let my body and my heart feel it, so that when I showed up, I was living in my dream. So for example, every note, every flight on that jet, every dinner, every rehearsal, soundcheck, my dressing room, walking with security from the stage to the motorcade, I already fantasized that all these things would happen, so that when it did, I was like a kid in the candy store. I was like, “It’s really happening.”

How did you approach your job as a background singer? You obviously don’t want to overpower Mick, but you want to punch up certain parts. I’m sure Bernard helped you with that.
It’s definitely a collaboration. Obviously, Bernard for over 30 years has mastered the tones and textures of everyone onstage, particularly Mick. And he was very supportive and patient with me, because I’ve never been a background singer. And my voice isn’t really a blending-in kind of voice. It’s kind of out there. And so I just listened.

There’s no space and time for ego like, “Oh, this is my thing.” No, you listen and you get the pulse and understand what is needed. I remember Mick asking me. “Do you have any questions? Is there anything that we can do to support you?” I said to him, “I want to make sure that you are OK. I want to support you. The last thing in the world I want is for you or anyone to worry about me. I’ll do my homework, but my gift is to support you wherever you need me on that stage.”

And that takes a lot of discipline and just, again, listening. I have to give a lot of props to Dave [Natale], who is the sound engineer, who when my big mouth is a little too much, maybe he’s like, “Let me see what I can do.” But they do their magic too, obviously, to make sure that the balance is there. So it’s a beautiful effort.

Prior to rehearsals, did you know you’d be doing the Lady Gaga parts in “Sweet Sounds of Heaven”?
Yes, I did. I think the thing that still to this day blows me away is I don’t know if, ever in the history of the Stones, that someone was featured twice singing.

Nope. It’s the most prominent role they’ve ever given a background singer.
When that dawned on me, I certainly was humbled by it, and knew that with that opportunity comes a great deal of responsibility. And these are singers that I’ve admired. Obviously, Gaga and the incredible Merry Clayton … it’s big shoes to fill, and I embraced it with my whole heart, and I think it was felt.

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They’ve been doing “Gimme Shelter” for over 50 years. But “Sweet Sounds of Heaven” is a brand new song. That gives you a lot of space to find your place in it.
Like anything, in the beginning, you’re finding it, but oh, my God, by the end, it’s one of the most beautiful things I feel I’ve ever been able to create and co-create with the kings. Not only was I so looking forward to the experience of rocking out with the kings, I wanted to know how the kingdom worked, so I just did a deep dive every chance or opportunity I got.

I am no interviewer, but I’m a very curious person: I wanted to understand how it all works. It was the entourage, the band, sound engineers, the pilot, flight attendants, lighting stage manager, stage designer, public relations, hospitality, physical therapist, choreographer, hotel coordinator, transportation, hair, makeup, management, personal assistants, catering, doctors, truck drivers, accountants, the chef, merch, ticket office, the promoter, videographers, and then my absolute favorite, security, they’re like zen warriors.

Everyone came together so beautifully. When the show is over, it’s like almost like the Hackney Diamonds glass breaking off. Everybody kinds of goes their own way, and then it all merges back together. I swear to God, it felt like that every day of the show. It was all these pieces just sort of coming together in this beautiful way. I’m like, “This is the most beautiful kingdom on planet earth.”

What was it it like to walk onstage on opening night in Houston?
It felt like a party with my friends, and just look at what we’re doing together. I’m amazed at how swift, how incredibly generous, how everyone came together so that I could feel included. I’ve never felt disconnected from the band. Obviously, I’m the only girl, so there’s this awesome extra layer of sort of protection. They’re like, “Are you OK, if you need anything?”

You can imagine the Rolling Stone fans. I’ve been singing my whole life, and I’ve had my own fans, but dude, this is otherworldly. And so sometimes when it was a little bit too much for me to process or handle, oftentimes I’d have what I call my red-room parties. And whoever was also sort of in the same mood, it was like, “Let’s just hang back.” My room is always red. I always travel with red light bulbs, and we’ll just have snacks, drink wine, hang out, and listen to music. It has just really been a blessing.

They’re all great guys. I think, for example, of the job Steve Jordan has done filling Charlie’s shoes.
He’s incredible. I was really shy at first. He was in front of me at the hotel, and he’s going to get dinner and he sees me, and he sees I’m shy, by myself. And he says, “Hey, you want to have dinner with me?” I was just so touched.

I saw that great photo of you on the plane with Keith Richards. Did you grow close to him?
Oh, my God. I can’t even go into the details of how much he’s touched my heart. I had a little routine before the shows, where we’d have a little bite of shepherd’s pie with him. He always has it, and I am sort of a foodie, so whenever I might feel a little … sometimes there’s a lot going on backstage and can be a little unsettling, but Keith is the calmest. He’s grounding, so whenever I’m around him, I just really feel so grounded. Watching him strum his guitar, while I totally devour his shepherd’s pie, is one of my favorite memories.

Mick must have been amazing to watch every night. I still can’t process how an 81-year-old man is able to move like that for two hours.
Everyone around him felt that way. I mean, there were times, obviously, where I’d feel tired. It’s not just the physicality. It’s the mental pressure. It’s the responsibility that’s on his shoulders. And it’s like, “OK. You stand before your people, and you lead them strong. You take care of them, and they take care of you.” It is beautiful to witness, and it’s very inspiring for me, because I absolutely cannot complain about anything. There’s no one that can complain about anything when you watch and you observe his character, his discipline, and his attention to detail.

I did a note one night, and actually, it was rehearsal, and I was kind of just being lazy. I’m like, “No, he’s not going to notice this note.” I just did a lower note when I should have done a higher note. He totally caught it. He said, “Yeah. Next time, can you …” I was like, “Oh yeah. You’re right.” I learned, in that rehearsal, he’s going to catch every single thing, so you might as well lock it down, girl.

I really think that “Gimme Shelter” is one of the greatest rock songs ever written. Did singing it every night give you a deeper appreciation of its power?
“Gimme Shelter,” in my opinion, is not even a song. It’s a war cry. It’s in a zone that is not like any other song written because, I mean, this might sound sacrilegious, but almost like the Bible. You know how they call it the living word? I’m a preacher’s daughter, so bear with me.

It’s called the living word, because every time you read it, you get something different. It’s just alive in you. Every time I sang that song, it would rip me apart. I mean, I’m shredded, shredded onstage, and as we continue, I’m slowly being put back together again. I often wore metal dresses. They felt like armor to me. It made it feel like war. And it’s bringing everyone together for this epic moment in time. That’s the kind of feelings I’m channeling, really.

One of the best moments of the show came when you first step into the spotlight and belt out, “Rape! Murder!” I could see everyone around me get chills at once.
I’m channeling. It comes down from above through my head, through my heart, and then it goes out into the audience, and then they feel it, and then it goes back up, and that’s the cycle. That’s what’s happening the whole time for me, because it’s not just one component. We’re being elevated together all at once.

Then you’d walk down the runway with Mick. Every night, your interactions there were a little different. It always felt spontaneous.
It absolutely was. At first I was really getting in my head, and Chucky [Klapow], who’s the choreographer, I would torture him in my dressing room like, “What should I do?” He’s like, “Chanel, it’s never going to be the same.” He said, “Just do what you’ve been doing.”

There’s no way to describe it. All I can tell you is we were reacting to each other, and there’s no one person in that moment. And there are the tiniest details that I would catch. It could be his hands shaking a little faster than normal. That might indicate something to me, so it really was just a delicate dance of our souls.

Did you ever get used to facing 50,000 people at once?
It’s never something to take for granted. But I’ll also say that it felt like home since it becomes familiar in the most beautiful way, and there are obviously all these generations. You are seeing little children with their grandparents, and knowing what those moments mean for everyone. You really care about their experience. And you also know that tomorrow is not promised. We can plan all we want to, but the worst mistake ever is to live in the past or to plan too much, and you completely missed out on this incredible, special experience now. And I’m very much about that. I’m very present. I’d much rather be present, so I just felt like lightning struck every night.

“Sweet Sounds of Heaven” was a big moment since it kicked off the encore, and it gives you a chance to make a grand entrance. You added a real gospel flavor to it.
Well, again, I wanted to understand what the song means to them. My favorite line is, “Let the old still believe that they’re young,” and then it’s, “young, young, young,” this climax. When I think about that, it’s about their stamina, their approach, and their attitude to their work and their legacy. I felt the energy of that every night in that song, because it’s such a ballsy move to have a new song as an encore.

And nobody’s ever heard of me. I’m like, “Shit. This is a lot,” but it spoke of the confidence that they had in me, because I am a gospel singer. That’s my nation. So how perfect is that, the merge of blues, gospel, and rock in that song? Stevie Wonder playing on there and all that DNA … it’s all there. All the pieces are there.

There are rumors about Europe next summer. Are you hopeful that will happen?
I’m very hopeful about that.

I hope that tour happens next year. As you said, you’re really at home on that stage.
The greatest reward, truly, at the end of the show, to be in the arms of everyone else. Your arms are stretched. You can feel everybody’s vibration. When we bow and we say thank you, that’s what the bow is for, thanking everyone else, and simultaneously thanking each other for getting us here. It’s just such a beautiful reward at the end, all that hard work that we did. And we did this together.

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