Friday, July 21, 2023



(2-CD OR 2-LP)


Order CD or VINYL at

Rumours Live Vinyl | Rumours Live CD

Fleetwood Mac was at the top of its game in August 1977 when the band returned to its adopted home in Southern California to play three shows at The Forum in Los Angeles. Rumours had only been out a few weeks when the band left in February to tour the world, returning six months later to play three shows at The Forum for nearly 50,000 fans.

Rumours was the #1 album in America and well on its way to becoming one of the most successful ever released. Rumours eventually sold more than 40 million copies worldwide and has just been certified 21x platinum in the U.S. The record has also been certified 14x Platinum in the U.K., and 13x Platinum in Australia and New Zealand, all countries where the album reached #1.

RUMOURS LIVE captures the energy and excitement of the band’s opening night at The Forum on August 29, 1977. The nearly 90-minute performance includes live versions of most of the songs from Rumours and Fleetwood Mac, the group’s first multi-platinum #1 album, which came out in 1975.

The concert remained unreleased for decades until 2021, when “Gold Dust Woman” from the show was included as a bonus track on Live: Deluxe Edition, Rhino’s expanded version of Fleetwood Mac’s 1980 concert album. The other 17 songs on the collection have never been released before.

RUMOURS LIVE will be available on September 8 as 2-CD and 2-LP sets. The black-vinyl version has two 180-gram records in a gatefold jacket with lacquers cut by Chris Bellman at Bernie Grundman Mastering. Pre-order HERE. Also, a crystal clear-vinyl version of RUMOURS LIVE will be released the same day exclusively at Walmart.

The music will be available from digital and streaming platforms. Unreleased live version of “DREAMS” from RUMOURS LIVE is available now on all digitally platforms.

The concert’s setlist draws almost exclusively from Fleetwood Mac and Rumours, the first two albums recorded by the band’s latest incarnation: Mick Fleetwood, John McVie, and Christine McVie, and the newest members, Stevie Nicks, and Lindsey Buckingham. The lone nod to Fleetwood Mac’s other nine studio albums is a performance of “Oh Well,” a rock-guitar masterpiece originally released in 1969 and written by the band’s founder, guitarist Peter Green.

Engineer Ken Caillat, who helped record Rumours, also recorded the concert at The Forum using the Record Plant’s mobile recording truck. He captured the band’s impassioned performance at a moment of peak Rumours frenzy, including powerful versions of “Landslide,” “Never Going Back Again,” “Songbird,” and “The Chain.”

In the liner notes from RUMOURS LIVE, Sam Graham observes: “The songs are familiar: ‘Dreams,’ ‘Go Your Own Way,’ ‘Say You Love Me,’ ‘Over My Head,’ and on and on. But most of these live versions are more muscular, more ferocious, than the album recordings, driven by the powerhouse Fleetwood-John McVie rhythm section and Buckingham’s febrile guitar playing; and instead of a rote recital of the hits, the group stretches out in concert, as songs like ‘Rhiannon,’ ‘World Turning,’ and ‘I’m So Afraid’ blossom into exuberant tours de force onstage.

RUMOURS LIVE 2-LP Track Listing

LP One
Side One
1.    “Say You Love Me”
2.    “Monday Morning”
3.    “Dreams”
4.    “Oh Well”
5.    “Rhiannon”

Side Two
1.    “Oh Daddy”
2.    “Never Going Back Again”
3.    “Landslide”
4.    “Over My Head”
5.    “Gold Dust Woman”

LP Two
Side One
1.    “You Make Loving Fun”
2.    “I’m So Afraid”
3.    “Go Your Own Way”
4.    “World Turning”

Side Two
1.    “Blue Letter”
2.    “The Chain”
3.    “Second Hand News”
4.    “Songbird”

Wednesday, July 12, 2023

Mick Fleetwood and ‘Ukulele Virtuoso Jake Shimabukuro honor Christine McVie

Mick Fleetwood and ‘Ukulele Virtuoso Jake Shimabukuro honor Christine McVie on the late Fleetwood Mac Singer’s Birthday with a touching instrumental version of “Songbird”

The release of “Songbird” was years in the making. Fleetwood and Shimabukuro, who both live in Hawaii, have been eager to collaborate for over a decade. When the opportunity finally arose this spring to record some music at Fleetwood’s studio in Maui, it was Shimabukuro who suggested they record “Songbird.” Fleetwood recalls, “We cut it in April, and it turned out beautifully, but there was no plan yet to release it. But when I heard about Christine’s upcoming birthday, it felt like the right time to share this as a tribute to all the lovely music she created, both on her own and with Fleetwood Mac.”

“Songbird” holds a special place in the hearts of Fleetwood Mac fans around the world, and McVie’s impassioned vocals have made it an enduring classic since its debut on Rumours in 1977. That’s why Fleetwood says he was initially cautious about reinterpreting such a cherished song. “When something is that well known, it becomes hallowed ground to a certain extent. But when we did it, I remember there was a hush when we listened back, and we felt that we had touched on something.” At that moment, Fleetwood says, he felt McVie’s presence in a powerful way.

In his heartfelt dedication at the end of the instrumental, Fleetwood adapts a lyric from McVie’s original. He says, “As the songbird sings, now from the heavens, to you Christine, I wish you all the love in the world. But, most of all, I wish it from myself.”

Surprisingly, “Songbird” wasn’t the only Fleetwood Mac song inspiring them in the studio. The drummer reveals that the track’s soft, insistent rhythm was influenced by another instrumental piece, “Albatross.” Written by the band’s founder and guitarist Peter Green, the song topped the U.K. charts in 1969. Fleetwood describes the songs as musical siblings. “They’re as simple as can be, but Peter Green always used to say, less is more.”

Listen here:

Remastered Christine McVie Albums Set For November, 2023 Release


Rhino is celebrating Christine McVie today (Wed, July 12th) on what would have been the beloved singer-songwriter’s 80th birthday. While she has been deeply missed since her death last November, the music she made, both with Fleetwood Mac and as a solo artist, continues to resonate with fans worldwide. In honor of McVie’s enduring legacy, Rhino is introducing new music and announcing plans to release remastered versions of her final two solo albums this fall.

Two new releases are available now with the first being a new Dolby Atmos and stereo mix of In The Meantime created by McVie’s nephew Dan Perfect, who helped write and produce the original in 2004. The collection also includes “Little Darlin’,” a previously unreleased gem unearthed from those recording sessions. The other release is by Mick Fleetwood, the legendary drummer and co-founder of Fleetwood Mac, who pays tribute to his bandmate with a touching new instrumental version of “Songbird” featuring ukulele virtuoso Jake Shimabukuro.

Later this year, McVie’s work as a solo artist will get its due when Rhino reissues two of her albums on November 3rd. Christine McVie will be released on CD and LP. Also, a cola-bottle clear vinyl version will be available exclusively from Barnes & Noble. On the same day, In The Meantime will be released on CD and as a 2 LP set featuring a “songbird” etching on the final side.

IN THE MEAN TIME (Newly Remastered)

CHRISTINE MCVIE (Newly Remastered)

Unavailable on vinyl since its original release nearly 40 years ago

McVie’s solo journey began in 1970 with her debut, Christine Perfect, her maiden name. Soon after its release, she put her solo career on hold when she joined Fleetwood Mac as a full-time member. For the next 14 years, she wrote some of the band’s biggest hits (“Don’t Stop” and “You Make Loving Fun”) before releasing her second solo album Christine McVie in 1984. The album peaked at No. 26 on the Billboard 200, spending 23 weeks on the chart. The record produced two Top 40 hits on the Billboard Hot 100, “Got A Hold On Me” at No. 10 and “Love Will Show Us How” at No. 30. Notably, the album has been unavailable on vinyl since its original release nearly 40 years ago.

Although McVie semi-retired from Fleetwood Mac and public life in 1998, she continued to write music. In 2004, she returned with her third and final solo album, In The Meantime. McVie produced the album with her nephew, Dan Perfect. The album was remastered and remixed for the upcoming release, including the previously unreleased outtake, “Little Darlin’.” In The Meantime has never been available on vinyl until now.

McVie was involved in the creation of the new Atmos mixes for In The Meantime before she passed away last year. In the liner notes, Dan Perfect writes: “When my aunt Christine McVie died unexpectedly last year, plans were already afoot for the re-release of this solo album, which is perhaps her most personal and intimate project. Chris and I had been working for some time on remixing the original tracks in Dolby Atmos, and Chris was excited and intrigued by this process, which was bringing fresh life and contemporaneity to the songs… I dearly wish that she could have lived to see this re-release as she would have been delighted.”

The digital remastered version of "In The Meantime" is available now on streaming platforms.

The Tracklist for "In The Meantime" contains one extra track titled "Little Darlin'" which was titled "Come Out To Play" back in 2004 when it was released in Australia and on iTunes as a bonus. 

In The Meantime Tracklist

1 Friend (2023 Remaster)

2 You Are (2023 Remaster)

3 Northern Star (2023 Remaster)

4 Bad Journey (2023 Remaster)

5 Anything is Possible (2023 Remaster)

6 Calumny (2023 Remaster)

7 So Sincere (2023 Remaster)

8 Easy Come, Easy Go (2023 Remaster)

9 Liar (2023 Remaster)

10 Sweet Revenge (2023 Remaster)

11 Forgiveness (2023 Remaster)

12 Givin' It Back (2023 Remaster)

13 Little Darlin' (2023 Remaster)

Saturday, June 24, 2023

Stevie Nicks Chicago Review "Finding beauty in the struggle and a voice amid heartbreak"

Stevie Nicks takes Chicago down memory lane in heartfelt United Center show - June 23, 2023
By  Selena Fragassi 
Photo: Tyler Pasciak LaRiviere

stevie nicks performing in chicago june 23 2023

As much as she is a gifted songwriter, Nicks is also a great storyteller and had several yarns to spin with the crowd, including how her parents moved to Chicago while she was still enrolled at San Jose State University. It was the first move she didn’t make with her nomadic parents and fatefully led to her start in music.

Finding beauty in the struggle and a voice amid heartbreak has always been the cornerstone of Stevie Nicks’ unending talent. Her gift takes on even new weight in 2023, as the prolific singer-songwriter tours while mourning the loss of her “best friend” and Fleetwood Mac cohort Christine McVie who passed away unexpectedly last November.

“Someday I’ll talk to you about what it’s like to lose Christine. … I can’t do it yet, but maybe someday over a glass of wine,” Nicks said, her voice cracking with emotion as she wrapped up her moving headlining performance at United Center Friday night.

Nicks and her talented eight-part backing ensemble — led by the incredible guitarist/music director Waddy Wachtel — did so with a solemn salute of “Landslide,” one of the biggest and most poignant songs Nicks wrote for Fleetwood Mac in 1975. A confessional for navigating the way forward as life changes, it’s a message that takes on even more gravitas now.

Moving “Landslide” to the end and dedicating it to McVie, complete with a black-and-white photo montage of the two that played across the video screens, was one of the marked differences in Nicks’ latest 2-hour, 17-song set that otherwise largely mirrored her show under the stars at Ravinia last September. 

Even so, the emotional pull felt different nine months later. The celebration of seeing Nicks live was buffered by the thought that Fleetwood Mac is likely wrapped up, while a large part of Friday night also felt like a séance for the giant ghosts of music past, with Nicks as the audience medium. It added to the ongoing sense of urgency to see the legends while we still can (and no doubt led to a near-capacity crowd at the UC). 

There was a Prince tribute during the “white-winged dove” of “Edge of Seventeen” as well as Nicks’ ongoing tributes to late friend Tom Petty. In addition to a heartfelt serenade of “Free Fallin’,” Nicks dug out her 1981 duet with the Heartbreakers frontman, the ever-catchy “Stop Draggin’ My Heart Around.” She prefaced it by recalling what a timely gift it was from Petty, as her record label scrambled to find a single to help explode her debut solo album “Bella Donna.” 

That LP was much of the focus of the night, with 75-year-old Nicks sounding as pristine as ever and celebrating by donning the original shawl “cape” she wore during the “Bella Donna” promo shots and videos (and the one she originally wore for “Gold Dust Woman”). It was her only costume change of the night, met with uproarious applause as she did little twirls around the stage.

As much as she is a gifted songwriter, Nicks is also a great storyteller and had several yarns to spin with the crowd, including how her parents moved to Chicago while she was still enrolled at San Jose State University. She noted it was the first move she didn’t make with her nomadic parents and fatefully led to her start in music. “It’s a good thing I didn’t change my mind,” Nicks joked.

Later, she covered Buffalo Springfield’s “For What It’s Worth,” talking about Stephen Stills writing it in homage to the Sunset Strip curfew riots in the ‘60s.

“This song has traveled all the way from 1966 to 2023 and still makes a statement,” Nicks said, sharing that had she been old enough and in L.A. at the time, she would have participated in the demonstrations. 

Her hippie heart continued to shine with a moving delivery of “Soldier’s Angel,” from her 2011 album “In Your Dreams.” Originally written after Nicks visited American soldiers at Walter Reed Army Medical Center in the early 2000s, on this tour it’s being revisited as a tribute to the people of Ukraine.

“I stand for democracy, I stand for freedom, I stand for Ukraine,” Nicks shared, reading a speech from a teleprompter in order to not mince words. The number ended with blue and yellow flashing lights on the video screens and a QR code that audience members could scan to donate to the UN’s crisis relief fund.

Finding throughlines of past and present and adapting archive songs to modern context is the true mark of a legacy artist, and the practice is just one part of what makes Nicks so alluring and worshipped by multi-generations, even though it’s been nearly 10 years since she released a new album. Droves of fans came bedecked in flower crowns and their best witchy wear, some with binoculars to get a closer look at the woman who has inspired a whole new legion of singer-songwriters (see her close relationships with Taylor Swift and Haim, and even Riley Keough’s eponymous lead character from “Daisy Jones.”

And she’s clearly not done yet, promising to see everyone “next time.”

Nicks’ tour continues through 2024 coupled with co-headlining dates with Billy Joel.

  • Outside the Rain
  • Dreams (Fleetwood Mac)
  • If Anyone Falls
  • Stop Draggin’ My Heart Around
  • Fall From Grace
  • For What It’s Worth (Buffalo Springfield)
  • Gypsy (Fleetwood Mac)
  • Wild Heart
  • Bella Donna
  • Stand Back
  • Soldier’s Angel
  • Gold Dust Woman (Fleetwood Mac)
  • I Sing for the Things
  • Edge of Seventeen
  • Free Fallin’ (Tom Petty) 
  • Rhiannon (Fleetwood Mac)
  • Landslide (Fleetwood Mac) 

Chicago Review Onstage, Stevie Nicks remains an original: a free-spirited blend of siren, gypsy, canyon queen and enchanted sorceress.

Review: Stevie Nicks’ musical legacy was in the room with her at the United Center on June 23, 2023
By Bob Gendron

In the waning moments of her concert Friday at a rafters-packed United Center, Stevie Nicks sang about getting older. She echoed the sentiments in back-to-back lines of “Landslide,” a classic she has performed across six decades.

Yet as black-and-white pictures of Christine McVie — Nicks’ longtime Fleetwood Mac cohort and best friend who died last November — flashed on a curved projection screen behind her, the words took on added weight. Nicks, recognizing how circumstance forever changed the lyrical meaning, struck a decidedly submissive and reverent tone. The interpretive shift and photos of McVie weren’t the only reminders of time’s finite qualities during the 110-minute set.

Now 75, Nicks is in the victory-lap stretch of her long career. This July, she’ll be feted with a career-spanning box set documenting her solo work. The release (by Rhino) coincides with her current tour on which she’s appearing with Billy Joel for select stadium dates. These profile boosts follow a 2022 summer-fall trek that brought her to Ravinia, and her 2019 feat of becoming the first woman to be twice inducted into the Rock & Roll Hall of Fame.

The attention showered on Nicks in the past decade-plus seems overdue. Despite her distinguished role in Fleetwood Mac, she often stood in the shadows of male colleagues and dealt with the double standards of a chauvinistic era. Though her situation paralleled those faced by many female artists who traded in rock ‘n’ roll during the ‘70s and ‘80s, Nicks’ songwriting acumen, unique voice and inner strength helped transform her into an icon embraced by subsequent generations.

Her wide-ranging impact could be seen throughout the United Center crowd, which skewed younger — median age falling between late 30s and early 40s — than at most shows by baby boomers. Celebrating the singer’s trademark fashions, some fans arrived adorned in frilly jackets, wide-brimmed hats or chiffon shawls.

Dressed in black, Nicks wore a few signature accessories of her own. When performing “Bella Donna,” she modeled the original cape she was pictured wearing on the back cover of that title track’s 1981 LP and proudly boasted about its pristine condition. The old cape used for her 1983 synth-heavy single “Stand Back” also emerged but didn’t merit the same royal treatment. After noting its holes and repairs, Nicks tossed the garment aside like a dirty T-shirt ready for the laundry. It’s unclear if she realized the humor of her actions.

Amicable and sincere, Nicks appeared to dwell in her own universe. She came across less as a famous rock star and more as an eager storyteller. Talking a mile a minute, Nicks framed a majority of songs with introductions or outros. Her combination of personal histories and frank disclosures supplied context and color — not to mention trivia fodder. A prime example: Who knew she penned “Gold Dust Woman” after passing a street named Gold Dust Lane?

Nicks’ candor applied to matters lighthearted (the need for an album to have a hit single in order to get attention in the ‘80s; her tendency to go off on a tangent) and serious. In terms of the latter, after the final acoustic passages of the closing “Landslide” faded and the music stopped, she admitted she will one day discuss what it feels like to lose McVie. Nicks isn’t ready yet.

The singer also addressed her collaborative experience with Tom Petty, increased the heat on a rendition of their 1981 duet “Stop Draggin’ My Heart Around” and paid the late artist tribute with a well-meaning albeit flat cover of “Free Fallin’.” Another bygone great, Prince, received his due in the form of his picture being displayed during two songs. Nicks also punctuated the end of an invigorating version of “Edge of Seventeen” with a lyric from Prince’s “When Doves Cry.”

Backed by an ace band anchored by veteran guitarist Waddy Wachtel and drummer Drew Hester, Nicks sang with a sharpness that projected above the eight-piece support group. Her range is considerably lower from that of her heyday and proved most convincing on upbeat fare. Occasionally, Nicks’ voice betrayed her, turning pinched and nasally on upper-register passages. Two backing vocalists assisted with highs, choruses and extended notes.

Onstage, Nicks remains an original: a free-spirited blend of siren, gypsy, canyon queen and enchanted sorceress. With the longest strands of her hair nearly reaching her waist, and a mix of beads and ribbons lining her angled microphone stand, she gave the mysticism and dreams in her narratives visual reference points. Those extended to Nicks’ theatrical movements — outstretched arms, palms-up gestures, cape clutches, slow twirls, forward bends, head-in-hands signals, grandiose bows. For the finale of an epic “Gold Dust Woman,” she stood in front of an amplifier and worshipped distortion.

Though Nicks and company played just one song released in the last two decades, the present revealed itself in other ways. The collective’s folk-blues reading of Buffalo Springfield’s “For What It’s Worth” invoked themes of division, confrontation and paranoia fracturing the American landscape. “Fall From Grace” burned with an intensity that mirrored the courage, independence and outspokenness of a crop of younger, modern artists Nicks inspired.

Nothing, however, resonated with as much relevance as “Soldier’s Angel.” Concerned she might lose focus, Nicks read her explanation of the 2011 tune from a Teleprompter and apologized for doing so. Played as devastating images from the Russian invasion of Ukraine provided the backdrop, the song sounded a clarion call for righteousness, justice and democracy before concluding with an image of the Ukrainian flag.

The answer to the question Nicks has asked in another, more renowned song for decades — “Do you know how to pick up the pieces and go home?” — seldom seemed so uncertain or necessary.

Toronto Review An inspiring performance that proved once again why Stevie Nicks will always be their “Bella Donna

Review: Stevie Nicks wows Toronto in four-star show
June 20, 2023 at the Scotiabank Arena, Toronto
By Nick Krewen
Toronto Star

Heartfelt tributes to fallen comrades.

Photo: Mystical Amanda

If there was a memorable arc to Stevie Nicks’ overall performance during her two-hour concert at Scotiabank Arena Tuesday night, it was the respect and love she accorded a couple of her artist friends who are no longer with us.

The first one was a bit of surprise in terms of the amount of devotion she offered: Tom Petty, who unexpectedly left this mortal coil in 2017. Nicks referenced Petty several times throughout the evening: first through his recording of “Runnin’ Down a Dream” that blared over the speakers as Nicks and her eight-piece band took to the stage.

Then, four songs in, Nicks told a story of how Petty had “saved” the album “Bella Donna” from becoming “a flop” — as her then-boyfriend-producer Jimmy Iovine told her — by not only providing the hit “Stop Draggin’ My Heart Around,” but volunteering to duet with her on it.

And, to complete the homage, for her first encore, Nicks and crew performed “Free Fallin’,” Petty’s hit from what was arguably his best album, “Full Moon Fever” in 1989.

But the most poignant moment occurred during the evening’s finale, as Nicks — doubly blessed as a solo artist and as a charter member of the most popular version of Fleetwood Mac — performed a tender, acoustic rendition of “Landslide” as candid images of her and the late Christine McVie flashed on a big screen above the singer and her accompanists. McVie, also a Fleetwood Mac legend, died last November at 79.

These acknowledgments, while emotive, are not to suggest that the Nicks concert presented to an estimated 15,000 devotees was anything but celebratory. All of her fans had a blast.

At 75, Nicks’ distinctive husky alto still delivers the goods. Dressed in a black top, chiffon skirt, leggings and boots, with her waist-length blond hair cascading over her shoulders, the only notable concession to maybe feeling a little older was that the twirling and pirouettes of earlier performances are no longer part of her physical repertoire.

Not that it mattered to her flock: Nicks has always commanded a blind adoration with her bohemian ways, from her philosophically romantic poetry to her distinctive sense of fashion.

Judging by the number of Stevie look-a-likes of all ages who came dressed in honour of their idol, that impact remains multi-generational.

Following a poised and well-received solo set from Tenille Townes of Grand Prairie, Alta. — her blazing cover of “At Last” and her original “Somebody’s Daughter,” among others, won a warm ovation — their heroine Nicks could do no wrong as she dipped into her solo catalogue and that of Fleetwood Mac. The crowd was rewarded almost immediately as the opener “Bella Donna” melted into “Dreams,” the first of five group numbers included in the 17-song setlist.

It was clear from the fact that Nicks introduced practically every song with a little story that she considers herself a songwriter first.

In discussing the inspiration behind “Gypsy,” she told the audience how the virtually overnight transition from waitress and cleaning lady to Fleetwood Mac star “weirded me out,” to the point where she instigated a ritual to ground herself.

“So whenever that would happen, I would take my mattress off of my bed frame, put it on the floor, and then I would just sit down on this bed and I would say, ‘I am still Stevie.’”

Another tale focused on politics and world concern, as she dedicated a song from her album “In Your Dreams” to embattled Ukraine.

“I wrote this song for returning American soldiers that I visited at Walter Reed hospital. When the attacks on Ukraine began, I thought these words became their words and I brought the song back. In my opinion, Ukraine is fighting for all of us. I stand for democracy. I stand for freedom. I stand for Ukraine. No surrender! This is ‘Soldier’s Angel.’”

Whether it was matters of the world or matters of the heart, Nicks and her crackerjack band — including guitarist Waddy Wachtel and keyboardist Darrell Smith — offered flawless executions of her material, with some live versions transcending their recorded originals.

One of the more amazing workouts was “Gold Dust Woman.” With Wachtel offering a splendid solo and Drew Hester hammering it out on the drums, the momentum between the five jamming instrumentalists kept building until the song exploded into an exciting climax.

The same feverish effect happened with “Edge of Seventeen”: Wachtel began with a gritty, electrifying solo that eventually morphed into the recognizable opening riffs of the tune, bringing the cheering crowd to their feet. Nicks and her backing singers Sharon Celani and Marilyn Martin then prodded each other to sing more powerfully, and the overall result was an adrenalin high for both artist and audience, one of the show’s many highlights.

An exultant “Stand Back” and a vigorous “Rhiannon” also made their way into the Stevie Nicks highlight reel — and the singer and songwriter seemed moved enough to promise there would be at least one more visit in the not-too-distant future.

“Thank you everybody, you have been an awesome audience from the very beginning,” said Nicks. “You mean so much to me. You know, I’m 75 years old. And I stand for a lot of things, as you know, but one thing, for all you women out there … if I can do this at 75 years old, you can do anything.

“Join a basketball team! Take flying lessons. So, with that little proverb from Stevie, I loved being here and I love the fact that you shared your home here with me, and we’ll be back to see you and you’re so awesome, we have to come back here and redo this, at least one more time. Thank you!”

The gratitude was palpable on both counts: an entertainer appreciative of an audience that has unquestioningly embraced her for going on 50 years and a crowd who received an inspiring performance that proved once again why Stevie Nicks will always be their “Bella Donna.”

You just know she’s going to make good on her word just for them.

Philadelphia Review Stevie Nicks’ singing was on another level and her banter was fun and bubbly

A stadium-sized singalong with Billy Joel and Stevie Nicks at The Linc

Two songwriting legends gave stellar performances in Philly on Friday, June 16, 2023.

Photo: nikkejones85 on Instagram
By Maureen Walsh and John Vettese

It’s easy to understand why a double-header of pop songwriting icons Billy Joel and Stevie Nicks drew a capacity crowd to Lincoln Financial Field on Friday night. Both artists have been active since the late 60s; both are behind an array of hit songs stretching into the 90s, and their popularity extends to present day, with a strong cross-generational appeal. The Philadelphia crowd was made up of life-long fans who probably first heard both artists on WIOQ 40 years ago; younger fans experiencing Nicks and Joel for the first time; and the crossover of parents in collective rapture with their children. And for the performers’ part, both artists sounded stellar, were backed by exemplary bands, played a robust mix of hits and deep cuts, and put their lively personalities on full display.

Nicks opened her set with “Outside the Rain” — appropriate given the thunderstorm forecast and tornado warnings we spent all day monitoring on our Accuweather apps — followed by its sister song “Dreams.” The crowd was pleasantly surprised by the Fleetwood Mac classic turned Tik Tok sensation appearing so early in the set, but that was not the only surprise. We soon were regaled with tourmate Billy Joel’s presence on “Stop Dragging My Heart Around;” he took the stage in a party mask, singing Tom Petty’s verse before revealing his face for the chorus. Nicks’ set continued with even more unexpected moments. There were deep cuts such as “If Anyone Falls,” and Rock A Little‘s “I Sing For the Things,” a song Nicks is playing live for the first time on this tour. She also sang a few covers, the highlight being a heartfelt and powerful cover “Free Fallin'” looking up to the sky and her old friend Petty towards the end.

Nicks couldn’t leave out the hits, of course. “Landslide,” was gorgeous, “Edge of Seventeen,” was explosive with smoking solos courtesy of longtime guitarist Waddy Wachtel.  “Stand Back,” was taken to the stratosphere thanks to backing vocals by Sharon Celani and Marilyn Martin, and an epic jam on “Gold Dust Woman” was a set centerpiece, with intentionally disorienting camerawork on the big screens adding to the song’s psychedelic feeling.

Nicks’ singing was on another level and her banter was fun and bubbly, talking issues with men and offering life lessons about staying true to yourself. She donned a different shawl for nearly every song, including the very one she wore on the back cover of her solo debut Bella Donna. It was a memorable set of music and her and her band left the crowd wanting more even after her encore.

Billy Joel pays tribute to Tina Turner, Stevie Nicks enchants at co-headlining concert
Melissa Ruggieri

As with recent performances, Nicks took the stage at sunset for about an hour and 45 minutes and Joel closed the night with two hours of radio fodder and fan favorites (hi, “Captain Jack”).

Though no one expects – or wants – any drastic deviations from their adroitly crafted setlists, a couple of spotlight moments emerged.

Joel, 74, offered Tom Petty-esque vocals to counter Nicks, 75, on “Stop Draggin’ My Heart Around” (it wasn’t the tidiest of duets as Joel missed his cue to start singing and then his microphone blanked for several seconds). And during Joel’s percussive “River of Dreams,” he and his exemplary band swung into Tina Turner's “River Deep, Mountain High,” with the multifaceted Crystal Taliefero belting and brass masters Mark Rivera and Carl Fischer coating the tribute with spiky horns.

Stevie Nicks conjures spirits, expels emotions

Nicks, looking resplendent in layers of black, her crimped blond hair flowing halfway down her back, offered her comforting warble on both solo and Fleetwood Mac treasures.

The overlooked “If Anyone Falls” paired with “Gypsy,” allowing Nicks’ two backup singers to add plushness to the choruses.

Nicks’ songs are as layered as her chiffon skirts, their melody and meaning requiring hours of dissection. The poetry in the title tracks of her early solo releases, “Bella Donna” (1981) and “The Wild Heart” (1983), coupled with the galloping beat powering “Stand Back” and urgent guitar riffing in “Edge of Seventeen” reminded of Nicks’ unique song styling.

Her hand-fluttering bows and dramatic dips, too, are all distinctively Stevie.

Nicks is also always expelling emotion, whether playing air drums and conjuring the spirits during the ominously thumping “Gold Dust Woman” or quietly singing the pensive rumination on aging, “Landslide.” During that final song, photos of Nicks and her beloved bandmate, the late Christine McVie, scrolled one of the three screens looming above the stage, making an already wistful moment heartbreaking.

Nicks felt it, too, as she stammered at song’s end, “Can’t speak,” and blew the crowd a kiss before smiling and stating a simple, “Thank you.”

Wednesday, June 14, 2023



  • Available as a 10CD boxed set 
  • Available as a 16LP boxed set (limited and numbered to 3,000)
  • Available on all digital platforms July 28, 2023
Pre-order at $99.98 CD | $299.98 LP (Rhino exclusive)
Pre-order at Amazon USA $99.98
Pre-order at Amazon Canada $150.70

The first promo single release "One More Big Time Rock and Roll Star" is available now on all streaming services. The second promo single released was "Thousand Days"

What's Inside:
  • Bella Donna (1981)
  • The Wild Heart (1983)
  • Rock A Little (1985)
  • The Other Side Of The Mirror (1989)
  • Street Angel (1994)
  • Trouble In Shangri-La (2001)
  • In Your Dreams (2011)
  • 24 Karat Gold: Songs From The Vault (2014)
  • Stevie Nicks - Rarities (2023)

COMPLETE STUDIO ALBUMS & RARITIES combines all of Nicks’ solo studio albums in a new, career-spanning boxed set. It comes with eight albums: BELLA DONNA (1981), THE WILD HEART (1983), ROCK A LITTLE (1985), THE OTHER SIDE OF THE MIRROR (1989), STREET ANGEL (1994), TROUBLE IN SHANGRI-LA (2001), IN YOUR DREAMS (2011), and 24 KARAT GOLD: SONGS FROM THE VAULT (2014). The collection also features RARITIES, a new compilation of hard-to-find tracks only available with the set. Several albums were newly remastered from the analog masters for this release, including ROCK A LITTLE, THE OTHER SIDE OF THE MIRROR, STREET ANGEL, and TROUBLE IN SHANGRI-LA.

COMPLETE STUDIO ALBUMS & RARITIES follows Nicks’ musical journey across four decades and features her Top 10 hits, “Stop Draggin’ My Heart Around” (with Tom Petty and the Heartbreakers), “Leather And Lace” (with Don Henley), “Stand Back,” and “Talk To Me.” Other essential hits include “Edge Of Seventeen,” “If Anyone Falls,” “I Can’t Wait,” and “Rooms On Fire.” 

The Vinyl Boxed Set
Limited and numbered to just 3,000, several albums in the collection are making their vinyl debut, including STREET ANGEL, TROUBLE IN SHANGRI-LA, and IN YOUR DREAMS. All three – plus THE OTHER SIDE OF THE MIRROR and 24 KARAT GOLD: SONGS FROM THE VAULT – will be released as double LPs housed in gatefold sleeves. The new RARITIES collection comes as a 3-LP set in a tri-fold sleeve.

RARITIES collects 23 of Nicks’ best non-album tracks, including numerous contributions to film and television soundtracks like “Blue Lamp” from Heavy Metal and “Free Fallin’” from Party of Five. Several B-sides are featured in the set, including “One More Big Time Rock And Roll Star,” the flipside to her 1985 hit, “Talk To Me.” A trio of songs originally released on Nicks’ 1991 hits collection TIMESPACE also appear, including “Love’s A Hard Game To Play.” RARITIES closes with Nicks’ most recent release, her 2022 cover of Buffalo Springfield’s classic “For What It’s Worth.”.


Tuesday, May 16, 2023


General on-sale for the additional dates will begin on Friday, May 19 at 10 AM Local at or through Stevie's website  Pre-sales start prior so check the links.

Tue Aug 08 — Milwaukee, WI — Fiserv Forum
Sat Aug 12 — Houston, TX — Toyota Center
Tue Aug 15 — Austin, TX — Moody Center
Wed Sep 27 — Pittsburgh, PA — PPG Paints Arena
Sun Oct 01 — New York, NY — Madison Square Garden
Wed Oct 04 — Buffalo, NY — KeyBank Center
Sat Oct 28 — Memphis, TN — FedExForum
Wed Nov 01 — Savannah, GA — Enmarket Arena
Sat Nov 04 — Allentown, PA — PPL Center ^
Tue Nov 07 — Detroit, MI — Little Caesars Arena
Wed Nov 29 — San Diego, CA — Viejas Arena
Sat Dec 02 — Inglewood, CA — The Kia Forum
Tue Dec 05 — Palm Desert, CA — Acrisure Arena

Saturday, May 13, 2023

Review Stevie Nicks Live in Raleigh, NC May 12, 2023

Stevie Nicks brings a ‘Landslide’ of hits, and plenty of heart to Raleigh show
Martha Quillin
Photo: Scott Sharpe

In the late 1970s, amid the superstardom that came with the success of two Fleetwood Mac albums, Stevie Nicks occasionally had to ground herself, which she did somewhat literally by dragging her mattress onto the floor.

There, covered in flowers and drapery fabric, she could think back on having to do housekeeping to subsidize her music career, and remind herself that even with the newfound fame, “I am still Stevie.”

The 16,000 or so people who heard her tell that story Friday night at Raleigh’s PNC Arena never doubted: She still is.

About to turn 75, recovering from a month of illness, wearing low-heeled boots to coddle an injured toe and grieving — like her fans — the loss of former Fleetwood Mac bandmate Christine McVie and friend and collaborator Tom Petty, Nicks poured it all onstage.

She reached for and hit the notes. She belted. She hauled out the capes, the drapes and the fringe. She twirled. She floated across the arena stage the way her songs have floated in and out of our lives for nearly 50 years.

I first heard Stevie Nicks in 1977, shortly after Fleetwood Mac’s “Rumours” had been released on LP and 8-track tape. My friend Donna slammed that huge cartridge into the player in her ‘72 Pontiac GTO and turned it up loud so we could hear it over that big engine.

It was so different from everything playing on the radio at the time: Commodores, Marshall Tucker Band, Queen, Heart, Foreigner, Peter Frampton, Linda Ronstadt, Andy Gibb — all equally great music to the largely undiscerning teenage ear.

But even we knew Fleetwood Mac, often led by Stevie Nicks’ vocals, was different. The blend of blues and rock in the sound, the guitar breaks and the big heartbeat of a drum through the music had us singing along and banging dents into the dashboards of our friends’ cars. And the lyrics, whether by one member of the band or collaborations by several, spoke to us in that complicated time of our lives when so much was happening in and around us we couldn’t begin to understand it all. But Stevie Nicks, Lindsay Buckingham, Christine McVie, John McVie and Mick Fleetwood understood, and set it to music.

In those days, high schools in Greensboro allowed us to leave campus for lunch, and five of us would pile into that GTO for a 37-minute escape from class, screaming along with the music, relishing our youth and our friendships and letting them both fly out the open windows without even seeing them go.

“Rumours” was so good, we went back and bought the 1975 Fleetwood Mac album that marked Nicks’ and Buckingham’s entrance into the band.

After high school, I kept that music in my collection and listened to it when I needed it, along with much of the solo work Nicks did apart from Fleetwood Mac. And yet, somehow I never managed to see Fleetwood Mac or Stevie Nicks live.

So to celebrate finally getting to see her in concert and to show solidarity with the woman whose writing about her heartbreaks helped me survive my own, I wrapped myself in black sequined rayon and a shawl. Amid some of the more hardcore fans, I was under-dressed.

But all of us were rewarded with music that honored Nicks’ long career, a theatrical 17-song set that played out over more than 90 minutes and featured stellar breaks by guitarist Waddy Wachtel, who did much more than try to recreate Buckingham’s brilliant work. The night’s renditions of Petty’s “Stop Dragging My Heart Around,” along with “Gypsy,” “Soldier’s Angel,” “Sara” and “Rhiannon” were outstanding, and when Nicks sang “Landslide” as a tribute to Christine McVie, it was hard not to weep.

Throughout the show, Nicks donned a series of different capes — she doesn’t call them shawls — including the one she used when touring after her first solo album, “Belladonna,” came out in 1981. She held out her arms to show off the navy blue fabric with the long bullion fringe and said this one had “been mended a million times.”

So had she. So have we.

Stevie Nicks concert setlist, Raleigh, NC, May 12, 2023
1. Outside the Rain/Dreams
2. If Anyone Falls
3. Stop Draggin’ My Heart Around
4. Fall From Grace
5. For What It’s Worth
6. Gypsy
7. Wild Heart/Bella Donna
8. Soldier’s Angel
9. Stand Back
10. I Sing for the Kings
11. Gold Dust Woman
12. Sara
13. Edge of Seventeen

*** Encore ***

14. Free Falling
15. Rhiannon
16. Landslide

Wednesday, May 10, 2023

Stevie Nicks: The Timeless Rock Goddess turns 75 (People Spec. Edition)

How Stevie Nicks Inspired a Generation of Hitmakers, From Harry Styles to Taylor Swift

Skyler Caruso
Fri, May 5, 2023

Since first stepping onto the scene as a vocalist in Fleetwood Mac in 1975, the mystical musical goddess has rocked a new generation of hitmakers today. Take a look at the chart-toppers who have been inspired by the legend and her nearly five-decade-long career.

The legendary rock singer and frontwoman of Fleetwood Mac turns 75 on May 26 — and her impact on the music industry can't be understated.

Look back at her incredible career and celebrate her legacy with PEOPLE's special-edition bookazine, Stevie Nicks: The Timeless Goddess of Rock Turns 75 (on sale now), and see some of the current music superstars who credit her as an influence.

Dolly Parton’s “Rockstar” album will feature both Stevie Nicks & Mick Fleetwood.

Two tracks on Dolly's November 17th release "Rockstar" will include two Mac members.


Track 9: “What Has Rock And Roll Ever Done For You” (feat. Stevie Nicks w/special guest Waddy Wachtel).

Track 29: "Let It Be" (feat. Paul McCartney & Ringo Starr w/special guests Peter Frampton & Mick Fleetwood)

The collab with Stevie is on one of her old demos that has been floating around for years in the fan community and can be heard on youtube. The demo was recorded sometime in the mid-80's, around Rock a Little. Can't wait to hear what they've done with the track!

Look for the album to be released this coming November. 

Saturday, April 08, 2023

Stevie Nicks Cancels All April Shows

After first postponing a New Orleans concert at the Smoothie King Center, Stevie Nicks has now canceled it.  The Fleetwood Mac vocalist was initially set to headline the solo show April 2. Citing a COVID-19 infection within her band -- it has not been specified who was sick -- she postponed it to April 15. 

But on Tuesday, Nicks' publicist said that "due to ongoing illnesses within the band," the New Orleans date has been scrapped and won't be rescheduled. Another rescheduled Nicks show, in Oklahoma City, as well as an April 5 show in Birmingham, Alabama, have also been canceled.

Refunds in the works
Refunds will be automatically processed "to the original method of payment," says a message on the Ticketmaster page for the New Orleans show. The message also says, "If the tickets were transferred to you, the refund will go to the fan who originally purchased the tickets from Ticketmaster."

Additionally, Nicks' co-headlining concert with Billy Joel at AT&T Stadium in Arlington, Texas, on April 8 has been postponed to March 9.

The next concert that is still on her schedule is May 12 in Raleigh, North Carolina.

The April 15 New Orleans date was one of 14 arena-headlining concerts that the 74-year-old Nicks scheduled this spring, between her stadium shows with Joel.

Her previous visits
She was in town less than a year ago, when she drew one of the largest crowds at the 2022 New Orleans Jazz & Heritage Fesitval. That show marked her return to live performance following a two-year pandemic-related hiatus. Some audience members cried when she dedicated her solo hit "Landslide" to the Foo Fighters' recently deceased drummer, Taylor Hawkins.

Monday, April 03, 2023

CHRISTINE MCVIE DIED of a stroke and cancer according to death certificate

Christine McVie Died of a Stroke and Metastasized Cancer: Report

The Fleetwood Mac star told Rolling Stone last June that she had been suffering from a "chronic back problem that debilitates me"

APRIL 3, 2023

CHRISTINE MCVIE DIED of a stroke and cancer, a death certificate obtained by The Blast revealed Monday.

McVie suffered an ischemic stroke, meaning that the blood supply to part of the brain was interrupted or reduced, preventing brain tissue from getting oxygen and nutrients, according to the Mayo Clinic. The new information about the Fleetwood Mac member’s cause of death arrives more than three months after she died at age 79 on Nov. 30.

Per the death certificate, McVie had also been diagnosed with “metastatic malignancy of unknown primary origin,” indicating that cancer cells had been found in her body, but it was unclear where they had originated from.

McVie’s family had originally said that McVie died at the hospital “following a short illness” while surrounded by her family. “We would like everyone to keep Christine in their hearts and remember the life of an incredible human being, and revered musician who was loved universally,” her family wrote.

Fleetwood Mac also confirmed her passing in a social media statement, writing “There are no words to describe our sadness at the passing of Christine McVie. She was truly one-of-a-kind, special and talented beyond measure. She was the best musician anyone could have in their band and the best friend anyone could have in their life.”

The band added, “We were so lucky to have a life with her. Individually and together, we cherished Christine deeply and are thankful for the amazing memories we have. She will be so very missed.”

In an interview with Rolling Stone back in June 2022, McVie acknowledged that she was in “quite bad health.” She said she was struggling with a “chronic back problem,” though didn’t offer any further details.

“I don’t feel physically up for it,” she said about going on tour with the band. “I’m in quite bad health. I’ve got a chronic back problem, which debilitates me. I stand up to play the piano, so I don’t know if I could actually physically do it. What’s that saying? The mind is willing, but the flesh is weak.”

The death certificate was revealed in court documents filed to settle to singer’s massive estate. Christine was not married and never had any children. So, according to the filing, the singer’s brother and his children are the sole heirs of her musical fortune. Also, several charities are going to be the recipient of some of her assets, but it’s unclear how much.

The filing indicates that McVie’s fortune was in excess of $50 Million. Most of her assets are in the United States, but a bit of her liquid money was in the UK.

It should be noted, the singer’s longtime business manager is named as the executor of her estate. The documents reveal the estate has an urgent tax bill due, and it asking a judge to intervene. “It is urgent that this matter be heard as soon as possible, on an Ex Parte basis, due to the impending tax liability in the amount of £31,000,000 which must be paid on or before May 31, 2023. As mentioned above, the UK estate is subject to interest in penalties at a rate of 6.5% if such tax liability is not timely paid,” it states.

Sunday, April 02, 2023

Stevie Nicks Reschedules Northern California Dates

New dates were announced for the postponed Sacramento and San Franciso March dates that had to be postponed because someone in Stevie's band has covid.

The March 23rd San Francisco show will now take place December 15 and the March 26th Sacramento show will take place December 12th.

Tickets for the rescheduled shows available at

Monday, March 20, 2023

Stevie Nicks Live in Las Vegas March 18, 2023

Stevie Nicks honors Christine McVie in Vegas tour stop

By John Katsilometes 
Pics: psushawn

Stevie Nicks’ crowd at T-Mobile Arena wondered when would be the tribute to Christine McVie.

Nicks held it to the end, sending thousands home with some words from the wise. Like the rest of the show, the moment and message were from the heart.

“When you look at somebody that you love, in your own family or just a friend, and you know that you don’t pay enough attention to them sometimes, remember that sometimes doesn’t come again, someday,” Nicks said, having bowed at the end of “Landslide,” the Fleetwood Mac classic from 1975. “You will always regret that. So, make up the friendship bracelets, and reach out to the people you love, because it’s really important.”

Nicks’ voice wavered as she reached the end of this sentiment, as she closed with, “I’ll talk to you tomorrow. Thank you.” She made sure those were last words the Vegas crowd heard from her, spoken not sung, a tribute to McVie, who died last November at age 79, after what reps described as “a brief illness.”

Saturday’s was the second in Nicks’ current tour, where Billy Joel will join on select dates. Nicks said she was somewhat limited, footwear-wise, by a broken foot. No high heels on this Strip appearance. “Its’ goodbye Di Fabrizio, hello Balenciaga,” she said, drawing laughs and a cheer.

This is Nicks’ first tour since McVie’s death. Clips of the collaborators and friends, who spent some some six decades (on and off) in Fleetwood Mac, played on the big screen. With an acoustic-guitar warmly accompanying, Nicks sang the aching lyric, “Well, I’ve been afraid of changin’, ‘cause I’ve built my life around you. But time makes you bolder, even children get older. And I’m getting older, too.”

Nicks reminded the crowd that she will be 75 soon, in May. She covered Buffalo Springfield’s “For What It’s Worth,” written by her friend Steven Stills in 1966, “When I was in high school,” as Nicks said.

The Rock & Roll Hall of Famer dealt freely from the Fleetwood Mac hit catalogue and her own solo career. “Dreams, “Gypsy,” “Gold Dust Woman,” “Sara” and “Rhiannon” were recast, thrilling the crowd, many whom could have been in Nicks’ graduating class at Menlo-Atherton High in the Bay Area. “If Anyone Falls,” “Bella Donna,” “Stand Back,” and “Edge of Seventeen” were among her solo hits. The powerful “Soldier’s Angel” was a show of support for Ukraine, “Fighting for all of us,” as she said, in the war with Russia.

Nicks dropped in the wonderful“Stop Draggin’ My Heart Around,” her 1981 duet with Tom Petty. “If it weren’t for this song, I wouldn’t be here up tonight. I would’t have a solo career,” she said.

Nicks also covered Petty’s “Free Fallin’,” in the three-song encore. It was another love letter to a departed friend, another reason to make up a friendship bracelet.

Thursday, March 16, 2023

Stevie Nicks Live in Seattle March 15, 2023

Stevie Nicks Kicks Off 2023 Solo Tour Like a Woman Possessed: Review - Nicks' impassioned set honored Tom Petty and Christine McVie

By: Robert Ham

By way of introduction to “Gypsy,” a song from her former band, Stevie Nicks recalled how she would center herself when, as she put it, she “got a big head about the Fleetwood Mac thing.” She would take the mattress from her bed, set it on the floor, festoon it with draperies and pillows, and then sit down in the middle, reminding herself, “I am still Stevie.” It was a humbling moment, undercut by her comment that she has beds on the floor in “all of her houses.”

But to Climate Pledge Arena crowd witnessing the opening night of Nicks’ spring concert tour (tickets are available here), the slight 74-year-old on stage was hardly just Stevie. This was the gypsy. The bella donna. The witchy woman. The blonde beauty that launched a dozen Lindsay Buckingham songs and inspired Walter Egan’s 1978 smash, “Magnet and Steel.” The iconic figure who could send the crowd reeling simply by spinning around in a circle billowing out one of the many colorful shawls she sported throughout the evening in Seattle.

Nice as it was to imagine her quietly meditating on the floor, from the audience’s worshipful cheers and thoughtfully chosen outfits (leather and lace, velvet and denim, and lots of top hats), the woman on stage will always be more than just Stevie.

Nicks did a lot of spinning on Wednesday night. She reacted to the music ecstatically, moving about the stage nimbly in spite of an apparent broken toe that forced her to forgo her usual high heels for more sensible shoes. “Goodbye Di Fabrizio, hello Balenciaga,” she quipped. At points throughout the evening, especially during the psychedelic coda of a particularly intense rendition of Fleetwood Mac’s “Gold Dust Woman,” she appeared possessed, enraptured. At the end of the song, she stood at the back of the stage lit by a spotlight, arms akimbo, and looking like she might levitate off the stage at any moment.

She remained earthbound however, grounded by humanizing moments throughout the night. She slipped off stage regularly, likely to recharge in some fashion before a particularly demanding song. And her voice has been audibly tempered by decades of use and abuse. She can no longer hit the high notes in “Dreams,” but that’s what backup singers are for.

There was a sense that Nicks was returning to the stage to deal with some unfinished emotional business. For the most part, she let the gigantic video screen on stage do most of the talking on that front. Though she referenced the war in Ukraine when introducing the raging “Soldier’s Angel,” commenting that Zelensky’s forces were “fighting for all of us,” the power of the moment came from the clips and photos of the conflict that spooled out behind her. Photos of Prince were intercut with animated images of doves throughout the performance of fan favorite, “Edge of Seventeen.”

But two of her friends and collaborators seemed foremost on her mind. The presence of the late Tom Petty loomed large over the evening. Her band took the stage to the sound of “Runnin’ Down a Dream.” Her classic duet with Petty, “Stop Draggin’ My Heart Around,” was placed prominently in the early moments of the 90-minute set, as legendary guitarist Waddy Wachtel, a member of Nicks’ airtight touring band, handled the other vocal part. And to kick off the encore, she leaned into a poignant rendition of “Free Fallin’,” complete with photos of Nicks and Petty sharing stages and a microphones.

The emotion finally spilled over at the end of the night when Nicks started to choke up as she commented that this concert was one of her first times on stage since the death of her Fleetwood Mac bandmate, Christine McVie.

That moment — and the nods to her fallen comrades — went from far beyond a simple tribute. The compounded losses appeared to have given Nicks a stronger urge to make even a fleeting emotional connection with the people around her, be that her backing band or the thousands of ticketholders before her.

As the band settled into a taut groove, extending out the final minutes of “Edge of Seventeen,” Nicks made her way to each member of the group, holding their hand briefly or simply locking eyes. She then moved to the lip of the stage, waving and interacting with the audience in hopes of fostering that strange but powerful artist/fan relationship. Feeding them the hits and basking in their applause wasn’t nearly enough; Nicks sought to make as many people as she could feel seen and appreciated. Further proof that no matter what she may tell herself, she will never be just Stevie.

Nicks’ 2023 headlining tour continues through June, and she’s also joining Billy Joel for the “Two Icons, One Night” co-headlining trek. Tickets to all of her shows are available here.

Outside the Rain
Dreams (Fleetwood Mac cover)
If Anyone Falls
Stop Draggin’ My Heart Around
Fall from Grace
For What It’s Worth (Buffalo Springfield cover)
Gypsy (Fleetwood Mac cover)
Wild Heart
Bella Donna
Soldier’s Angel
Stand Back
I Sing for the Things
Gold Dust Woman (Fleetwood Mac cover)
Sara (Fleetwood Mac cover)
Edge of Seventeen
Free Fallin’ (Tom Petty cover)
Rhiannon (Fleetwood Mac cover)
Landslide (Fleetwood Mac cover)