The Rolling Stones Keep Rolling on Foreign Tongues

Rolling Stone's Foreign Tongues

Nicolas Batista

Writer

July 15, 2026

Few bands in the world currently carry the amount of pressure the Rolling Stones do to consistently release cutting-edge records that uphold their 64-year legacy as Mick Jagger, Keith Richards and Ronnie Wood continue to battle the inevitability of aging. They rocked the world once again in 2023 with the release of Hackney Diamonds, their first full original studio album in 18 years. Now, three years later, they look to continue that momentum with their new record, Foreign Tongues.

Now, the Stones find themselves in a period where many bands would consider a reinvention, but instead, they choose to embrace everything that defined their legacy by paying homage to the genres the band was founded on. Blues, funk, punk, country and soul, you name it, this record mixes it all into a single album that is convincingly coherent.

It has become an increasingly interesting development to see that, with the passage of the years, the sound of the Stones has not softened in the slightest. In fact, it has proven to be quite the opposite. Two tracks on this album, Rough and Twisted and Hit Me In The Head, prove that not just Mick Jagger, but the remaining Stones are as feral and dangerous as ever. The album opens with aggression and reminds you of it again at its halfway point. On Rough and Twisted, Keith delivers an aggressive rhythm while Ronnie's insistent steel guitar makes it their bluesiest song in possibly decades. As for Hit Me In The Head, it is pure punk rock energy with a taste of the blues. It is nothing less than unadulterated heavy guitar riffs and harmonica licks throughout, perfectly complemented by Mick Jagger's aggressive vocals. Not only that, but the drums feel extremely nostalgic, and for good reason. The track revolves around one of the final recording sessions by their late drummer, Charlie Watts. The amalgamation of these elements makes this song, by far, the rawest track on the entire album.

This album isn't all aggression. The Stones take us on a lovely trip back to the '70s with tracks like Jealous Lover and Never Wanna Lose You, where Mick brings out his iconic falsetto while Ronnie and Keith bring back the funk and soul flavor they had on albums like Some Girls. Jealous Lover is one of the first songs in quite a while to prominently feature Mick's falsetto, complemented by pretty guitar work and instrumental embellishments. The track features a very catchy, hard-hitting chorus and reminds us of the powerhouse this band was about 50 years ago and continues to be 50 years later. Never Wanna Lose You specifically has a remarkably groovy bassline that helps solidify it as the funkiest track on the album, with a chorus that feels familiar but different enough to make it a memorable ride. Some of Jagger's falsetto returns at the end of the song one last time.

Mr. Charm makes an attempt to replicate the same energy the Stones held at the end of the '60s and beginning of the '70s with lyrics that deal with contemporary societal issues. It is not afraid to highlight that lyricism through the structure of its songwriting. Because of this overemphasis, however, the song ends up sounding very formulaic and cannot break through the barrier of uniqueness. Admittedly, it is not a poor track by any means, but it is stereotypical and an exhausted idea that began with Hackney Diamonds' Live By The Sword. The instrumental work is a point of redemption, but the repetition of the other elements strips the song of its potential character and charm. Nonetheless, Mick's almost manic tone is something unique to note on this track.

Divine Intervention suffers from similar problems from the get-go, but it redeems itself through the introduction of horns and a dynamic songwriting structure that allows Mick to grow progressively more passionate throughout the track. It evolves, the sound becomes fuller, and it stands as an anomaly on a modern Stones record, something incredible to see as they carry on their legacy in 2026.

The Rolling Stones - You Know I'm No Good

You Know I'm No Good continues the trend of Rolling Stones covers by transforming Amy Winehouse's 2006 classic of the same name. Typically, most of their covers go by unnoticed, but this one benefits from the source material and the blues flavor added by Keith, Ronnie and especially Mick, whose haunting vocal style is reminiscent of Cab Calloway in "Minnie the Moocher," helped by the sharp harmonica ringing throughout. As a result, the song feels incredibly eerie and brings back the ghastly energy they began incorporating with their 2019 single, Ghost Town. Choosing this cover was an unlikely but incredible call. Interestingly enough, the album also ends with a cover, Beautiful Delilah, one they have already recorded in the past. However, unlike the original 1964 BBC Radio version, which served more as an homage to their idol Chuck Berry, this version serves as a return to form and a tribute to their roots in general. The 2026 recording is completely stripped back in its instrumentals, vocals and production. It sounds incredibly authentic, even though we are fully aware of its modernity. Because of this, the song means more than it ever has and reminds us how far the Stones have come as a band admired by millions of fans, helping them maintain their title as the longest-running major commercial band that still tours.

The album brandishes a few weaknesses in tracks like Ringing Hollow, Side Effects and Some of Us. They portray a dip in energy that causes the songs to blend together and slows the listening experience. This reduces the momentum expected from a band that prioritizes unforgettable hooks, keeping this record from ranking among their greatest.

While Foreign Tongues is not nearly on the same level as Some Girls, Exile on Main St. or Sticky Fingers, it doesn't need to be. It is a worthwhile listen for new and returning fans alike and serves as a bittersweet bookmark in the farewell chapters of the Rolling Stones' legendary legacy. It is a truly impressive feat that a band together for more than 60 years can still produce such high-quality work in an era that has long left their sound behind.