Stevie Nicks rocks with relentless passion, colorful personality and punching-above-her-weight power

Review: Stevie Nicks dances, entrances and chats up a thrilled St. Paul audience

The Fleetwood Mac goddess brought passion, personality and power to Grand Casino Arena on Wednesday.

by Jon Bream

The Minnesota Star Tribune

Photo: Joe Lemke

Legend and icon are such overused terms that they’ve become almost meaningless.

Goddess. Now that’s the appropriate word for Stevie Nicks.

Not just because she became the first woman to be inducted twice into the Rock & Roll Hall of Fame (with Fleetwood Mac and as a solo artist). Not just because she’s the oldest woman, at 77, to headline on the arena circuit. Not just because she’s become beloved by multiple generations thanks to recent appearances on TV’s “American Horror Story,” cosigns from Taylor Swift and Harry Styles and a viral TikTok of a man skateboarding to the Nicks-sung Fleetwood Mac oldie “Dreams” that ignited a surge in streams and sales during the pandemic.

It’s because Nicks rocks with relentless passion, colorful personality and punching-above-her-weight power as she demonstrated Wednesday night at Grand Casino Arena in St. Paul. She showed an ability to touch hearts and minds — and feet. Yes, you can dance to Nicks’ music even if you’re not draped in a shawl and twirling like she does.

Her dancing during the opening “Not Fade Away,” “Stand Back” and “Gold Dust Woman” was a crowd-tantalizing treat, though she may not be as agile as she once was. Remember, she fractured her shoulder this summer, forcing the postponement of this concert that was originally scheduled for August.

It was a thoroughly satisfying, late-in-career arena performance, as the expected mystical and magical combined with some down-to-earth chattiness. Moreover, Nicks’ seductive husky siren of a voice was in fine form, for the most part, and she remarkably hit her high notes on Tom Petty’s “Free Fallin’” and “Gold Dust Woman.”

The otherworldly hippie with long blond hair, an endless supply of shawls and beads draped on her microphone stand is revered by women, who made up the majority of the 14,000 fans in St. Paul, for being a survivor. She survived the romantic traumas of Fleetwood Mac and facing her overbearing ex, Lindsey Buckingham, night after night onstage. And she knows Fleetwood Mac is history after the 2022 death of her Mac soul sister Christine McVie.

Nicks pressed on, touring, writing poetry for Swift’s 2024 “The Tortured Poets Department” album, recording with Gorillaz and Dolly Parton and releasing last year the most politicized piece in her catalog, “The Lighthouse,” a spooky single in reaction to the repeal of the Roe v. Wade abortion decision

“Don’t let them take your power,” Nicks implored Wednesday during the dark, haunting stomp of a tune. Afterward, she declared: “It’s an anthem. It’s yours.”

Besides featuring that political detour without any between-song preaching, this Nicks concert was very different from her two most recent performances in the Twin Cities. Two years ago, she was paired with fellow Rock Hall of Famer Billy Joel at U.S. Bank Stadium. Nine years ago, she teamed with the Hall of Fame Pretenders, led by Chrissie Hynde, at Xcel Energy Center.

This time, Nicks plucked an unknown rural Minnesota singer/songwriter, Anna Graves, to open. Apparently, Graves’ booking agent’s aunt is a friend of Nicks and introduced her to Graves’ music. And the 28-year-old was courageous enough to perform solo in a hockey arena. Saying she graduated from Northfield High and lives in Webster, Minn., she was earnest and engaging, with a clarion voice and some promising songs.

With an obscure opening act, the evening didn’t exactly have the gravitas of Nicks’ two most recent Twin Cities performances. No one was complaining as she delivered 14 songs in 100 minutes.

The highlights were many, including the electrifying “Edge of Seventeen,” Fleetwood Mac’s closing acoustic “Landslide” (dedicated to her late husband Kim Anderson from Minnesota), the captivating “The Lighthouse” and “Stand Back,” which started with the buzzy synthesizer funk of the Twin Cities’ own Ricky Peterson and kept building in tension as Nicks and her eight-person band rocked out.

In her seventh solo Twin Cities appearance, Nicks was chatty, as is her wont in solo shows.

She shared a backstory about producer Jimmy Iovine telling her she needed a single after they’d finished recording her debut solo album in 1981. He was also producing Tom Petty & the Heartbreakers at the time, and he asked Petty if he could try a duet with Nicks on Petty’s “Stop Draggin’ My Heart Around.”

“It was just enchantment,” she said of collaborating with Petty.

On Wednesday, veteran Los Angeles guitarist Waddy Wachtel sang Petty’s part on “Stop Draggin’” as photos of Petty, Bob Dylan, Prince, Joni Mitchell, Jimi Hendrix and Janis Joplin appeared on a giant video wall behind the stage. For part of the night, Wachtel served as Nicks’ key foil in much the same way Buckingham was in Fleetwood Mac.

Nicks didn’t go into detail about the collaborator on “Stand Back,” her 1983 hit. But the story goes Nicks heard Prince’s “Little Red Corvette” on the radio while driving to her honeymoon suite, and she started humming along to the melody. She recorded a demo that night and called Prince to tell him about it. A few days later, he came to the studio and played synthesizers on the record without receiving credit, though he did get a royalty split.

Nicks didn’t say anything about Prince on Wednesday. Goddesses don’t need to talk about gods.

Stevie Nicks Nicks enchanted St. Paul crowd of about 14,000

An ageless Stevie Nicks charms Grand Casino Arena crowd

Now 77, the two-time Rock and Roll Hall of Famer was as bewitching as ever

By ROSS RAIHALA
TwinCities.com

Photo: Joe Lemke 

Stevie Nicks busted one of her white wings this summer, forcing the twirling songstress to postpone a number of shows, including an August stop at the St. Paul hockey arena then known as Xcel Energy Center.

Nicks absolutely enchanted the crowd of about 14,000 at her make-good gig Wednesday night at Grand Casino Arena. And her once-fractured shoulder wasn’t apparent in the slightest during her delightful, spirited performance.

Now 77, Nicks certainly moves more slowly than she once did, but she’s still got every bit of that larger-than-life charisma that’s kept her star burning for more than five decades now. It’s no wonder she was the first woman to be inducted into the Rock and Roll Hall of Fame twice.

In interviews, Nicks often speaks about focusing her energy on doing things she finds fun, which as one would imagine rarely include her former life and musical partner Lindsey Buckingham. After seeing her sixth local show of the past 20 years, it was clear performing live is one of those things that brings her joy. In between her solo hits and Fleetwood Mac classics, Nicks smiled and chatted with the audience, sharing stories about her songs and her life. And, yup, she really did seem to be having fun.

She opened with a rollicking take on Buddy Holly’s “Not Fade Away,” a song that was released when she was 9 years old. It must be a favorite of hers, as she recorded a version of it for a 2011 Holly tribute album. She’s never performed it live until this tour, though. Maybe she relates to its title, as she’s showing no signs of fading away herself.

From there, she explored her solo career, turning in a fantastic take on “If Anyone Falls” and performing “Wild Heart” and “Bella Donna” as a medley, another first for Nicks on her current run of dates. (After wrapping “Bella Donna,” she told the crowd the cape draped over her shoulders was the same one she wore on the back cover of her 1981 solo debut album of the same name.)

Because she’s got so many gems in her catalog, she casually dropped a goosebump-inducing version of Fleetwood Mac’s “Dreams” in as the fourth song of the show. Her voice has grown huskier with age, not a bad thing at all, and remains strong. She also knows where she needs a little help and employed a pair of backup singers to beef up some of the numbers.

Nicks’ band extended the instrumental introductions to some songs like “Edge of Seventeen” and “Stand Back” to give her time to slip backstage and change into a new shawl. One of the few weak points of the evening arrived in the latter, as someone — maybe her longtime musical director Waddy Wachtel? — made the decision to downplay the song’s distinctive synthesizer hook in favor of a muddier, guitar-heavy take. (Prince, by the way, played it on the original recording.)

Given her age, it’s not too surprising she’s drawing such strong crowds these days. Surely, some of her fans are worried this might be their last chance to catch Nicks live.

Nicks clearly realizes that speculation is out there. At the close of her main set, she told the audience with a steely resolve: “See you next time. And there will be a next time. Hope to see you here!”

Coming Soon Stevie Nicks Rock a Little 180g 45RPM 2LP Mobile Fidelity Release

Stevie Nicks Sings for the Things Money Can’t Buy on Rock a Little: Platinum Album Features Extravagant Production, Includes the Hits “Talk to Me” and “I Can’t Wait”

Mobile Fidelity’s 180g 45RPM 2LP Set Presents the 1985 Record in Audiophile Sound for the First Time: Strictly Limited to 4,000 Numbered Copies, 40th Anniversary Reissue Plays with Exceptional Balance and Clarity 

1/4” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe.

Pre-order - Mobile Fidelity

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums  —  to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning. 

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth. 

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments. 

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism. 

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy. 

So, rock a little, yes, but dare to feel even more. 

TRACKLIST

Side One:

1. I Can’t Wait
2. Rock a Little (Go Ahead Lily)

Side Two:

1. Sister Honey
2. I Sing for the Things
3. Imperial Hotel

Side Three:Some Become Strangers

1. Talk to Me
2. The Nightmare

Side Four:

1. If I Were You
2. No Spoken Word
3. Has Anyone Ever Written Anything for You

Also Available to pre-order

Mobile Fidelity’s Hybrid SACD

Mobile Fidelity’s Hybrid SACD Presents the 1985 Record in Audiophile Sound: Strictly Limited to 3,000 Numbered Copies, 40th Anniversary Reissue Plays with Exceptional Balance and Clarity 

Mastered at MoFi’s California studio, strictly limited to 3,000 numbered copies, and housed in mini-LP-style gatefold packaging, Mobile Fidelity’s hybrid SACD presents Rock a Little in audiophile sound for its 40th anniversary.

Pre-order - Mobile Fidelity

Governor Lamont Proclaims Oct 25th Stevie Nicks Day in Connecticut

This is pretty cool!  Governor Lamont of Connecticut has proclaimed October 25, 2025 Stevie Nicks Day in the state.  Stevie is the first live performer tonight in the newly refurbished People'sBank Arena in Hartford, CT. 

State of Connecticut

By His Excellency Ned Lamont, Governor: an 

Official Statement

WHEREAS, Stevie Nicks stands as one of the most influential figures in music history. reshaping the landscape of rock and roll through her unmistakable voice, poetic songwriting, and mystical persona; and

WHEREAS, as both a member of Fleetwood Mac and a groundbreaking solo artist, she has inspired generations through timeless songs such as "Landslide," "Rhiannon," "Dreams," and "Edge of Seventeen," blending vulnerability and strength in equal measure; and

WHEREAS, Stevie Nicks broke barriers for women in a historically male-dominated industry, asserting creative authority, defining her own image, and empowering others to follow suit through her fearless individuality and visionary presence; and

WHEREAS, her iconic visual style — characterized by flowing shawls, velvet, lace, and boots - has become emblematic of rock mysticism, influencing fashion, media, and pop culture across decades; and

WHEREAS, she is the first woman in history to be inducted twice into the Rock and Roll Hall of Fame - as a member of Fleetwood Mac and as a solo artist - and continues to be celebrated for her contributions to music and songwriting through numerous awards and accolades; and

WHEREAS, beyond the stage, Stevie Nicks has given back through extensive philanthropic work, including founding the Soldier's Angel Foundation and supporting organizations dedicated to health, hope, music education, and veteran care; and

WHEREAS, Stevie Nicks will make history once again by headlining the inaugural concert at the newly reopened and revitalized People'sBank Arena in Hartford - formerly the XL Center - marking a new era for the venue, the arts, and the capital city of Connecticut; now

THEREFORE, 1, Ned Lamont, Governor of the State of Connecticut, do hereby officially proclaim October 25, 2025, as

STEVIE NICKS DAY 

in the State of Connecticut.

Stevie Nicks Bella Donna Barbie

Stevie Nicks' New Barbie Is 'Just Like the White-Winged Dove.' Naturally, She's Obsessed

It was only right for the rock icon to follow up her 'Rumours'-era Barbie with a doll inspired by her first solo record, she tells PEOPLE

By Bailey Richards

People

It’s Stevie Nicks season.

Some honor the Fleetwood Mac frontwoman year-round, but there’s no use arguing: When the first few leaves flutter to the ground and the itch for a Practical Magic rewatch sets in, it’s officially her time. This year, she’s celebrating with a very special announcement.

After the success of her first Barbie Signature doll, which sold out twice, the singer-songwriter, 77, and Mattel are releasing a second miniature Nicks. For the rock icon — who has had a long year, from evacuating her home during the L.A. wildfires to suffering a fracture and postponing several shows — it's joyful news.

“I'm just thrilled. It's the only good thing since I broke my shoulder,” Nicks tells PEOPLE. As she returns to the stage for her fall tour, the star adds, she is doing her very "best," even though “a broken shoulder is way more than I ever could possibly imagine.”

The “Silver Springs” hitmaker lovingly refers to her first mini-me, which released back in 2023, as both “Stevie Barbie” and “Rumours Barbie.” The tambourine-wielding doll wears a witchy, all-black look lifted from the cover of Fleetwood Mac’s 1977 masterwork.

The new Barbie is inspired by a version of Nicks that emerged four years after Rumours, when, for the very first time, she went her own way. In 1981, the rocker released her first solo record Bella Donna, which is best known for its third single — and one of the most important tracks in the rock canon — “Edge of Seventeen.”

It’s one of the biggest moments in Nicks' legendary career, and one she was “pretty adamant” about seeing in doll form after the success of her Rumours-inspired figure — one of the most popular Barbie Signature dolls of all time, according to Mattel.

“It's almost like you almost kind of had to do that,” Nicks tells PEOPLE. “I mean, of course, they didn't have to do that for me, but I explained, ‘It's like they go hand in hand, and then they blend in and out of each other for the rest of my life.’ ”

“They're a story of my whole musical life,” she says of the dolls. “If I have a legacy, if I have ‘What do I leave behind that is sacred?’ I think that it'd be Barbie. Rumours and Bella Donna Barbie are a huge part of what I leave behind when I go on to the next planet.”

“I'd like to have every outfit that I've ever had made into a Barbie doll,” adds the hitmaker — but “these are the two best ones.”

Bella Donna Barbie, as Nicks calls her, wears a silky frock with angel sleeves, slouchy white boots and a towering top hat, bridging the gap between the singer’s free-spirited ‘70s style and early-‘80s glamour.

“The first Barbie is all in her black. And then I purposely, in my life, when I did the Bella Donna cover, I said, ‘No. I have to wear the exact opposite. I have to wear all-white.’ … and then I eventually, of course, went back to black,” Nicks recalls. But, she clarifies, both dolls are necessary to capture the full picture of her life: "They had to be standing there together.”

The duo of mini Nickses is “the ebony and ivory,” says the singer. Or, to quote her and Don Henley’s iconic Bella Donna duet, the leather and lace.

“They both have their full-on different vibes,” the singer says. But they are both unequivocally Stevie.

During the era represented by her Rumours Barbie, Nicks remembers, “I had no idea that I'd ever make a solo record. But when I went to Bella Donna, I went, ‘Bella Donna cannot be anything like Rumours. It has to be a completely different sound, with my two girl singers. It has to be Crosby, Stills & Nash. It has to be really rock and roll. It has to be Tom Petty.”

“And I did it,” she adds, a feat immortalized by both the record and the plastic likeness it inspired.

“‘Just like the white-winged dove, sings a song, sounds like she's singing.’ It's like that,” Nicks says. “That is who Bella Donna Barbie is.”

The dolls are a patchwork of Nicks' past, she previously explained to PEOPLE, but they are also helping the icon usher in her next era. She keeps them by her side in the studio as she works on her forthcoming album. “I pretty much take them everywhere,” she says, "so I can have the memory of them everywhere that I go."

The hitmaker (and longtime baby doll collector) even has plans to publish a book of photographs of the dolls sometime soon, she tells PEOPLE. Nicks believes the Barbies are "alive," she says, "so it's truly like they're alive, amazing puppets that come to life for me.”

“I know it sounds like I'm a fanatic,” adds Nicks. “I've turned into a crazy lady, but I don't care because it's brought so much joy to me.”

She shares a similar joy with fans on tour as, over 40 years after their release, she continues to perform Bella Donna tracks like “Edge of Seventeen,” “Outside the Rain” and, of course, the title track.

Teasing her tour setlist, which she’s already tweaked since returning to the stage post-injury, Nicks says, “There's a lot of music. There's my new music. There's Fleetwood Mac music. There's Bella Donna music.” Plus, she hints, fans might just hear a track from her and Lindsey Buckingham’s newly rereleased, pre-Fleetwood Mac record, Buckingham Nicks.

“There's a lot," adds Nicks, "and I feel like it's all fallen into place exactly the way that the spirits meant for it to fall into place.”

Stevie Nicks Bella Donna Barbie Doll:

Barbie makes magic with Stevie Nicks, the Queen of Rock 'n Roll. Barbie celebrates the trailblazer who's captivated the world with her chart-topping songs, prolific songwriting, and spellbinding aura. From Fleetwood Mac to solo stardom, Stevie Nicks shines on. Just like a white-winged dove, this Stevie Nicks Barbie doll looks divine in her flowy dress inspired by the cover of Bella Donna, her first solo album in 1981 that soared to multiplatinum status. This songstress grooves on stage with her mic in hand, iconic top hat, high-heeled boots, and beaded earrings peeking out from her signature long, wavy blonde hair. With a sparkle in her big brown eyes, this Stevie Nicks doll -- the second in the Barbie Signature line -- embodies the indomitable spirit of the legend who made music history with her raw honesty, gentle strength, and wild heart.

This doll is a part of the Black Label Collection.

 

 

 

  

 

Stevie Nicks Brings Magic and Mystery to Sacramento

 

 

Sacramento, California

Golden 1 Center – October 4, 2025

Stevie Nicks returned to the stage in Sacramento Saturday night, performing at the Golden 1 Center in what became the second stop of her rescheduled fall tour. The show was originally meant to be part of her co-headlining run with Billy Joel in Santa Clara, but after Joel’s health issues forced that date’s cancellation, Sacramento inherited the coveted slot and fans couldn’t have been happier.

The setlist, nearly identical to the tour opener in Portland earlier this week, delivered a sweeping journey through Nicks’ five-decade career, blending Fleetwood Mac staples with solo treasures and a few surprises. The only notable omission from the Portland debut was “Angel” the deep cut from Tusk that she’d dusted off for the first time since 1983.

Opening with a burst of nostalgia, Nicks launched into “Not Fade Away,” the Buddy Holly classic she covered for a tribute album years ago. The song set an upbeat tone and instantly transported the audience into her vintage rock-and-roll universe. From there, she eased into the shimmering “If Anyone Falls,” a track whose ethereal synths and emotional vulnerability still resonate just as powerfully as they did in 1983.

Midway through the night, Nicks shifted the tone with “The Lighthouse,” her most recent single and one of the most powerful songs in her modern catalog. Described by Nicks as a protest song and a woman’s rights anthem, it was written in the wake of the U.S. Supreme Court’s decision to overturn Roe v. Wade. Haunting and resolute, the song carried a message of defiance and compassion a reminder that her voice, both literally and symbolically, still stands as a beacon of strength for women navigating an uncertain world.

Fleetwood Mac fans found plenty to celebrate as well. The medley of “Outside the Rain” and “Dreams” glided beautifully into “Stop Draggin’ My Heart Around,” a song forever linked to her friendship and creative partnership with Tom Petty. Later, the double-shot of “Wild Heart” and “Bella Donna” felt like opening a time capsule from the early 1980s two songs that defined her as a solo icon.

By the time she hit “Stand Back,” the arena turned electric, the synth-heavy anthem igniting a full-on dance floor energy. “Free Fallin’” followed her tender tribute to Petty before “Gold Dust Woman” plunged the crowd into a hypnotic, gold-lit haze.

The main set closed with “Edge of Seventeen,” that timeless white-winged rock epic, its driving guitar riff shaking the rafters. But it was the encore that brought the night home. “Rhiannon” shimmered with its usual mystic energy, and “Landslide” stripped-down, emotional, and deeply personal silenced the crowd in reverence.

Before leaving the stage, Nicks took a moment to speak directly to the audience. With genuine warmth, she thanked the crowd for coming and offered a heartfelt message: “Take care of yourselves, it’s a scary world out there. Be strong. You can do it. Save the world.” It was a fitting close from an artist who has always balanced magic with meaning, a reminder that behind the shawls, poetry, and moonlight, Stevie Nicks is still guiding her audience home.

Stevie Nicks Returns to the Stage in Portland with Surprising Setlist Shifts

After a year marked by setbacks, including cancelled co-headlining dates with Billy Joel and a shoulder injury that forced her to postpone her fall run, Stevie Nicks triumphantly launched her North American tour on October 1st in Portland, Oregon.

The wait proved worthwhile. Nicks, now 77, looked radiant and sounded as hauntingly powerful as ever. But what truly caught fans and critics off guard were the unexpected adjustments to her setlist—small in number, but significant enough to spark headlines.

She opened the night with a curveball: a rollicking take on “Not Fade Away,” the Buddy Holly classic she once recorded for a tribute album, but had never used to kick off a tour. Even more stunning was the resurrection of “Angel,” a deep cut from Fleetwood Mac’s 1979 Tusk LP, absent from her live repertoire since the Wild Heart Tour in 1983.

Equally notable was the live debut of “The Lighthouse,” her latest single released last fall, marking the first time audiences heard the new track woven into her set.

For longtime followers, these changes underscore Nicks’ willingness to keep her live show evolving, balancing iconic hits with rarities and fresh material. If Portland is any indication, this tour won’t just be another victory lap—it will be a journey through the many eras of a voice that helped define rock history.

Check out highlights from the performance in the videos below.

Full setlist:

1. Not Fade Away
2. If Anyone Falls
3. Outside the Rain
4. Dreams
5. Stop Draggin My Heart Around
6. The Lighthouse
7. Gypsy
8. The Wild Heart / Bella Donna
9. Stand Back
10. Free Fallin
11. Gold Dust Woman
12. Angel
13. Edge Of Seventeen
14. Rhiannon
15. Landslide

Coming Soon Limited Edition Stevie Nicks Bella Donna Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set

Stevie Nicks Bella Donna

(45RPM 2LP Box Set) $125.00

Pre-Order
Availability TBA

Stevie Nicks Breaks Out as a Solo Force on Bella Donna: 1981 Album Features Extraordinary Vocal Performances and Four Hits, Including “Edge of Seventeen” and “Stop Draggin’ My Heart Around”

Experience the Record’s Spontaneous Feel and Raw Emotions in Definitive Sound on Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set: Strictly Limited to 4,000 Numbered Copies

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

Stevie Nicks had much to prove when she stepped out on her own for the first time and crafted Bella Donna. Despite attaining superstar success with Fleetwood Mac, the singer often took a back seat to the band’s other members — and, due to the group’s approach, faced limitations in getting her songs on an album. Along with Nicks’ status as a significant artistic force in her own right, that all changed with the timeless Bella Donna.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 4,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of the 1981 benchmark plays with superb transparency, dynamics, and detail. Benefitting from extraordinary groove definition, an ultra-low noise floor, and extremely quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and presence.

Spotlighting the striking visual elements that further make Bella Donna immediately identifiable, the gorgeous presentation of this UD1S version confirms the reissue's definitive standing. Housed in a deluxe slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the celebrated cover art depicting a gowned Nicks staring at the camera, holding a perched cockatoo, and standing beside a tambourine adorned with roses. The hypnotic color scheme — dark blues, deep violets, creamy whites, golden yellows — mirrors the spirit, mysticism, strength, and contrasts of the music within.

Teaming with simpatico producer Jimmy Iovine and fellow rock ’n’ roll icon Tom Petty, Nicks asserted control over the creative process for the first time in her career. She allowed the material to develop spontaneously — a characteristic you readily experience via the natural, balanced sonics and raw emotionalism. Nicks’ organic methods owed to both her desire to collaborate with the studio musicians as well as necessity.

Because the personnel who played on the record had demanding schedules, no one had time to sit around and get take after take in pursuit of perfectionist goals or technical aims. The warm, extended, tonally rich soundscapes you hear — instrumentation that feels live, vocals that float and yet sound altogether innate, synergy between the players that places them in the same room together — remain as integral to Bella Donna as its personalized songs.

About those songs. Nicks recorded 16 tracks and picked from material she wrote as far back as a decade prior. Though she deemed Bella Donna a “sort of chronology of [her] life,” she felt proudest about its songs’ ability to speak to issues to which everyone could relate. Her intuition proved prophetic. The public embraced her solo debut en masse, sending the album to No. 1 on its way to selling more than four million copies — numbers that make Bella Donna more successful in the U.S. than any Fleetwood Mac effort apart from Rumours.

The enthusiastic commercial and critical reception was well deserved. From a musical perspective, the playing on Bella Donna alone warrants the highest praise. The makeshift band on a majority of the fare consists of guitarist Waddy Watchel, drummer Russ Kunkel, organist Benmont Tench, bassist Bob Glaub, percussionist Bobbye Hall, and guitarist Davey Johnstone — all of whom claim sterling resumes and tackle their parts with utmost professionalism, restraint, and chemistry. Nicks also wrangled E Street Band pianist Roy Bittan to sit in on five songs, and started the beginning of a long relationship with backing vocalists Sharon Celani and Lori Perry.

For the first single, “Stop Draggin’ My Heart Around,” Nicks duetted with its author, Tom Petty, and nearly all the Heartbreakers, with legendary bassist Donald “Duck” Dunn filling in for Ron Blair. The sweeping, sassy tune reached No. 3 on the Billboard charts and captures the fiercely independent mood Nicks embraces throughout the record. She, Petty, and the Heartbreakers hit upon similar aural gold on the shivering “Outside the Rain,” which echoes toughness, sinew, and determination.

On the follow-up single, “Leather and Lace,” Nicks turns to another famous luminary in the form of Eagles vocalist-drummer and former romantic interest, Don Henley. Filled with disparate images, the acoustic-based ballad climbed to No. 6 and remains notable for its lack of embellishment. Reflective, conversational, and pure, the song blooms with heartfelt emotion and honesty. When Nicks sings, “I am stronger than you know,” it doubles as the mantra for Bella Donna.

Indeed, Nicks’ gritty and glam-kissed vocals on this set rank among the finest performances of her career. She invests in every word, summons her trademark rasp on cue, and explores a wide range with seeming effortlessness. Nicks weaves magical spells and haunting breathiness amid ghostly webs of notes on “Kind of Woman”; conveys heavy caution, contemplation, and consequence on the slow-building title track; and throws herself with abandon into “After the Glitter Fades,” a Top 40 lamentation framed by piano motifs, pedal-steel fills, and country accents.

As for the record’s signature moment, the contagious favorite Rolling Stone ranks the 217th Greatest Song of All Time? Nicks finds rare air on “Edge of Seventeen,” its helicopter-chop riffs and chugging rhythms corresponding with her ascending and descending vocal flights, call-and-response harmonies, and throaty timbre. The definition of cool, she remains poised throughout, probing grief in an inimitable fashion that sounds more pertinent now than four decades ago.

Long may that white dove soar.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Why Isn’t This UD1S Pressed on MoFi SuperVinyl?

Bella Donna is among the Mobile Fidelity Sound Lab UltraDisc One-Step sets released since the advent of MoFi SuperVinyl that is pressed on 180g black vinyl rather than MoFi SuperVinyl. Why? Quite simply, it sounds better on 180g black vinyl. After closely auditioning Bella Donna on several different vinyl profiles — a time-consuming and expensive endeavor no other label pursues — MoFi’s expert engineers determined the music on this 1981 album translates with superior definition, clarity, presence, dynamics, and balance on this format. The opening of MoFi’s sister plant, Fidelity Record Pressing — and its peerless ability to press dead-quiet 180g black vinyl — means the label’s engineers now have more options when it comes to high-quality vinyl. All of which benefits the original artists and their intent, and you, the listener.

Side One:

1. Bella Donna
2. Kind of Woman

Side Two:

1. Stop Draggin’ My Heart Around
2. Think About It
3. After the Glitter Fades

Side Three:

1. Edge of Seventeen
2. How Still My Love

Side Four:

1. Leather and Lace
2. Outside the Rain
3. The Highwayman

Stevie Nicks Bella Donna
(Hybrid SACD) $34.99

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Experience the Record’s Spontaneous Feel, Raw Emotions, and Organic Arrangements in Transparent Sound on Mobile Fidelity’s Numbered-Edition Hybrid SACD

Sourced from the original analog master tapes and housed in mini-LP-style gatefold packaging, Mobile Fidelity's numbered-edition hybrid SACD