Mick Fleetwood Joins the USC Trojan Marching Band Pre-Game Show

Mick Fleetwood joined the USC Trojan Marching Band at the LA Coliseum on Friday night in Los Angeles for a pre-game performance of "Tusk"

Fleetwood Mac’s Rumours is somehow still one of the most popular albums in the world

 The Mysterious, Enduring Appeal of 

Fleetwood Mac’s Rumours

On Spotify, it has more streams than any Beatles album, Nirvana’s Nevermind, Dr. Dre’s The Chronic, or anything else from the 20th century. In 2024, it was the year’s biggest-selling rock album, old or new. (Yes, really.) What gives?

By 

Alan Light

Esquire

Almost fifty years after its release in 1977, Fleetwood Mac’s Rumours is somehow still one of the most popular albums in the world. Created in a cauldron of intraband romantic turmoil and fueled by voracious drug intake, this very week, it sits at Number 19 on Billboard’s album chart. In 2023, Rumours was the most streamed album of the twentieth century on Spotify—more than any Beatles album, more than Guns N’ Roses’ Appetite for Destruction, more than Nirvana’s Nevermind or Dr. Dre’s The Chronic or anything else. In 2024, it was the year’s biggest-selling rock album, old or new.

These numbers are being powered not by the Boomers and older Gen-Xers who grew up with the album in real time and made it the seventh-best-selling album in US history, but by younger generations. There is something in the music—or, maybe more precisely, in the experience of Rumours that separates it from the pack, even from the most elite. But does that allure revolve around the sound, the emotion, the mythology, or some combination of all its elements? Why does one album survive and even thrive when others—even those that felt much more influential at their peak—inevitably become dated?

To put it simply, why do kids like this old-ass album?

Curious to better understand this cultural marvel, for my new book Don’t Stop: Why We (Still) Love Fleetwood Mac’s Rumours, I spoke to dozens of post-millennials. One thing that almost all of them wanted to establish was that while they might have initially heard the record through their parents, or even their grandparents, the relationship they had with Rumours was entirely their own. Many echoed the idea that they were first exposed to these songs in their youth but then went through a process of rediscovering the album and relating to it for themselves, creating their own meanings for the record.

Released November 4, 2025

AMAZON

Others pointed to the various appearances by Rumours in their own popular culture as their way into the album. Music publicist Lydia Krumper (born 2000) notes a convergence of Mac references in the mid-2010s. “In 2014, Stevie Nicks was on American Horror Story,” she says. “Glee had an all-Rumours episode. I was also a big One Direction fan, and Harry Styles is a big Fleetwood Mac fan. Many things for my age group were coming out at the time when I got into it.”

Coming Soon Fleetwood Mac Limited Edition UltraDisc One-Step 45RPM Vinyl 2LP Boxset

 

Fleetwood Mac Comes into Its Own with Lindsey Buckingham and Stevie Nicks: Self-Titled Record Ranked 182nd Greatest Album of All Time by Rolling Stone, Includes “Landslide” and “Rhiannon”

Hear the 1975 Blockbuster in Reference Sound: Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set Is Strictly Limited to 7,500 Numbered Copies and Features Extraordinary Definition.

 1/4” / 30 IPS Dolby A analog master to DSD 256 to analog console to lathe.

Release date: TBA

Pre-order at Mobility Fidelity

Also available at a numbered Hybrid SACD

A veteran band with waning prospects, personnel churn, and management issues. A largely unknown duo whose eponymous debut flopped. An impromptu meeting in a supermarket that led to a fact-finding trip to Sound City Studios. The backstory behind Fleetwood Mac’s self-titled album is nearly as incredible as the music on the 1975 recording — a blockbuster that altered pop-rock history, and found newcomers Lindsey Buckingham and Stevie Nicks permanently changing the profile and popularity of the British ensemble.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of the nine-times-platinum effort plays with reference-level transparency, dynamics, and detail. Benefitting from stellar groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the California studio with arresting presence, tube-like warmth, and sumptuous tonality.

Honoring the striking elements that make Fleetwood Mac a generations-spanning favorite, the industry-leading presentation of this UD1S version confirms the reissue's definitive standing. Housed in a gorgeous slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the recognizable cover art positioning Mick Fleetwood and John McVie before a doorway — as well as a crystal ball showing their reflection. The hand-drawn script depicting the band's name is now inextricably associated with the quintet’s “White Album” and identity.

Shepherded by producer Keith Olsen, Fleetwood Mac used its studio time to cultivate and establish intra-band roles. The innate chemistry among the five musicians can be heard here in stunning clarity, the taut albeit flexible rhythms distinguished with palpable grip, the blended vocals and airy harmonies benefitting from seemingly unlimited frequency extension. The thrilling results speak to the band’s bond as well as healthy tension that led to recordings that more than five decades later remain revered for their exceptional realism, openness, textures, imaging, and soundstaging. And that says nothing about the freshness of the songs themselves.

Six of those tunes were written or co-written by Buckingham or Nicks, who lent the band — reeling from the departure of guitarist Bob Welch — a diversity, soulfulness, and breadth it lacked in the past. Then again, the romantically involved partners weren’t exactly burning up the charts on their own. Their Buckingham Nicks LP was largely ignored upon release and found the twosome questioning their futures. But fate has a weird way of operating, and rather than recruiting another six-string blues virtuoso into the mix, Fleetwood Mac called an audible. 

Prompted to visit Sound City Studios after telling someone in a grocery store he needed a place to record Fleetwood Mac’s tenth album, Fleetwood heard Buckingham Nicks played back by Olsen as a demonstration of the studio’s capabilities. Unable to forget what he heard, the drummer soon invited Buckingham to join his band. Displaying his now-famous reluctance to cede any creative control, Buckingham initially hedged before accepting on one condition: He and Nicks came as a package. 

That agreement stands as one of the most significant career-altering moves any band ever made. Suffice it to say Nicks’ Plan B — “we can always quit,” she reasoned to Buckingham — stayed on the backburner. After rehearsing together for just ten days and sussing out potential roles, the new iteration of Fleetwood Mac entered Sound City in January 1975 and laid down the tracks for the showstopper Rolling Stone ranks as the 182nd Greatest Album of All Time.

In many ways, Fleetwood Mac got far more than they bargained for in taking on the American duo. Buckingham and Nicks arrived loaded for bear. “Monday Morning,” “Rhiannon,” and “I’m So Afraid” had already been workshopped and penciled in for a second Buckingham-Nicks record. “Crystal” was re-purposed and re-imagined after its original inclusion of Buckingham Nicks. 

Nicks also brought another recently penned song to the sessions, a beautiful gem none other than “Landslide.” McVie later admitted that the quality of material triggered a competitive spirit within her and inspired her to take her own songwriting to another level. “Warm Ways,” “Say You Love Me,” and “Over My Head” underscore that determination. Ditto her collaboration with Buckingham on “World Turning.” 

Constituting the old Fleetwood Mac in name only, Fleetwood Mac is the sound and style of an entirely new entity, a rebirth, and a reward for perseverance and a little bit of chance fortune. Above all, however, the album — which peaked at No. 1 on Billboard more than a year after its street date — towers as a testament to then-novel combinations of hook-laden power pop, mystical folk, cool R&B, melodic rock ‘n’ roll and a wondrous balance of perfection and pragmatism, delicate and deliberate, mellow and maverick.

Indeed, from the ocean-swept breeziness of the opening “Monday Morning” through the optimistic vibes of the building “Over My Head” to the stacked structure of the closing “I’m So Afraid,” Fleetwood Mac contains not a single dull moment or wasted note. In short order, the band would attain even greater commercial success with the subsequent Rumours. Yet the restless energy, innovative spirit, breath-of-fresh-air newness, and across-the-board fantastic performances of Fleetwood Mac would never be surpassed. 

Fleetwood Mac Weekly Chart Report

 

Fleetwood Mac Weekly Chart Report

UK Chart Week: October 31 – November 6, 2025
Billboard Chart Date: November 1, 2025

United Kingdom
Fleetwood Mac’s The Chain continues its steady climb on the UK Top 100 Singles Chart, reaching a new peak at No. 67 (up from No. 74) on consumption of 6,376 units. Meanwhile, Dreams dips slightly to No. 58 (from No. 49).

On the Albums Chart, 50 Years – Don’t Stop edges down one place to No. 9 with 7,187 sales, while Rumours moves up one to No. 23.

The reissued Buckingham Nicks album slides across multiple tallies:

• Top 100 Album Sales: No. 83 (down from 53)

• Top 100 Physical Albums: No. 80 (down from 50)

• Top Americana Albums: No. 14 (down from 7)

Ireland
In Ireland, 50 Years – Don’t Stop eases one place to No. 8, and Rumours holds steady at No. 17.
On the Irish Singles Chart:

• Dreams slips to No. 56 (from 52)

• The Chain climbs to No. 59 (from 63)

• Landslide falls to No. 80 (from 75)

Scotland
Buckingham Nicks marks its sixth consecutive week on the Scottish Albums Chart, down to No. 81 (from 42). Rumours is up this week to No. 26 from No. 37 last week. Greatest Hits re-enters the chart at No. 100.

Germany
Rumours is at No. 71 this week up from No. 74 last week. 

Netherlands
Rumours moves up to No. 8 this week from No. 10 last week. 

Norway
Rumours moves down to No. 24 this week from No. 20 last week. 

 

---

North America

United States
On the Billboard 200, Rumours remains firm at No. 19, while Greatest Hits drifts to No. 98 (from 93).

• Top Album Sales: Rumours rises to No. 28 (from 29)

• Top Streaming Albums: Rumours dips to No. 28 (from 27)

• Top Vinyl Albums: Rumours falls to No. 13 (from 9)

• Top Indie Store Albums: Rumours climbs to No. 16 (from 17); Buckingham Nicks drops to No. 25 (from 10)

• Top Rock & Alternative Albums: Rumours steady at No. 5, Greatest Hits down to No. 22 (from 21)

• Top Rock Albums: Rumours steady at No. 4, Greatest Hits down to No. 19 (from 17)

• On the Top 50 Streaming Songs chart, Dreams edges down to No. 32 (from 30).

Canada
The Canadian Albums Chart sees Rumours rebound strongly, surging back into the Top 20 at No. 17 (up from 89), while Greatest Hits tumbles to No. 95 (from 13).

Fleetwood Mac Gold and Platinum October Certifications

GOLD

Fleetwood Mac’s 1979 single “Sara” from the Tusk album has been officially 

certified Gold in the UK (October 31, 2025).

The single peaked at No. 37 in the UK spending 8 weeks on the chart between 

December 1979 and February 1980.

PLATINUM

Fleetwood Mac's 1987 single "Little Lies" was certified 

platinum in Denmark October 21, 2025

MULTI-PLATINUM

In New Zealand, 3 singles were certified multi-platinum in October:

October 2, 2025

Fleetwood Mac “Everywhere” 

Certified 8x Platinum 

October 16, 2025

Fleetwood Mac “Silver Springs” 

Certified 2x Platinum

October 16, 2025

Fleetwood Mac “Dreams” 

Certified 17x Platinum

Buckingham Nicks "Frozen Love" Song Exploder Interview with Stevie Nicks and Lindsey Buckingham

 EPISODE 302: BUCKINGHAM NICKS

“FROZEN LOVE”

LISTEN: APPLE · SPOTIFY · AMAZON · OTHER APPS

This is a must listen... 

On September 5, 1973, the first and only Buckingham Nicks album was released. It wasn’t a huge hit, but it was how the world was first introduced to the music of Stevie Nicks and Lindsey Buckingham, before they went on to become members of Fleetwood Mac. Their time together in Fleetwood Mac led to some of the best-selling, most critically acclaimed, and most influential albums of all time. Their individual talents, their musical chemistry together, and the ups and downs of their romantic relationship all eventually became legendary.

And yet, despite all that, the Buckingham Nicks album went out of print not long after it came out. For over 50 years, it wasn’t available until it finally got remastered and re-released in September 2025. So for this episode, I spoke to both Stevie Nicks and Lindsey Buckingham about the making of one of the songs from that album, called “Frozen Love.” It’s the only song on the album where they’re credited as co-writers, and it’s the song that led Mick Fleetwood to invite Lindsey Buckingham to join Fleetwood Mac. But Lindsey would only join if Stevie could, too, and that’s how that story began. This episode is about beginnings and endings. It’s the story of how Stevie and Lindsey first met, and how they made “Frozen Love,” and how that song really led to the end of their band.

I also want to mention that not only was Buckingham Nicks out of print for all those decades, no one has heard the isolated tracks that you’re about to hear. To make this episode, there was an epic search for the original master tape from Sound City, the studio where they recorded the album with producer Keith Olsen. It took months, but the tape was finally tracked down and digitized, and it feels very special to be able to present this for the first time here, along with the memories and stories from Lindsey Buckingham and Stevie Nicks.

You can buy or stream the remastered album here, and you can buy or stream “Frozen Love” here.

Illustration by Carlos Lerma.

Good things came to Stevie Nicks fans in Detroit

Stevie Nicks makes the wait worthwhile 

at Little Caesars Arena

By GARY GRAFF

Macombdaily.com

Good things came to Stevie Nicks fans who waited on Tuesday night, Oct. 28 at Detroit’s Little Caesar’s Arena.

The metro area was first slated to see the two-time Rock and Roll Hall of Famer — with Fleetwood Mac and as a solo artist — with Billy Joel on March 29 at Ford Field. After that show was canceled due to Joel’s health issues, Nicks scheduled her own stop for Sept. 7 at LCA, which she then had to postpone after falling and fracturing her shoulder.

“All I can say is, here I am,” Nicks told the mostly full arena Tuesday, after starting her hour-and-45-minute show with a pointedly defiant rendition of Buddy Holly & the Crickets’ “Not Fade Away.” Giving the joint a therapeutic roll, she added that, “I’m feeling my shoulder as I do it” but that “every single day I get up, something feels better.” Advising fans “always avoid breaking your shoulder,” Nicks noted that “I’m glad I have somewhere to go other than my living room.”

She could rest assured the feeling was mutual.

While some of Nicks’ acknowledged excesses over the years did not make her someone we expected to still be going strong at 77, she’s defied odds to be doing just that — and as the lone Fleetwood Mac alumnus still out there playing the band’s songs. There were five of those in Tuesday’s 15-song set — 13 of them repeats from her November 2023 stop at LCA — making for a crowd-pleasing A-list experience surveying 40 years of her recording career. (Though surprisingly with nothing from 1973’s “Buckingham Nicks” album, which was re-released last month with some degree of fanfare.)

Even better was that Nicks and her eight-piece band, led by guitarist Waddy Wachtel, played everything with a grit that rocked harder than their polished counterparts on record. The troupe certainly incorporated all the nuances that are part of those songs but with more stomp and crunch, elevating and often extending favorites such as “Outside the Rain,” “Stand Back,” “Edge of Seventeen” and Fleetwood Mac’s “Gypsy and “Rhiannon.” Only “Gold Dust Woman,” from Mac’s blockbuster “Rumours,” suffered for the approach, the song’s delicate, building dynamics steamrollered by the more muscular arrangement and over-driven drums.

That was an outlier among the highlights, however, which also included a smooth pairing of the title tracks from Nicks’ first two solo albums — “Bella Donna” and “Wild Heart” — and a performance of “The Lighthouse,” her 2024 response to the Supreme Court’s decision overturning Roe v. Wade in 2022. Nicks introduced most songs with stories about their conceptions, and she used the curved video screen above the rear of the stage for some sentimental moments. Images of past paramours and friends (Tom Petty, Don Henley, Bob Dylan, Prince, Janis Joplin) accompanied a version of her Petty collaboration “Stop Draggin’ My Heart Around,” while she offered a more extensive Petty tribute as she sang his “Free Fallin’.” Prince, meanwhile, was the focus during “Edge of Seventeen.”

Longtime musical and onetime personal partner Lindsey Buckingham only merited a brief mention during the show, but Nicks ended the night by honoring her late Fleetwood Mac bandmate Christine McVie with a series of photos as she and Wachtel played a gentle version of “Landslide.” Nicks also dedicated the song to her recently born grand-niece, promising that she would give her a crown-wreath of flowers a fan had tossed to her during the show.

She left with another promise — to return, perhaps as soon as next year, and it’s likely anyone at LCA on Tuesday will be happy to wait for that, too.

NOT FADE AWAY

IF ANYONE FALLS

Stevie Nicks dazzled in Detroit The voice, the hits, the storytelling... exactly what fans came out to see.

Stevie Nicks delivers hypnotic showstopper following shoulder fracture

By Edward Pevos

Mlive.com

DETROIT - Stevie Nicks dazzled in Detroit at a concert which almost didn’t happen after the singer suffered a fractured shoulder from a fall just a few months ago, forcing her to postpone numerous shows.

She originally was supposed to open for Billy Joel at Ford Field before he had his own health problems forcing him to cancel his tour.

She finally made it back to Detroit, performing a 100-minute set at Little Caesars Arena on Tuesday, October 28.

Nicks treated fans to a mesmerizing, showstopping concert which featured storytelling between songs. And on this night, she had a new story to tell.

“I’m healing my shoulder as I speak,” Nicks told the crowd while showing the limited movement she had in her right shoulder. “Every single day when I get up, something about it is better.”

“I only like to share this with you because I want you to know, always avoid breaking your shoulder under any circumstances. Always watch where you’re going. Always wear shoes in an unfamiliar room and never fall. Ever.”

“That being said, I have fought through it and I’m really glad I have somewhere to go besides my living room. I thought I’d turn you into my bigger, better living room.”

And this living room was filled to capacity with fans of all ages. There were a lot more fans in their teens, 20s and 30s than one might expect.

They were all there to hear Nicks’ signature rasp and one hit song after another. And the 77-year old delivered just that with a little bonus storytelling.

Like the time she didn’t have a lead single for her debut solo album, “Bella Donna,” until Tom Petty asked her to sing on “Stop Draggin’ My Heart Around” with him.

Or most recently when she spent a full day writing, “The Lighthouse,” only to delay performing it on stage for about a year because of the California wildfires.

On this night, Nicks delivered powerful vocals in a no thrills, straight forward concert featuring a full band and two backup singers.

Her solo hits included, “If Anyone Falls,” Wild Heart," “Bella Donna,” “Stand Back,” and “Edge of Seventeen.”

Fleetwood Mac moments featured, “Dreams,” “Gold Dust Woman,” “Gypsy,” “Rhiannon,” and “Landslide.”

Nicks paid tribute to Petty with a cover of “Free Fallin’” with photos of the two together over the years. She did the same with Christine McVie during “Landslide.”

The voice, the hits, the storytelling... exactly what fans came out to see.

“You have been an awesome audience. I have to tell you, going into this show, I was a little tired, but you, because you were so fabulous, I caught the boom and we did it together. It was really fabulous and I enjoyed being here with you and being able to tell you how much I appreciate you.”

From Injury to Enchantment: Stevie Nicks Triumphs at Connecticut’s PeoplesBank Arena

Stevie Nicks headlines a magical first show at 

Hartford’s remodeled arena

by Maleena Muzio

The Daily Campus

Classic rock icon and two-time Rock and Roll Hall of Famer, Stevie Nicks, headlined the first show at Connecticut’s newly renovated PeoplesBank Arena on Saturday, Oct. 25.

Nicks’ show was powerful, fun, charming and haunting at the same time. Fans of all ages, from mother daughter duos to elderly couples and millennial super fans packed the updated arena, formerly known as the XL Center.

“The seats alone were better, which seems like a silly thing to notice, but at a concert where you are sitting for like three hours, comfort matters,” Dana Humphreys, a resident from Marlborough, Conn. and attendee of the concert said. “I was blown away by all the new seating.”

Honoring both Nicks and the venue, Governor Ned Lamont signed October 25th as Connecticut’s official “Stevie Nicks Day.” The day was fitting, with Nicks describing the Hartford audience as her most energetic crowd of the tour, despite already being multiple shows in.

“I appreciated the fact that [Lamont] did that, mainly because artists to the caliber of Stevie Nicks don’t come to Hartford; they go to Boston or New York. I think the fact that she did take the time to come to Hartford made it more than appropriate and very cool to proclaim Stevie Nicks day,” Humphreys said.

Just weeks prior, the fate of the concert was up in the air after Nicks fractured her shoulder in August. However, the show did go on, and she did not disappoint. Nicks explained on stage that the injury taught her a lot about herself — both about the things she can and cannot do. She even dedicated the final song of the night, “Landslide” to her doctor, Dr. Goodman, who helped her recover and helped her brother in the past.

Nicks performed 15 songs, with her encore being the famous and ever-haunting “Rhiannon” followed by the sentimental “Landslide.” At the conclusion of the show, many audience members were seen crying as Nicks finished the show with lyrics “the landslide will bring you down.” Hearing a 77-year-old Nicks sing the lyrics “I’m getting older too” that she first wrote at 25 is enough to make anyone who has been a longtime fan cry.

“Her whole performance was really impressive, I thought,” Ana Sanchez, a third-semester molecular and cell biology major at UConn said. “For her age it’s amazing to see that she can still put in so much effort into a show and make it entertaining.”

The majority of the set consisted of songs off of Nicks’ debut album, “Bella Donna,” its successor “The Wild Heart” and earlier hits from her Fleetwood Mac days. Highlights of the night were the emotional title track, “Bella Donna,” the infamous “Dreams” and the upbeat “Stand Back.”

Despite her recent injury, Nicks got around the stage alright for someone her age, but then again, she is not a typical 77-year-old. Her voice sounded up to par and potentially even better than when I had seen her in concert about a year and a half prior.

“I had seen some clips online, and she did not really sound great when you listened through third parties,” Humphreys said. “But I will say that in person, in that concert I thought she was absolutely phenomenal. Her energy, the sound of her voice; if you closed your eyes, you would never know it was 77-year-old Stevie Nicks singing, and not 37-year-old her.”

The essence of the early Nicks era and her white witch magic especially shone through during “Gold Dust Woman;” it was enchanting and transcendent. Nicks performed an extended version of the song where it almost seemed as if she were casting a spell on the audience. There was an instant shift of energy in the room during the song, with everyone’s eyes glued on Nicks and all of her mystique.

Sanchez also enjoyed a Fleetwood Mac song that Nicks performed.

“My favorite song she performed was ‘Gypsy,’” Sanchez said. “I was really looking forward to it.”

Generations of families, especially women, were found everywhere at the show. Nicks recently has stood for women’s rights, with her 2024 song “The Lighthouse,” which she also performed live. She encouraged the audience to stand up for their rights as she spoke to the crowd, telling the origin story of that song, which she had done for a few other songs of the night as well.

Humphreys explained that Nicks’ storytelling made the show a much more personal experience.

“[Nicks] is a female powerhouse, she’s an icon. Anytime there are people like her, I am drawn to them,” Humphreys said. “I am drawn to her, woman to woman. I love to experience females that are successful. She is really inspiring.”

 

 

Photos: People'sBank Arena

Stevie Nicks Hartford, CT October 25, 2025

Free Fallin'

Stand Back

Stop Draggin My Heart Around