Showing posts with label Fleetwood Mac Unleashed Tour Review - Copenhagen. Show all posts
Showing posts with label Fleetwood Mac Unleashed Tour Review - Copenhagen. Show all posts

Saturday, October 10, 2009

REVIEW: FLEETWOOD MAC Live in Copenhagen October 8, 2009

(Translated Review)

Purely criminal sleepy Fleetwood Mac
Parken, Copenhagen
Attendance: 18,000 (40 000).
Av Per Hägred

BEST: Tomorrow Danish head à la Zlatan here.
WORST: For a long time since the sound was so bad in the park.

One, two, three, Zzzzzzzz ...
Grandfather Fleetwood count in the band.
Goes like that.
Nobody will ever accuse this dinosaur to steal Ramones bang on rödbetan concept outright.

In short, the European premiere of "Unleashed" - the tour starts very sleepy. Disturbing sleepy. If not purely criminal sleepily. As if the whole concert is on the way to a couch near an afternoon nap. An impression is reinforced by the whole of the presentation where it is sent tracklist in advance with additional numbers and everything.

Fleetwood Mac is the way, like a bedroom farce. A piece like that where they open and close the doors of the party and the minute. Doors have been wide open in Fleetwood Mac, and members have been able to come and go and styles of music has slipped in and out a bit anyway. It has even been flattened between two continents. Only Mick Fleetwood is the original band that played British blues (better than anyone else), but now it's mostly about sun-ripened pop that never leave California.

The Fleetwood Mac that I love most are represented by a song: "Oh well". And - well, well - I do not think super guitarist Peter Green really like the slaughter of his masterpieces.

This is the group's first tour in five years, but they have not managed to scrape together enough songs to fill a new plate without digging into greatest-hits-sac.

Naturally, I dig out the old scratched LPs that really lies buried under layers of dust. Stevie Nicks dig out "Landslide" from the self-titled disc from 1975. As the beginnings of an acoustic party. Then it will be good. Unusual "Storm" is also deleted. On the whole, this is Stevie Nicks show now that Christine McVie with the right age have retired.

But there are bounties on the Megan Buckinhamns solo in "I'm so afraid."

Friday, October 09, 2009

REVIEW: FLEETWOOD MAC - Lydmaessigt MacVaerk - Copenhagen 2009

This Review of Copenhagen is from the Publication Ekstra Bladet. Again the translated version below.

Sonically MacVærk

Once again, a really excellent concert knackered by wretched acoustics

Fleetwood Mac is really a strange size. They began their career in the sixties as a traditional British blues band, but after several mutations ended up as one of the seventies most popular American names, to ennoble the radio-friendly pop music for a noble art form. Albums like 'Fleetwood Mac' (1975) and, not least 'Rumors' (1977) is still a pleasure to listen to today - so at once simple and sophisticated as it gets. And the double-LP (yes, it was then) 'Tusk' (1979) were the shows that they also had the courage to test the musical boundaries.

Golden years
And although the group that visited Denmark for the first time last night, has released a string of albums since the golden years, the last honest 'Say You Will' (2003), it is primarily these three slices, which is why that 18,000 young people not quite showed up for the European premiere tour of the park. And by Fleetwood Mac well. The entire 18 tracks from tonight's track list came from here. And it could certainly have come a potentially wonderful evening of nostalgia gracious cut out. The band (especially Stevie Nicks and Lindsey Buckingham in front) seemed like such a playful enough.

But alas, alas. Once again we were presented with acoustically cameras in the park that the tangent the scandalous. The combination of national arena hopeless acoustics and a seemingly tone-deaf sound engineer obliterated any nuance - yes, it sounded almost as if you had thrown a blanket over the speakers, and then turned up the bass. It is one of the worst I have ever been offered here.

What does extra distracting when we are talking about a band, where melody and elegant works is an essential part of the point. Shit and paper, because I had damned really enjoyed myself. And behind the roll of thunder, I am quite convinced that veterans delivered a very fine concert. But what helps when you can not hear it? It's music to hell.

As aforementioned greasy star distribution is not so much on the Fleetwood Mac's efforts - it was almost impossible to judge under the circumstances - but more disturbed by the return to office a few acoustics, which can be rock audience to find itself in.


Fleetwood Mac Live in Copenhagen - October 8, 2009

The printed edition of the Fleetwood Mac review in Politiken for their Copenhagen show, written by Erik Jensen, music editor appears to be slightly longer and a little different then the online version.

(Translated Version)

Drummer Mick Fleetwood was in the audience with a degree in something as old fashioned as a drum solo by Fleetwood Mac's grand demonstration of that old-fashioned musical virtues still are free.

Actually, it is unbelievable, they even said it several times throughout the evening that there has been so good and so long music out of an emotional disorder, infant up with drugs and booze in quantities far beyond the life-threatening. Livsførelsen takes into

consideration, it is also a minor miracle that four members of Fleetwood Mac from the Anglo-American group's heyday is on stage at sold-out stadiums around the world in these months. Plus he looks both vital out and play with tremendous commitment and energy.

That way Fleetwood Mac came to stand as a lively monument to everything that went well, and everything that went wrong in the 1960s so-called summer of love. Precisely in the year of the summer 1967, the band was formed as a regular blues band that later evolved towards a more airy, light and elegant melodic as members ended up in California and took the audio from the West Coast with refined harmonies up from among other Eagles. A musical museum of the endless and boundless love with two wrecked marriages in his luggage, degradation of community life and music as Redeemer for all sorts of plagues and pain.

In this context, it was a beautiful evening in survival name. A celebration of life, friendship and solidarity, sealed with a small, symbolic hug between the former spouses Stevie Nicks and Lindsay Buckingham after their duet of 'Sara'. But also a nostalgic and almost touching embrace of the music that dares to stand by itself and not be peppes up with anything to achieve his large audience.

No fancy effects. No modern hits. No other show or dance numbers. None lir. Just music. And a band that honestly stood by itself and its history and its chaos. Fleetwood Mac in the park and invited the kitsch adverts for airline Cimber Air on a journey back in time to when music on its own terms was enough to entertain 20,000 people. But in this case it was not just for fun. Start in a rather tight-lipped 'Monday Monday', it was clear that Fleetwood Mac represents the nostalgia of the purest sort, but does so without irony to distance himself and the grandiose past. Especially singer and guitarist Lindsay Buckingham performed with a vitality and commitment which he would convince every one of us that these beautiful melodic songs still mean something and not just golden genhør. There was also something to work with in the park.

First was the sound in the beginning a little muddy, and it took its time before it was mature audiences into the concert and began to show it enthusiasm, which in turn was top notch, as the concert turned into a pure celebration of the closing fireworks of the classics that everyone knows. Perhaps without knowing that it's Fleetwood Mac, who is behind them? For the band, despite its archetypal rock history with internal problems with drugs, booze and divorce in the two relationships, which represented the band in its heyday, has always been just as strange anonymous as his name.

After the little lamb came off the intensity of the concert with a successful and melodious acoustic chamber, where the sound was directed up and approached some of the best we have witnessed in the park with songs like 'Tusk'. This wonderful song was not to ruin the synthetic and in such a velkomponeret sound oddly misplaced 'fans' from the brought keyboardist, a deacon 'Sara' and 'Landslide' by Stevie Nicks dedicated to Copenhagen, which she obviously has spent some wonderful holiday week in.

Then relax Fleetwood Mac forces loose in a sand storm attack, led by energetic Lindsay Buckingham, whose rousing guitar reefs 'Oh Well' and 'Big Love' up by the roots and planted them on to the heavy rocks thorny rose bed. He was supported well by drummer Mick Fleetwood and John McVies cruelly heavy bass that is constantly hammering through all the sound barrier. Granted, that both Stevie Nicks and Lindsay Buckingham has lost little of the past lustrous vocal force. There is still juice in the old band that, ironically, really sealed the sensation of comparing the survival of divorce anthem 'Go Your Own Way', before the encores and an elongated anachronism in the form of Mick Fleetwood otherwise playful drum solo! The little goblin gråskæggede rose, knocked the dust off the drums and was a paradox at all with his back to watch the parade past the territory.

Drum Tampa Riet fell on fertile ground in the park, where the audience enthusiastically sang along to the inlaid African tribal dance before a powerful finale with 'World Turning' and 'Do not Stop'. What band did so while the game was not just good but great fun. On the way home we got a little prosecutor to remember to be good at each other from Mick Fleetwood, and so was the bridge back to the 60s, both built and open. No one fell into the water from the bridge, the Fleetwood Mac performed with dignity and honest commitment throughout.

REVIEWS: Fleetwood Mac Live in Copenhagen at Park Oct 8, 2009

(Translated Review)
Singer Stevie Nicks was due to poor acoustics are not the expected strong role. Therefore came counterparty Lindsey Buckingham to fill up too much.

Park: Fleetwood Mac
Thursday evening
By PETER Schollert

You could not criticize the four members of the famous Fleetwood Mac for not wanting to do their work.

Drummer Mick Fleetwood and bassist John McVie, who has been part of the Anglo-American group in over 40 years, worked conscientiously to provide a solid background in the events in more than two-hour concert.

Frontman Stevie Nicks and Lindsey Buckingham gave both indicated that they were happy to get started with a European tour in the park.

Stevie Nicks revealed even that she had spent several days in the Danish capital, impatient to tackle the first show, where she ended up dedicated "Landslide" to "Kaa legs HAG gene".

Lydfolk failed
Actually you would think that Nicks and Buckingham would complement each other optimally. They are after a long career still talented singers and different types of performers. The reality was, unfortunately, there was an imbalance in large parts of the show.

Lydfolk band that clearly had not prepared himself well enough on the concrete block park, must assume much of the blame.

For the Buckingham penetrated clear through from the beginning, it was deep in concert hard to get the optimal experience of Nicks' song talks, which is so crucial to the experience of the American group.

While Lindsey Buckingham is the cash, extroverted vocals, Nick is much more poetic and sometimes almost introverted singer.

And so it was good so not that many times found it difficult to hear what she sang.

Thus came her otherwise beautiful classics "Dreams," "Gypsy" and "Rhiannon" and "Sarah" not to leave the strongest impression, and so was the audience did not really necessary unlike many Lindsey Buckingham - and repeatedly Long - guitar solos.

Sweaty red shirt
Best, he was the head of the powerful collective performance "Tusk" and "one man show" Big Love ", where his fingers houses already hectic and with confidence on the guitar while the rest of the body boiled over, with his red jacket in leather jacket was even more wet with sweat.

The performance was not in doubt that it more than any other is the energy bundle Buckingham, who keeps in Fleetwood Mac.

Since the show would culminate with the monster hit "Go Your Own Way" could not help noticing that Buckingham was about to be worn. He seemed breathless and had to shout out words.

It would undoubtedly have benefited his vocal and durability if the fifth member from the commercially strongest period - 1975 to 1987 - had been on the scene.

But singer and songwriter Christine McVie, who with his dark voice gave Fleetwood Mac's melancholy expression and personal clout, has now a dozen years had opted out of the group.

Her role as the group's third full vocalist was missing, not least when the group finally came to grips with McVies largest Fleetwood Mac hit "Do not Stop."

What do you think?
Were you in the park last night to hear Fleetwood Mac, share your experience with readers.

How you saw the concert?
Do you agree with the notification?

Read Lots of Fan Responses at the bottom of the review.

(Translated Review)
Fleetwood Mac worked his way to victory
By Erik Jensen, music editor

Fleetwood Mac turned accomplished nostalgia for a straightforward victory after working a little hesitant start in the park.

No fancy effects. No modern hits. No other show or dance numbers. None lir. Just music.

And a band that honestly stood by himself and his history with explanations about how strange it really is that there has been so good music out of an 'emotional chaos'.

Fleetwood Mac in the park and invited the kitsch adverts for airline Cimber Air on a journey back in time to when music on its own terms was enough to entertain 20,000 people.

But in this case it was not just for fun.

Not just golden genhør

From the start in a rather tight-lipped 'Monday Monday', it was clear that Fleetwood Mac represents the nostalgia of the purest sort, but does so without irony to distance himself and the grandiose past.

The four members of the band, who together have been through a tough divorce and a heyday, and they invited guest musicians, all went to the task of standing in the interaction and energy.

Especially singer and guitarist Lindsay Buckingham performed with a vitality and commitment which he would convince every one of us that these beautiful melodic songs still mean something and not just golden genhør.

There was also something to work with in the park.

Fireworks festival to end
First was the sound in the beginning a little muddy, and it took its time before it was mature audiences into the concert and began to show it enthusiasm, which in turn was top notch, as the concert turned into a pure celebration of the closing fireworks of the classics that everyone knows.

Perhaps without knowing that it's Fleetwood Mac, who is behind them?

In the British-American band, despite an archetypal rock history with internal problems with drugs, booze and divorce in the two relationships, which represented the band in its heyday, always anonymous.

Almost as a kind lydtæppe from then just melody, melodic musical life, and profits were not enough.

It is still - at least for some, and if it is well to note delivered with a commitment, as happened Thursday evening.


More than a successful and melodious acoustic chamber, where the sound was directed up and approached some of the best we have witnessed in the park with songs like 'Sara', which ended with a hug between available spouses Stevie Nicks and Lindsay Buckingham.

Departed the ring despite it could not conceal the fact that both have lost a little of the vocal brilliance.

Why it was necessary to slide into a labor victory, which is largely came in the house thanks to riveting guitar playing from Buckingham, the example 'Oh Well' and 'Big Love' served solos so vital and noble that you would think he would defy age and wear.

Drummer Mick Fleetwood and bassist John Mc Vie closely followed suit, as there was eventually rocket through the 'Go Your Own Way' and extra tracks 'World Turning' and 'Do not Stop'.

As the concert nevertheless did. But it came with dignity, and while the going was still good even better.

REVIEW: Fleetwood Mac Live - Parken Stadium Copenhagen Oct 8, 2009

(Translated Version)



4 / 5 of the classic Fleetwood Mac rediscovered fairly formula on a musical eternity Maker

I sat up all night on 3 November 1992 to follow the culmination of the American presidential campaign, when Bill Clinton had won over Bush the Elder. Remember well how the neck hairs stood up as the result became clear, Bill, Hillary and Chelsea came up on the podium in front of governor house in Arkansas. This was done primarily to a thunderous applause - but the campaign song was now his to that mood, both in front of the podium and far away in Denmark, was high.

"Do not Stop" by Fleetwood Mac had for many years prior to the råkolde November morning served as my personal moral rygstød when work-life not just flaskede itself, as I had anticipated. The indomitable optimism of the invitation to never fail to focus on tomorrow's challenges spoke to the heart - both with myself and that is, with the majority of American voters.

The song is however in my view primarily as a motto for a rock group that has been a plethora of replacements, the corresponding many commercial ups and downs, marriages, divorces, drug addiction and many other things through. In addition, a sometimes profound disagreement about the group's musical expression, as from time to time has helped the team members could not endure the sight of each other.

In 2009, well 32 years after the name Fleetwood Mac stood to read on the cover of "Rumors", one of music history's most successful rock releases, there was again able to see most of the band's unconditional most successful line up at a Danish scene. The park was the setting for the opening of Fleetwood Mac's "Unleashed" tour.

Unsuitable acoustics

An expectant audience was opposed with great enthusiasm, but from the beginning, there was a degree of inertia - or tired - to track. Especially Stevie Nicks' voice in crunchy ballads was firmly mandsopdækket of an acoustics, which is decidedly inadequate to support Fleetwood Mac's usually melodious and well-produced musical expression. "The Chain" - the evening's first number from "Rumors" - at least in part a sad fate, in which the seat is on the right and left of the stage only to hear Stevie Nicks as a mumbling mess. On the other hand went Lindsey Buckingham guitar, drummer Mick Fleetwood and John McVies heavy bass clear through with a nervous, which drew an experience well above the regular sonic disaster.

Immediately after, Stevie Nicks chance again with "Dreams", which went a tooth for a very cozy and calculation of the interaction, as Lindsey Buckingham, immediately after talking about the band had met many times with long breaks - to reach the urge to to experience the thrill again. This time just to have fun, now was not to promote the new CD release ... yet. A few tracks later, it was Stevie Nicks, who remembered with nostalgia the times and music scene in San Francisco, where she once in a distant, distant past drawn into Fleetwood Mac. In the following version of "Gypsy" was unfortunately again as if her voice was wrapped in a Jysk stock of quilts. By contrast there came instantly more sharpness and savagery of Lindsey Buckingham "I Go Insane".

"Rumors" was presented by an album that despite the band's fierce disagreements about genesis was marked by humor and optimism. But the audience enthusiastically as if the mention of the album gave rise to was not completely redeemed at the next little forced version of "Second Hand News." In return, began the panels had been a covering of the scene now to move around and with a flickering images of movies and newspapers were the song's point, cut in inch thick boxes.

You would right up to the "Tusk" to experience the first signs that tonight's celebration was so small that unfold. Despite a little too synthetic fan section from the somewhat anonymous keyboard player in the background was "Tusk" as one of the evening's highlights, followed by "Sarah", where Stevie Nicks' song to herself, was audible.

Buckingham on the offensive

And then I love that the offensive was deployed. Lindsey Buckingham delivered an indisputable star and solo performance of "Big Love" which was stripped of superfluous nice for the rough, insistent guitar remained. Stevie Nicks scored immediately after some cheap points to dedicate "Landslide" to Copenhagen, where she had spent a week's time to prepare for the tour premiere, but the song was beautiful - and audible - as if lydfolkene finally had found the formula for Park lydhelvede adapt to the crisp elegance of Stevie Nicks' ballad-lectures.

Lindsey Buckingham tore another gem, "Never Going Back Again" out of the bag, and then it went otherwise than "Storm," "Say You Love Me" and "Gold Dust Woman" before the Lindsey Buckingham concert as provisional climax with an AC / DC'sk savagery bent in neon, there is still juice in "Oh Well".

The pace dropped a bit in "I'm So Afraid," which Lindsey had difficulty finding an escape route out of his guitar solo. On the other hand took Stevie Nicks nerve again in "Stand Back", who were looking forward to feast final redemption of the party and closing the set with divorce song "Go Your Own Way". A song which, paradoxically, was the evening's demonstration of the hopefully final brotherhood the quarrelsome band members in between.

The ring was connected

An enthusiastic audience fought in hardened to clap and pep band on stage again and was rewarded with an elegant and exuberant enthusiastic Mick Fleetwood, who as a bell clear anachronism went out in a drum solo with a character of African tribal dance, which excited audience sang along (!).

Before the excitement had completely subsided heard the first verses of the song, the motto of the Fleetwood Mac just can not avoid giving us out there in front. "Do not Stop" stood with the same clarity and energy as I remembered from hin November morning in 1992. Then the audience was sent home with a beautiful and touching version of "Silver Springs" and with Mick Fleetwood and well-meant anything but sticky admonitions to generally be good to each other.

The evening offered by natural causes is not very new, but the ring was completed, the wear resistance of Fleetwood Mac's extensive backlist conviction and sent the audience home with a quiet hope that the band can regain nerve in the studio and come out with new music bar where "Rumors "to size.

On the way home I could not avoid a stationary cutting by Christine McVie, whose absence was the reason why the songs feel like "Songbird" and "Over And Over" was not found on tonight's track list. But it was after all, a blot on the evening that was thoroughly confounded by the 4 remaining band members who, despite adversity, downs and past consumption of white powder in irregular evidence had set out to rediscover the formula of a musical perpetual machine.

Translated Version with lots of comments from fans

Thursday, October 08, 2009


Fleetwood Mac Live at the Parken Stadium
Copenhagen October 8, 2009
Pete Paphides
4/5 Stars

Fleetwood Mac hardly need to be made aware of the fact, but hindsight can have a way of teasing you into your dotage. Thirty-three years after the group’s classic line-up released the 20 million-selling album Rumours, it has long become clear that — contrary to what arguably its most well-known song would have you think — going your own way is somewhat more easily said than done.

As Fleetwood Mac’s Unleashed tour finally reached Europe, it took Lindsey Buckingham all of three songs to address the “fairly convoluted emotional history” of the group who knew no equals when it came to alchemising their complicated hotel room arrangements into FM pop gold.

Buckingham and his ex-partner Stevie Nicks have since sporadically ventured into solo territory, but even in a characterless hangar on the outskirts of Copenhagen, it became clear that the on-stage dynamic between Buckingham and Nicks still exerts a fascinating hold.

With no new studio album to promote, a ruddy, red-shirted Buckingham suggested that band and audience were bound by no greater motive than to “have fun”. In the case of 61-year-old Nicks — who delivered star turns like Gypsy and Dreams with all the wistful gauziness you remembered from their recorded counterparts — that was easy enough to believe.

On a thrilling sprint through The Chain, drummer Mick Fleetwood showed a level of facial commitment that looked more like something out of the Jim Henson workshop than a rock show.

However, anyone who has seen Buckingham perform will know that fun, in the straightforward sense, isn’t a concept you would apply to the 60-year-old’s stage manner. Far from being a problem, however, it accounted for many of the evening’s most gripping spectacles. On the tribal paean to paranoia that was 1979’s Tusk, he was a picture of demonic intent. Left alone altogether to perform the group’s 1987 hit Big Love, Buckingham was revelatory. By the time he navigated the song from an intricate folk-picking whisper to a finger-shredding climax, all residual chatter from the back of the hall had dissipated.

Lest we had dared forget, of course, Fleetwood Mac’s success in the years predating Buckingham and Nicks was partly predicated on the brilliance of their troubled guitarist Peter Green.

Paying tribute to his predecessor, Buckingham turned his attention to Green’s own pièce de résistance Oh Well — while, behind him, Fleetwood and John McVie locked effortlessly into the song’s piledriving blues.

If Buckingham, on several occasions, looked close to stealing the show, it was to Nicks’s credit that she seemed happy to allow him. Even when occupying the spotlight for Sara, the female singer — dressed in figure-hugging black — left her microphone and ambled over to Buckingham. As the song finished, she hugged him and, sweetly, he simply allowed his head to rest on her shoulder. Time may have healed old wounds, but — in the case of certain songs — it made little difference to the pride Fleetwood Mac took in showing them off.

Ceremonially donning a top hat, Nicks assumed the position for Go Your Own Way. As ever, her performance was an object lesson in poise and control, while Buckingham’s was about the absence of those qualities. Minutes later, hindsight issued another tease — a valedictory Don’t Stop, complete with the exhortation, “Yesterday’s gone, yesterday’s gone.” Few noticed, less still cared.

Tour begins Glasgow SECC, October 22


Katastrofelyd i Parken

Premiereaftenen på Fleetwood Macs Europa-turné blev skændet af de horrible lydforhold i Parken. Men hvor var Lindsey Buckingham dog fantastisk.

Af Thomas Søie Hansen
Torsdag den 8. oktober 2009

Med blot to dage til den vigtigste fodboldkamp i dette årtusinde, måtte Morten Olsen og hans 11 udvalgte overlade Parkens græstæppe til et af populærmusikkens mere kulørte kapitler, nemlig Fleetwood Mac.

Dannet i 1967 bluesrockens tegn, hædret og hyldet i niveau med datidens Stones med en primær sangskriver- og guitarist, som forsvandt fra både sig selv og bandet i en rus af syretrips. For både otte- ti- og tolv år senere at vælte om ikke verden, så i hvert fald hitlisterne med albums bestående af lige dele softrock og perfektioneret voksenpop. Alene bandets ’77 skive ”Rumours”, som blevet lavet på nid, hævn, psykisk terror og sorg over to ødelagte ægteskaber mellem bandmedlemmerne og på et Mount Everest-højt bjerg af kokain, har rundet et salgstal på 40 millioner eksemplarer.

Den slags er rockhistorie af den helt rigtige slags.

Continue To Full Danish Review

Translated Version:

Katastrofelyd in the Park

Premier evening on Fleetwood Mac's European tour was desecrated by the horrible sound conditions in the park. But where was Lindsey Buckingham, however, fantastic.

By Thomas Søie Hansen
Thursday 8 October 2009

With just two days to the most important football game in this millennium, it had Morten Olsen and his 11 chosen to leave the park græstæppe to one of popular music's more colorful chapters: Fleetwood Mac.

Formed in 1967, Blue Rock character, honored and celebrated at the level of contemporary Stones with a primary songwriter and guitarist, who disappeared from both himself and the band in an intoxicated syretrips. For both otte-ti-and twelve years later to overthrow the world does not, then at least the charts with albums consisting of equal parts of soft rock and perfected voksenpop. Only the band's '77 disc "Rumors" as the centerpiece of spit, revenge, psychological terror and grief of two broken marriages between gang members and at a Mount Everest-high mountain of cocaine, has a rounded sales figures of 40 million copies.

It is kind of rock history of the right kind.

Pure pleasure
Why Fleetwood Mac, which has been dissolved and restored countless times and constellations, all touring, let alone why they have chosen to open the European leg in Copenhagen, is not known with certainty - they have no new album to sell, there would still be a little cash in various accounts, so it can probably only be merry, which operates the plant.

Desire for the meeting with the idols were painted directly into the faces of the approximately 19,000 peer audience in front of the stage, it is now silver Mick Fleetwood, John McVie and they still look fantastic, Steve Nicks and Lindsey Buckingham - the four remaining members of what one might call the second edition of Fleetwood Mac, where the London meetings, San Francisco and creates many magical moments in time cubes and tones. The audience had no means forgotten them, even if it's 22 years ago, wrote to Buckingham Fleetwood Mac's last great song.

In the foreground rays both Steve Nicks and Lindsey Buckingham, the former couple, singing signatories. They do indeed. Both had immediate contact with the audience. Buckingham, who looks like the same rock star he was for over 30 years ago, said after only a few tracks on the band's mildly turbulent history of psychological ups and downs even more, which he more or less promises a new album around the corner.

Later remembers Nicks at times in San Francisco in the sixties with the city's final phenomenal music scene as the best time in his life. Hujer audience, applauding and nodding in assent to the call to have a wonderful, festive evening.

The sound destroys everything
But it is a difficult, if not impossible mission, the sound is horrible, the worst I have ever heard in the park, only Fleetwood drums work in the soundstage.

Vowels, and Buckingham McVies bass guitars smashing and smashing in the soundstage. One gets the urge to cry, the melody is just as important a part of Fleetwod Mac's identity. Only occasionally can guess the indisputable delicate melodies, the songs are built, but the instruments within the scope and calling out, is almost impossible to hear. The nuances are there, away.

Especially is Stevie Nicks' usually so poetic and sensitive vocals beaten beyond recognition, the annoying noise.

Maybe play Fleetwood Mac a good concert underneath it all, presumably they can still, it can at least hope, but in fact it is not known.

Beautiful Buckingham
First, far down in the set begins park to give way when Lindsey Buckingham alone with his acoustic guitar, plays and sings "Big Love" which was the point.

Here he drowned discord with a crazy intense gripping appearance. Wow, 110 percent pure emotion. Audiences respond adequately to the evening's climax.

Similarly, acoustic but otherwise gently while continuing Buckingham Stevie Ncks comes in and sings "Landslide", together they sing then "Never Going Back Again". Only two, really well, mostly him, Buckingham is entirely discretionary.

Even when it is noisy and muddy, cut his intensity and desire through the dirt and makes "Oh Well" for tonight's other big moment. And the evocative "I'm So Affraid" to a third. Buckingham still has something at stake, far more than you can see with the naked eye and hear his vocals and solos.

After nearly two hours, with the snarling divorce song "Go Your Own Way" (a worldwide hit, long before the Internet age), sausage in the end, yesterday Fleetwood Mac from the stage to deafening cheers. It has not abated since the protagonists three minutes later again entrer the end of the park, where Jon Dahl will score twice on Saturday against the Swedes!

The mood in here is high, even under Mick Fleetwood too long and bøvede drum solo (eruption), and another pophit, this time "Do not Stop", but it is no less euphoric. Chance to reach up there, the park has long acoustically deprived Fleetwood Mac and the audience. Practice.