Though Rod Stewart and Carlos Santana don’t have much in common, individually they have gone back, not necessarily to their roots, but to what distinguished them so many years ago.
Stewart and Santana have joined together on the “The Voice, The Guitar, The Songs” tour, a show that highlights their differences rather than any similarities.
There are a few, but not many.
Both experienced a giddy rise in the 1970s, followed by a spell in the commercial doldrums and a rebirth. For Stewart it was the American Songbook series of albums; for Santana, the rebirth started in the late 1990s with Supernatural.
Now, as they might be thinking of winding down, Stewart has released Time, a reminder that in the ‘70s he was a witty, literate writer. Santana’s Corazon continues the Supernatural formula of pairing the guitarist with high-profile guests. In this case, stars of Latin-pop that graphically demonstrate where he came from originally.
Neither devote much time on the tour to their recent albums — Stewart might do one song, Santana two — preferring to parade their hits in the abbreviated time allotted, but the personal nature of the records suggest a statement is being made, particularly the significantly titled Time.
Inveterate Stewart fans should be heartened. He’s been going through the motions for years. He doesn’t fail to deliver a satisfying show, but he hasn’t been stretching himself.
In his autobiography, Stewart often talks about the influence of folk and rhythm and blues on his singing, writing and records, but never the American pop standards. Late in the book, he finally mentions the American Songbook albums, mainly to note they have been the most successful of his career.
As he doesn’t do any of the songs from these records in his show, sticking resolutely to Maggie May, You Wear it Well, the folk and rhythm and blues, it’s easy to conclude that his heart isn’t in them. It’s been a smart career move that’s been good for the bank account and his ego.
Time, then, is taking a chance. It’s assuming that the public once again might be interested in his life as it is now. The title track is Stewart at his most soulful, She Makes Me Happy at his most contented, Beautiful Morning a celebration and so the stock taking goes on. From Rod Stewart’s perspective, it’s Time.
Corazon is personal in a different way, in that it seems to be a reclamation of Santana’s roots, a logical conclusion of something Carlos Santana started a long time ago. The multi-Grammy winning Supernatural featured the guitarist dueting with a variety of pop and rock stars. Including Supernatural there have been four such albums with variations pointing to the current one, Santana’s most Latin-pop album.
There always has been Latin content since he emerged from San Francisco leading the Santana Blues Band and the Latin-rock of Santana’s first album in 1968 stood out. It was blunt compared with Corazon’s refinement, but the new album tends to overwhelm. As most Vancouver readers won’t recognize the guests, the stars this time are the songs with Santana a supporting player more than before. Still, it is a statement of identity.
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How Rod Stewart became the King of Scotland
After his poignantly stirring performance at the Commonwealth Games, the vintage rocker clearly adds up to more than beer, blondes and train sets
He’s home. He’s hot. He’s the man in the shiny suit alongside the giant haggis. After 53 years on the road, 47 albums, three marriages and eight children, Rod Stewart became the King of Scotland last week.
Rod hasn’t done a gig quite like the Commonwealth Games opening ceremony before, but it’s a different Rod these days. It usually is. In the eventful course of his career, Rod’s done mod, he’s done rebel, he’s done psychedelic, peacock, honky-tonk, R&B and is currently engaged in a shaky embrace of the American mainstream standard.
They love him up there, this beaky-nosed son of a North London newsagent. And why not? The Rodster’s had, perhaps, the greatest rock 'n’ roll life of all. He’s ridden out the eras, racked up the hits, done the drugs, blown the fortunes, wrecked the cars, bedded the blondes, and now, at 69, with a face the colour of seasoned beech and a coiffure that suggests being dipped upside down in vats of hairgel, he may have performed a genuinely important service.
Rod’s Scottishness is the tender legacy of his Edinburgh-born father, Bob, a football-loving Al Jolson fan who bought his youngest boy a guitar as a 16th birthday present, in the hope that music might ease his obsession with toy train sets. The plan, however, worked only to the extent that music became another obsession, shortly to be bolstered by yet a third in the form of girls who, as the years went by, came to uncannily resemble each other.
These three lifetime pillars of the Stewart existence have not always proved compatible. Several of his ex-women have complained that when he isn’t away giving concerts, he’s at home drinking beer and playing with his now-enormous train set at the expense of his marital duties. In a television interview a few years ago, Rod tackled this suggestion head on: “The model railway’s my main interest,” he said, followed by a pause; followed by: “apart from shagging the missus. Obviously, it comes second to that.”
Such clarifications are part of what makes Rod, for all the kitsch and follies and alpha-male swagger that whirl around him, both endearing and – if only to the degree that his life is an assemblage of caricatures – significant. He is the working class hero, the great romancer, the performer no genre can confine, and in Glasgow last week he provided a perfect illustration of the strengths of Anglo-Scottishness.
Rod, we know, is no fan of independence. “I’d hate to see the Union broken after all these years,” he said last year, “and I don’t think it will be.” When he took to the stage above a cliché-clogged sweep of Scottie dogs, Loch Ness Monsters, caber tossers, sword swirlers and oatcakes, we witnessed a moment of decorum, even poignancy, that even the Queen struggled to top.
He sang Rhythm of my Heart and Can’t Stop Me Now, and while even on his good nights he can sound like a man who has swallowed a cheese grater, there are few performers of any age who can grab an occasion to such effect. Rod’s autobiography, Rod, published two years ago, is as good a handbook of the rocker’s art as has ever been written, revealing a serious understanding of the craft and psychology of stardom, laced with a sincere love of the business and a faintly humble appreciation of all that it has given him.
He served a tough apprenticeship, and remembers fondly the days spent pegging-out grave sites in Highgate cemetery, the nights singing with his mentor, Long John Baldry, and the Sixties summers drifting between south-coast gigs, girlfriends and cold bean suppers on the beach, and on to the Jeff Beck Group and the Faces. “I was your actual beatnik, mate,” he once recalled: “Your actual Jack Kerouac. Barnet down to here, ban the bomb, anti-apartheid, save the cats, shag in tents, Aldermaston marches. What a life. What a life.”
Some suggest, alarmingly, that the Rodster may have mellowed since his marriage, nine years ago, to Penny Lancaster, an Essex solicitor’s daughter who was born in the week, in 1971, that Rod had his first Number One hit with Maggie May.
They met in the lobby of the Dorchester Hotel, shortly after Rod had been dumped by his second wife, Rachel Hunter, a six-foot, peachy-skinned New Zealander, who had apparently tired of all the things Rod’s blondes tire of. Penny asked for his autograph, and Rod traded it for her telephone number, although it was many months later before they went on a date, and several years before Rod finally proposed atop the Eiffel Tower – a venue so rich with Freudian import it could only have been chosen by accident.
The apparent ease with which he has carved a priapic path through the world’s ranking beauties appears to astonish even Rod. “I don’t know how I got away with it,” he says. “I was never a good-looking guy, but I had a certain amount of charm and I was the singer in a rock group. That helped. And I had a couple of bob.”
Astonishing too is that so many of the women he has loved and left have remained friends, not only with him but with each other. His first wife, Alana Hamilton, runs an unofficial Rod Stewart Exes’ Club, attended by the likes of Kelly Emberg and Britt Ekland, and sometimes by Rod himself. “We all get on great,” Alana once said. “We only fight with Rod.”
A CV like this hasn’t come cheap, and Rod’s reputation for meanness – “tighter than two coats of paint” according to his ex-bandmate Ronnie Wood – is better explained by the costs of the divorces, separations, housing obligations and children that he has had to deal with. Not that he will ever change. Blondes, beer, train sets, keeping Scotland in the Union. What a life
The man who has lit shows for Bob Dylan, Michael Jackson and Lady Gaga talks about life on the Thames
Not all lighting designers can claim to be a bit rock ’n’ roll. Patrick Woodroffe does – and why not? In 1977 he toured the world as Rod Stewart’s lighting designer. Subsequently, he has lit shows for Abba, Cher, Tina Turner, Spandau Ballet, Simply Red, AC/DC, Bob Dylan, Take That, Michael Jackson, Lady Gaga, Elton John, Stevie Wonder and the Rolling Stones – to name a few.
Woodroffe, 60, lives mainly in Bath, in western England, but we meet on his boat on the Thames, near Albert Bridge – “the most beautifully lit bridge in London”. Based on a traditional Dutch barge design, Alora – the 72ft, six-year-old “pied-au-l’eau” – was built from scratch. Smartly painted white and blue, she is named after Woodroffe’s daughters, Alice and Laura.
“My brother, who’d been a roadie for small bands, turned me on to it,” he says. (The brother in question is Simon Woodroffe, founder of Yo! Sushi, the restaurant chain. With a houseboat nearby, Simon is also a neighbour.)
Woodroffe’s career took off in 1977 when Rod Stewart sacked his lighting designer three days before his A Night On The Town tour and Simon recommended Patrick. The show was “a triumph”, says Woodroffe merrily. “At the age of 22, I went round the world twice with Rod – in ’77 and ’79. It was just a wonderful life.” Before that, Woodroffe had studied at Marlborough College, where he received a “stilted English public school education” before being expelled.
Upper deck of the 72ft-long Alora, based on a traditional Dutch barge design
Evening sun slants on to the deck, part of which was recycled from the British clipper Cutty Sark. Across the river, the trees of Battersea Park bend in the breeze. The boat creaks mellifluously and Woodroffe rolls a cigarette. The industry has transformed since he first set off with Stewart. In the early days, “the biggest rock bands were playing village halls” and technology was primitive. “You had a lighting board and music and you literally played the lighting board like an instrument,” he says. When bands started playing stadiums in the 1980s, production values developed, technology improved and the “business exploded”.
When he started, the road crew would be about 10 people. “Now when we go on tour with the Rolling Stones, it’s 230 people.” Woodroffe has been lighting the Rolling Stones since 1982, including the band’s 2006 gig on Copacabana Beach in Rio de Janeiro attended by more than 1.5m people.
As Woodroffe talks, smoke from his rollie curls into the air. He is tanned and the smoking seems at odds with his cherry red cardigan, jazzy socks and healthy complexion. Is he naturally artistic? “I think you have to be, to be a lighting designer,” he says. “At its simplest, you’re interpreting performance with light – which leaves a huge amount of scope.”
The boat is named after Woodroffe’s two daughters, Alice and Laura
Woodroffe is at pains to point out that he has done more than just rock and pop concerts. “I’ve worked with a lot of classical musicians,” he says, reeling off a few names – Georg Solti, André Previn, the Three Tenors. He has also lit for Cirque du Soleil, opera, ballet, billionaires’ lakes and, for the past 16 years, Vanity Fair’s Oscar parties. And he did the lighting for the opening ceremony of London’s Olympic Games in 2012.
Below deck is tidy and minimal – grey carpet, purple upholstery and plenty of pale wood. The warm air is tinged with tobacco, as Woodroffe tries to explain his craft.
“It’s not trite to say that it is painting with light,” he says. “The stage is your canvas, the lights are your electronic paint box.” Different mediums present different challenges he adds: opera, for example, tends to be more disciplined than rock; when lighting circus, it’s best not to dazzle the tightrope walker.
Living area with ‘sunburst’ design on wall, a style repeated throughout the boat
Different stars also present different challenges. Woodroffe – oozing niceness – is not inclined to denounce his clients to a stranger but he offers characterful snippets. “Stones shows can be stressful”, Abba had a “lovely family vibe”, and Elton John gave him carte blanche in Las Vegas – “the best show we did in 40 years”. What about AC/DC? I ask. “AC/DC are great. The best. The funniest people I ever met in my life . . . I would say that all the people I’ve worked with, I have liked,” he adds.
He may have liked them, but they haven’t all been easy. Building trust is part of the job. When Woodroffe meets his starry clients for the first time, he doesn’t talk about the lighting, he talks about “where they’re at in their careers – do they want to be this huge, glamorous rock star, do they want to be the guy in jeans just telling his story?”
Lighting takes time – “it’s never right when you start” – and rock stars are not always patient. They aren’t always disciplined either: “people don’t show up, people don’t rehearse”. Yet from the designer’s point of view, all the lighting “has to mean something – if it doesn’t, it’s just like being in a discotheque”.
In 2009, Woodroffe worked on Michael Jackson’s comeback tour This Is It, shortly before the singer died. “Michael Jackson just never used to show up for rehearsals,” says Woodroffe. “I used to say to him, if we just make this lighting without you being there, it doesn’t mean anything . . . but if you flick your fingers at the end of a number and there’s a blackout, they’ll believe you did that.”
In the days before Jackson’s death, “the old Michael” was back, apparently. “I think it would have been one of the great rock shows of all time.”
In return for lighting a Mark Ronson tour, Woodroffe asked the musician/DJ to educate him musically.
“He came up on opening night, opened his bag and took out six beautiful leather cases with six iPods in them,” says Woodroofe. “On every iPod there were 250 tunes – one was disco, one was jazz, one was old classics, one was guitar music, and one was called ‘Soulful Sunday’ – and they were really delicately chosen.”
In 2012, Woodroffe lit Lady Gaga’s Born This Way tour. “She was wonderful. She was a handful. She was so sure of herself.”
The designer and Gaga disagreed stylistically and Gaga said (in Woodroffe’s words): “It feels like a wedding up here and I want it to feel like a nightclub.” Woodroffe was “lighting it too perfectly and too beautifully and too theatrically for her”. But the way Gaga wanted it lit “nobody would see her”. On his website, Woodroffe writes: “Gaga was very involved in the lighting of the show herself, to such a degree that I am happy to share the design credit with her!” To me, he adds: “She was really difficult.”
That same year, he lived on Alora for three months while rehearsing for the Olympics opening ceremony. “It’s like a very comfortable flat with mains electricity and water from the pier.” There is a small kitchen and his bedroom is in the bow, a curved oak room with portholes and a skylight.
Porthole with view of main bedroom
How did he feel in the build-up to the most public gig of his life? Nervous, he admits. And it nearly went wrong. An hour before the show, only three of the Olympic rings would light up; the other two were soaked. “There were people up on the roof with hairdryers drying the connections.”
In his field, Woodroffe is virtually pre-eminent, but he is not famous. Does he crave fame? “I wouldn’t wish it on anyone . . . I see what fame and fortune does to people.”
Washing machine in the engine room
The 60-year-old looks mellow on his boat. “I’m a very happy man. I’ve been very happily married for 30 years, which is a huge part of my success.” Not taking cocaine is also part of it. “Back in the ‘80s most people on the tour would take cocaine . . . It was just never my thing.”
Alora rocks with the tide. “Twice a year, we take her out,” he says. “To motor for six hours and pull up in a field outside Windsor . . . is a special thing.” He exhibits his boat like a favourite child – or horse. The first time Alora set sail on the Thames, “suddenly she was a thoroughbred – this was where she belonged”.
A life’s work complete, then? “In terms of music, probably yes.”
Not quite, however. After the interview, Woodroffe is off to rehearse with Elton John in Battersea Power Station – and it’s complicated because “a falcon suddenly gave birth in the middle of the site” and they’ve had to move the stage.
Collection of concert tickets
Rod Stewart with Celtic silverware - and his backing artists in silver
THE legendary ladies' man looked delighted to be surrounded by the beauties as he taught them Celtic songs in his team's trophy room.
ROD STEWART scored another hit at the Games opening ceremony – with his backing singers and dancers.
The legendary ladies’ man looked delighted to be surrounded by the mini-skirted beauties in his beloved Celtic’s trophy room.
It looked like a throwback to the 69-year-old star’s amorous heyday. But singer Lucy Woodward revealed the truth of what was going on when she posted the picture on Twitter.
She tweeted: “ Rod teaching us Celtic songs backstage at the Commonwealth Games in Glasgow. The Scots do it right. I love this country’s spirit.”
YOU know there’s a brilliant party in town when Rod Stewart ends up with no trousers on.
The Celtic fan, 69, tweeted a snap of himself dressed down between his two stellar performances as he helped open the Commonwealth Games at Parkhead.
On one of the most memorable nights of his long career, the cheeky Hot Legs star said: “I never thought I’d be able to stand in the Celtic boardroom in front of the trophy case … with no pants.”
Earlier, he told his fans on Twitter that he was “very nervous and very proud” to be performing at the Commonwealth Games.
Among his first batch of songs was Rhythm of My Heart, which he sang to huge cheers with Amy Macdonald.
He returned towards the end of the opening ceremony to sing his 2013 hit You Can’t Stop Me Now.
Rod Stewart to open Commonwealth Games with Canadian-written song
A catchy tune with Canadian roots will help open today's 2014 Commonwealth Games in Glasgow.
Most people probably think the song Rhythm of my Heart was written by the 69-year-old rock singer who made it popular -- Rod Stewart. But the wordsmith behind the 1990 recording is a Canadian: Toronto-based songwriter Marc Jordan
"It's an amazing feeling when one of your songs has a life beyond," says Jordan. "It's like a child going out into the world. They say a billion and a half people are going to be watching. That's a lot of people!"
Jordan says the song, which was written in 1983, was initially inspired by his father's collection of Maritime folk music.
The chorus came into his head as he was playing the piano one day.
According to Jordan, it has an anti-war sentiment because of global unrest in the 1980s. The song sat on the shelf for several years before Stewart recorded it.
Jordan is in Glasgow to watch Stewart perform the song during the Games opening ceremony, which is being broadcast by the CBC and streamed live on CBCSports.ca at 3:30 p.m. ET.
Rhythm of my Heart has been popular in Scotland since it was released, partly because Stewart has Scottish roots. Jordan, who had never visited Glasgow before, says he was asked to change a few verses and part of the melody to better reflect the host city and its streets.
"I Google-mapped it! I looked for areas and I pulled out street names. Just from Google maps, I flew over the city and I got a feel for it," said the songwriter. "I made a few changes and it all came together."
Jordan has also written for other major artists including Cher, Josh Groban, Joe Cocker and Diana Ross.
"Songwriters are in the background for sure," says Jordan, who splits his time between Toronto, Nashville and L.A. "I'm totally fine with that. It's not about me. Songwriting is something between the listener and the song so I'm happy to be in the background
Click link to hear Mark Jordan perform song
Listen to Mark talk about the songs roots
They recently celebrated their seventh wedding anniversary.
Rod Stewart and Penny Lancaster looked like the happiest of families as they were spotted posing for a family picture with their two young sons in St Tropez on Thursday.
Rod, 69, and Penny, 43, smiled for the camera as they cradled three-year-old Aiden and eight-year-old Alastair Wallace on their laps whilst they posed for the snaps
The family looked the picture of happiness as the stopped a passerby to take a snap for the family album.
Former photographer Penny looked gorgeous in her beige crochet dress which hugged her fantastic figure, teaming the dress with a white fedora hat.
Husband Rod looked equally stylish in lime shorts and a white shirt, finishing off his holiday look with a straw hat.
The rocker has been named as one of the singers to be performing at the Commonwealth Games opening ceremony in Glasgow later this month, alongside Britain's Got Talent runner up Susan Boyle.
The Maggie May singer, whose father was Scottish, will be performing at Celtic Park on 23 July to celebrate the games kicking off, with millions expected to tune in on TV.
Pop princess Kylie Minogue will also be performing to mark the close of the games.
Also on the line up will be Scottish singers Amy Macdonald, violinist Nicola Benedetti and Gaelic-language singer Julie Fowlis.
Rod and Penny were last seen out in public together at the RNIB Gala dinner at the London Hilton hotel on July 9, minus their two young boys.
Twenty-five years ago today—on July 16, 1989—Rod Stewart played to a crowd of 21,000 at B.C. Place Stadium, with backup from Tom Cochrane and Jeff Healey.
Rod the Mod was touring behind his 1988 Out of Order album, which spawned four singles—"Lost In You", "Forever Young", "My Heart Can't Tell You No", and "Crazy About Her"—and has sold nine million copies worldwide. It was his biggest-selling album of the Eighties.
For anyone who didn't get enough nostalgia at Ringo's show last night, here's the review that ran in the July 21-28 issue of the Straight, under the subhead "Three bands, thousands of people, and no encores".
All the acts at last Sunday's rock 'n' roll bash at B.C. Place had played Vancouver last year—Rod Stewart at the Coliseum, Tom Cochrane at the Orpheum, and Jeff Healey at the Commodore. But that didn't stop 21,000 rock fans from shelling out big bucks to see all three of them together. There's a lot to like on a triple-bill like that.
Healey kicked things off 40 minutes after the scheduled 7 p.m. start (it took longer than expected to get people in), and, as usual, his playing was superb. Of course, his performance lost its typically mind-blowing effect in the wide-open spaces of the dome—especially if you've seen the guy from two feet away at the Yale. Healey's piercing Strat did cut through the distance now and again, though. And on "See the Light", he stood up and played with his teeth, proving that he's still one of the world's better dental technicians around today.
After Healey's half-hour show (no encore), T.O.'s Tom Cochrane and Red Rider took the stage and played 11 solid tunes. They faired much better than Healey in the sound department, although that's not saying too much. Local vocalist Annette Ducharme, girlfriend of Red Rider keyboardist John Webster, got up in a nifty red dress to sing along on "Good Times", Cochrane's song about "the Canadian experience" (getting lucky beside a lake). Other highlights included "Lunatic Fringe", "Big League", and the set-closer, "Boy Inside the Man", which got people seated on the floor off their butts.
Again, no encore. What is this, some kind of conspiracy?
When main-man Rod finally hit the stage wearing a flashy yellow jacket and black slacks, his ardent followers made it known that the old rocker is still well-liked. After a brief taped version of his trademark opener, "The Stripper", Stewart pranced and gyrated his way through a super selection of past hits, including "Hot Legs", "Infatuation", and the Faces' "Stay With Me". His biggest song ever, "Maggie Mae", also made an appearance.
Although he looks (through binoculars) as healthy as can be, Stewart's gravelly voice has seen better days. He lost it a few times, but, as usual, was accompanied by a bang-on band that helped keep the show's energy level on an upswing. Unfortunately, not even Rod himself bothered with an encore.
What is this world coming to?
At the end of the eighties, the 'First Supercar War' was at its peak. The Lamborghini Countach had scissor doors and a mighty V12 and the Porsche 959 was a technological masterpiece with four-wheel drive and a twin-turbo flat-six engine. It became the fastest production car in the world, with a top speed of 317 km/h. Upon seeing this, Enzo Ferrari decided he couldn't let this record stay in the hands of the Germans. His answer was sadly the last car he would ever approve personally, and it is still known by a lot of people as the ultimate Ferrari. This car was the F40.
Powered by a twin-turbo V8 engine displacing 2.9 litres and producing a massive 470 HP, the F40 also made massive use of carbon fibre. It may not be impressive today, but when it came out, the F40 was the first production vehicle to use this material. The result was a feather-light 1000 kilos, and blistering performance: 0-100 in 3.8 seconds and a top speed of 323 km/h, thus beating the Porsche 959.
Even if they sold for today's equivalent of $400,000 when they were new, they have appreciated in value, and are actually quite rare - however one of them just became available. It used to belong to Rod Stewart, has only 7000 miles on the odometer, and is a pristine state. This means it should fetch between 1 and 1.3 million USD when it goes under the hammer at Auctions America, where it will be sold.
Rod Stewart is to perform at the opening ceremony of the Glasgow 2014 Commonwealth Games, organisers have announced.
Stewart will sing in front of around 40,000 people - and a global television audience - on the opening night of the Games at Celtic Park on July 23.
Joining Stewart will be Scottish singers Susan Boyle and Amy MacDonald and violinist Nicola Benedetti.
Glasgow 2014 chief executive David Grevemberg said: "We will also be welcoming internationally renowned and acclaimed artists Susan Boyle, Nicola Benedetti, Amy MacDonald and Julie Fowlis on the night."
Strathcarron Hospice is proud to offer to auction an original signed Rod Stewart jacket as worn on stage at the final concert of his Stadium Tour 2014 held at Falkirk Stadium on Saturday 21st June. Signed photographs are also include with the jacket.
The jacket was specifically made for this tour and was given to Strathcarron by Rod to help raise much needed funds for the hospice. This unique item is open for bids and carries a reserve price of £5000.
Closing date for bids: 12th September 2014 at 12noon
To make a bid email email@example.com
We are excited to announce the greatest hits album The Best Of Rod Stewart as part of our brand new batch for the Back To Black range.
Released on 180 gram heavyweight vinyl with exact reproduction of the original LP authentic artwork and comprising of 18 classic tracks, don't miss your chance to get your hands on this limited edition vinyl!
To view click here ..http://store.universal-music.co.uk/restofworld/rod-stewart-the-best-of-rod-stewart-vinyl/invt/0600753510988?utm_source=RodStewart100714&utm_medium=Email&utm_campaign=Back+To+Black+2014&utm_content=UMGUK9207-350004
She may have just been meeting her husband for a low-key lunch on Tuesday, however Penny Lancaster still pulled out all the stops.
The model and photographer made the most of her famously trim pins in a chic spotted dress as she joined Rod Stewart at London's Scotts restaurant.
The 43-year-old - who married the rocker in 2007 - undoubtedly turned heads in her navy number which featured a vibrant green neckline.
Carrying a slouchy bag on her shoulder, Penny finished off her ensemble with a suede jacket, complete with waterfall detailing.
She also cinched in her waist with a thick tan belt before later tying her hair up in a low ponytail, revealing a pair of simple studded earrings.
Penny looked happy to be reunited with the crooner before taking their seats in the Mayfair eatery alongside a male companion.
Father-of-eight Rod, 69, teamed a striped white and blue blazer, complete with colorful pocket square, with a navy tie and shirt.
The couple have recently returned from Venice where they celebrated their seven year wedding anniversary, before heading to London.
Standing at over 6' tall, it's little wonder that Rod Stewart's wife likes to play up her enviable assets.
And Monday night was no exception, when Penny Lancaster put her long legs on display as the couple stepped out at celebrity hot-spot Chitern Firehouse.
The blonde beauty made quite the entrance in a black lacy mini-dress, which allowed for her bronzed pins to be displayed in all their glory
With her long, blonde hair slightly obscuring her pretty face, the 43-year-old completed her ensemble with a pair of black open-toe stilettos.
The mother-of-two held the hand of her husband as they entered the exclusive London restaurant - and he looked every bit the rock star.
Rod, 69, dazzled in an electric blue blazer, which he wore over a white button-down shirt and slim fitting black trousers.
The couple, who celebrated seven years of marriage on June 16, eventually emerged from the popular eatery after dark, showing signs of an enjoyable night out.
Penny sported a big grin as a staffer guided her on her way to the couple's vehicle.
Rod, meanwhile, exited with his blazer buttoned and a hand over his eyes as paparazzi cameras lit up the dark street.
Ever the showman, the star paused on his way to the car to lean back and strike a comical pose for onlookers.
Rod gave onlookers one last pose before disappearing into the night
It was a deeply shaken Rod Stewart, with an hour delay to reach Saturday's concert in Aarhus. On the way from his home in England for private aircraft at the airport, the car he was in, torpedoed by a tourist who drove on the wrong side of the road. There was a head-on collision, but fortunately escaped all involved from the severe accident alive. Hardest hit was beyond the tourist, who was alone in the car.
Rod Stewart's father in law broke his arm and had along with a strongly shocked chauffeur for treatment at the hospital. Rod Stewart himself escaped with a slightly bruised hand while a friend who also stayed in the car, escaped without any bruises.
Mette Kier, program director at the Concert Hall, confirmed Sunday's dramatic history, which meant that Rod Stewart did not reach the agreed sound check with his band at. 17 First, at 18 o'clock arrived Stewart Concert Hall, where he made it clear that he wanted to go on stage earlier than planned as soon as possible to return to England and it shattered family.
"We are obviously very pleased and grateful that Rod Stewart chose to conduct the concert despite the accident. You have to take your hat off to the professionalism that he showed. Many might in that situation have chosen to cancel, "says Mette Kier to Stars and Stripes.
Concert Hall had not announced anything specific start time for Rod Stewrarts concert and program manager welcomes the almost 5,000 spectators all in her assessment was in place when the rock icon took the stage for the next two hours to take them on a cruise through his many hits created over five decades.
»Rod Stewart was after the concert very excited about the reception that the audience had given him, and all applauded indeed as it should. We got the show, as we had expected, in spite of the unfortunate prelude, "says Mette Kier told the newspaper.
A legendary rock institution where Mick Jagger recruited Ronnie Wood for the Rolling Stones and Guns and Roses’ Slash started a bar brawl has moved to Archway.
The Intrepid Fox – now in the Archway Tavern, in Archway Road – is one of the best known music boozers in the world and has a illustrious history littered with rock and roll heavyweights.
Based in Soho for more than 200 years, the Fox became many an axman’s favourite when the famous Marquee club opened nearby.
Mr Jagger is said to have poached a young Ronnie Wood from Rod Stewart’s band in a corner of the pub; Lemmy from Motorhead was a big fan of the fruit machines and on one memorable night Slash launched a shot glass at Phil Mogg from UFO’s head before drowning his sorrows.
But in 2006 the developers moved in and the Fox was forced to relocate to St Giles High Street, near Tottenham Court Road, before finding themselves homeless once again at the start of this year.
Now the old venue’s legend will continue in Islington.
Kate Calvert from the Better Archway Forum (BAF), said; “It’s really cool to have such an iconic music establishment relocate to Archway after so many years in Soho.
“The Archway Tavern always had a reputation as a good music pub, but sadly that had faded away in recent years.
“It’s good to see it being revived like this.
“Hopefully this will attract people from far and wide to the area, as well as being great for the people who live nearby.”
Other famous fans of the fox include Sex Pistol’s manager Malcolm McLaren, who named it in his top five bars in the world, actor Ewan Mcgregor, Richard Harris, Richard Burton and director Ken Russell who shot the sex scenes for one of his films upstairs.
The staff famously turned away David Hasselhoff one Saturday night for being too trendy in designer leather.