On the eve marking the passage of another year, the venerable Sir Rod Stewart ascended the stage for his inaugural performance upon the famed Jools Holland Hootenanny, an event long celebrated as a festive herald of the new year. Clad in a suit of black and gold stripes, complemented by a glittering golden tie, the legendary troubadour brought with him decades of musical history—and yet, the reception among the gathered and the viewing multitude proved a tapestry of admiration and dissent.
Before the first note had left his lips, Jools Holland addressed the audience, announcing that Sir Rod, in all his storied glory, graced the show for the very first time. Yet as the singer commenced his performance, the eyes of the realm—notably those of the modern scribes of social media—were drawn as much to his attire as to his voice. Many likened his striking ensemble to that of the fantastical figure Beetlejuice, eliciting commentary both playful and bewildered.
“Why is Rod Stewart dressed as Beetlejuice?” queried one viewer upon the digital parchment of X, provoking a flurry of similar reflections. Others engaged in light-hearted comparison, asking, “Who wore it better: Rod Stewart on Hootenanny, or the cinematic Beetlejuice himself?” The imagery of Stewart’s striped vestments became a talking point almost as notable as his music.
Yet not all were captivated solely by spectacle. Admirers of the singer extolled his enduring vocal prowess and stage presence, praising the energy and charisma he brought to the evening. Conversely, a faction of viewers expressed disquiet, lamenting the choice of arrangements and repertoire. “We sought the hits of Rod Stewart and the Faces,” lamented one, “yet were offered a performance ill-suited to his legendary voice.” Others echoed the sentiment, acknowledging his talents but wishing for compositions more fitting to his distinctive rasp and legacy.
Amidst these murmurs, there were those who found delight and joy. A number celebrated Stewart’s form and energy, reveling in the lightheartedness of the occasion and the communal festivity of the evening.
In discourse with Jools Holland, Sir Rod revealed a personal reflection, confessing he made no resolutions for the year to come, acknowledging a humility tempered by decades of life and song. He expressed hopes for music, tours, and the continued pursuit of peace, extending goodwill to distant lands and peoples.
Stewart’s performance, though polarizing, was but one jewel in the crown of Hootenanny that night. The stage also bore the talents of the Sugababes, Raye, Olivia Dean, Joss Stone, and a host of others—including the Mary Wallopers, Muireann Bradley, Ruby Turner, and the Pipes and Drums of the 1st Battalion Scots Guards—each lending their artistry to the night’s spectacle.
Thus passed the evening: a night of song, style, and spirited debate. Sir Rod Stewart, ever a figure of enduring renown, reminded all that even legends may stir both wonder and discord when they dare to grace a stage anew.
