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

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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

Pre-Order
Availbility TBA

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

Stevie Nicks Reschedules All August and September Concerts

STEVIE NICKS TOUR ANNOUNCEMENT:

Due to a recent injury resulting in a fractured shoulder that will require recovery time, Stevie Nicks scheduled concerts in August and September will be rescheduled. Please note that October dates will be unaffected. More information will be available at point of purchase, ticket holders are advised to hold on to their tickets and consult the list of rescheduled dates. All previously purchased tickets will be honored on the new date. The concert schedule will resume on Wednesday, October 1st in Portland, Oregon. Stevie looks forward to seeing everyone soon and apologizes to the fans for this inconvenience.

New Rescheduled Dates for the August and September shows are shown below.

Stevie Nicks Postpones 2 Months of Shows Due to Shoulder Injury, Apologizes For ‘Inconvenience’

Billboard

Stevie Nicks has had a change of plans after suffering a recent injury, with the Fleetwood Mac frontwoman announcing Friday (Aug. 1) that her next two months of shows will be postponed as she heals. In a note shared to her social media accounts, Nicks’ team wrote, “Due to a recent injury resulting in a fractured shoulder that will require recovery time, Stevie Nicks’ scheduled concerts in August and September will be rescheduled.”

Noting that the star will proceed with her shows in October as scheduled, the message concludes, “Stevie looks forward to seeing everyone soon and apologizes to the fans for this inconvenience.”

Fans with tickets to any of the postponed performances are encouraged to hold onto their seats, as all previously purchased tick - ets will be honored at their corresponding rescheduled shows. More information can be found at point of purchase.

Nicks had been slated to perform in a handful of cities across the United States and Canada across August and September, including Detroit, Toronto, Boston, Cincin - nati and Brooklyn, N.Y. All of the postponed shows have already been rescheduled to new dates in late October, November and the first couple of weeks in December, as listed in the rock star’s post and on her website .

The news of Nicks’ injury comes more than three months after she first announced her solo tour in April, writing at the time that she couldn’t “wait to share these nights with you.”

The Rock & Roll Hall of Famer had also been supposed to tour with Billy Joel this year, but the Piano Man similarly had to cancel all of his 2025 and 2026 performanc - es as he battles a condition called normal pressure hydrocephalus. In July, he provid - ed an update on how he’s faring, telling Bill Maher, “I feel good ... They keep referring to what I have as a brain disorder, so it sounds a lot worse than what I’m feeling.”

Nicks is currently working on a new al - bum, her first in 14 years. The Grammy win - ner first revealed that she was getting back into the studio as she was being inducted into the Pollstar Hall of Fame.

“I call it the ghost record,” she said in her speech. “It just really kinda happened in the last couple of weeks because of, you know, the [Los Angeles] fires. I was sitting in a ho - tel for 92 days, and at some point during that last part of the 92 days, I said, ‘You know what? I feel like I’m on the road, but there’s no shows. I’m just sitting here by myself, because everybody else is at the house, do - ing all the remediations and everything, and it’s just me, sitting here.’ And I thought, ‘You need to go back to work.’ And I did.”

OCTOBER 2025
Octoer 1 - Portland, OR - Moda Center
October 4 - Sacramento, CA - Golden 1 Center
October 7 - Phoenix, AZ - PHX Arena
October 11 - Las Vegas, NV - T-Mobile Arena
October 15 - Oklahoma City, OK - Paycom Center
October 18 - Atlantic City, NJ - Boardwalk Hall
October 21 - Charlotte, NC - Spectrum Center
October 25 - Hartford, CT - PeoplesBank Arena
October 28 - Detroit, MI - Little Caesars Arena (Rescheduled from Sept 7)

NOVEMBER 2025
November 12 - Saint Paul, MN - Xcel Energy Center (Rescheduled from Aug 19)
November 15 - Toronto, ON - Scotiabank Arena (Rescheduled from Aug 15)
November 19 - Brooklyn, NY - Barclays Center (Rescheduled from Aug 8)
November 24 - Boston, MA - TD Garden (Rescheduled from Aug 12)
November 30 - Cincinnati, OH - Heritage Bank Center (Rescheduled from Aug 23)

DECEMBER 2025
December 3 - Columbia, SC - Colonial Life Arena (Rescheduled from Aug 27)
December 7 - Tampa, FL - Amalie Arena (Rescheduled from Aug 30)
December 10 - Hollywood, FL - Hard Rock Live (Rescheduled from Sept 3)

Get tickets at StevieNicksOfficial.com

Stevie Nicks and Lindsey Buckingham seem to be putting aside their differences

‘Buckingham Nicks,’ the missing link of the Fleetwood Mac saga, is back

Stevie Nicks and Lindsey Buckingham’s 1973 album prefigured their pop triumphs in Fleetwood Mac but was lost in the streaming era. That could change Sept. 19.

Sean Scheidt/For the Washington Post

By Ethan Beck
Washington Post

Lineups came and went, but only one version of Fleetwood Mac became a legend. After joining the group in 1974, vocalist Stevie Nicks and singer-guitarist Lindsey Buckingham supercharged the then-B-tier British blues act with a California folk sensibility. What resulted was the glistening, drama-spiked pop rock of “Dreams,” “Don’t Stop,” “Gypsy” and more than a dozen other hits over the next 15 years.

But before Fleetwood Mac — and way before their creative partnership ruptured, seemingly permanently — Buckingham and Nicks made an album together. And for years, hearing it wasn’t easy.

That’s seemingly about to change. Last weekend, the two musicians each posted a line from “Frozen Love” across their social media accounts. It’s an aching tune from the album “Buckingham Nicks,” the commercially unsuccessful album they released in 1973. Mick Fleetwood, the band’s drummer, joined in on the fun and posted a video of him listening to “Frozen Love,” prompting glee from fans.

Their “marriage of coming into Fleetwood Mac when they did, it’s all in this song,” said Fleetwood in the video. “It’s in the music, played on for so many years. It was magic then, magic now. What a thrill.”

The questions began: Would they finally put “Buckingham Nicks” on streaming services, from which it has been absent? Is it getting remastered? What about a reunion? On Monday, a billboard of the “Buckingham Nicks” album cover and the date “Sept. 19” appeared on Sunset Boulevard in Los Angeles, all but announcing its rerelease. Beyond Nicks and Buckingham’s social media posts, they haven’t confirmed anything.

The 1973 album set out the duo’s Laurel Canyon-inflected sound, which convinced drummer Mick Fleetwood to ask Buckingham to join his band. Fleetwood sought out the guitarist after hearing “Frozen Love” at Sound City Studios, and Buckingham told him that he and Nicks — musical and romantic partners — were a package deal. The pair quickly joined Fleetwood Mac. “That album holds up pretty well,” Buckingham said a 2024 interview with Dan Rather. “It did not do well commercially, but it certainly was noticed. And more important, it was noticed by Mick Fleetwood.”

The apparent reissue, which Buckingham and Nicks teased frequently throughout the 2010s, follows decades of fan bootlegs. After Polydor Records let “Buckingham Nicks” go out of print, it endured as a coveted find at used record stories and in bits and pieces scattered across Nicks’s and Buckingham’s discographies. The duet “Crystal” was remade for Fleetwood Mac’s 1975 self-titled album, a notch more polished than the more biting Buckingham Nicks arrangement. The bouncing “Don’t Let Me Down Again” appeared on almost 15 years of Fleetwood Mac set lists, finding a home on 1980′s “Live.” When touring in 1974 as Buckingham Nicks, the duo tried out a handful of future Fleetwood Mac hits, including “Rhiannon” and “Monday Morning,” for the first time live

The original “Buckingham Nicks” record remains the best place to understand how Nicks and Buckingham would shake up Fleetwood Mac and classic rock. Nicks’s assured, fierce voice shines throughout, while Buckingham’s steely, fingerpicked acoustic guitar anchors a majority of the songs. But you can also hear what’s missing. As good as Nicks and Buckingham sound together, it’s natural to long for Christine McVie to round out their harmonies. Meanwhile, the session musicians — including ones who played with Elvis Presley, John Lennon and Bob Dylan — don’t match drummer Fleetwood’s might or John McVie’s supportive, thoughtful bass lines. (But how many ever did?)

Just last year, singer-songwriters Madison Cunningham and Andrew Bird released “Cunningham Bird,” their full-length cover of the “Buckingham Nicks” album, where the arrangements focused on Bird’s violin parts and Cunningham’s muted guitar playing. Yet the melodies still jump out, especially on the stripped-down renditions of “Crystal” and “Lola (My Love),” which Cunningham described as a “sex blues ballad.” Bird said the lack of a “Buckingham Nicks” rerelease was a good reason to record it.

“It’s this storied prequel to Fleetwood Mac, and you hear all the kind of drama brewing in the songs,” Bird said to Variety. “So that appealed to me, that it was inaccessible to a lot of people.”

That drama would become almost as famous as the music. After dating in the early 1970s, Buckingham and Nicks broke up after joining Fleetwood Mac, and theirs wasn’t the only contentious relationship in the group (that’s a whole other article). Shrapnel from the romance damaged their working relationship, and Buckingham eventually left Fleetwood Mac after the success of 1987′s “Tango in the Night,” while Nicks followed in 1991. The golden-era lineup reunited in the ’90s, but Buckingham was eventually kicked out in 2018. (Christine McVie, who had already stepped back from the group, died in 2022.) Just last year, Nicks said, “There is no chance of putting Fleetwood Mac back together in any way” in an interview with Mojo.

The music, of course, endures, and the intra-band intrigue was most vividly captured on 1977′s “Rumours,” one of the most successful albums of all time (it is still charting, hitting No. 21 on the Billboard 200 for the week of July 26). But the group’s tense power is previewed on “Frozen Love,” which erupts into a solo so dramatic and wailing that it can only be seen as a precursor to 1977′s “The Chain.” During the jolting, stirring chorus, Nicks and Buckingham sing, “And if you go forward/ I’ll meet you there,” which is the line they shared on their respective Instagram accounts. After years of animosity, Nicks and Buckingham seem to be putting aside their differences to share some of this early, thrilling material.

Surprise! "Buckingham Nicks" Set for Long-Awaited Re-Release This Fall

Surprise! "Buckingham Nicks" Set for Long-Awaited Re-Release This Fall

After more than 50 years, the iconic 1973 duet album Buckingham Nicks — the cult classic that introduced Stevie Nicks and Lindsey Buckingham to the world — is finally getting an official re-release. A mysterious billboard spotted at 7365 Sunset Blvd has confirmed the date: September 19, 2025.

Once thought lost within the entanglement of Stevie and Lindsey's relationship (They both own the masters), I thought this day would never come.  This album helped launch the duo into Fleetwood Mac — and rock history!. Fans, mark your calendars. The wait (and it appears the war) is over.

Timing wise this makes perfect sense. The Fleetwood Mac documentary at Apple Original Films is in production with a release date reported to be in the spring of 2026. Re-releasing Buckingham Nicks is brings the duo full circle.

Will be interesting to see how Stevie and Lindsey handle the promotion of this... If they do anything together at all.  Given this surprise billboard and the two of them posting recently on Instagram lyrics to "Frozen Love" and Mick's video post to kick everything off who knows. We may see them perform live together... Maybe a few shows. 

Official announcement should follow soon.

1st Photo: ChristinaD23

 

Stevie Nicks Adds New Dates to Her 2025 Solo Tour

Stevie Nicks is hitting the road for even more magic.

Stevie Nicks has officially extended her solo tour, adding eight new dates to a late summer, early fall run of shows. The newly announced shows kick off August 8 in Brooklyn, New York, and include stops in Hollywood (FL), Detroit (MI), Portland (OR), Sacramento (CA), Atlantic City (NJ), and Charlotte (NC), before wrapping up on October 25 in Hartford, Connecticut.

Tickets for the new dates go on presale this Wednesday at 10 a.m. local time, with general public access opening Friday at 10 a.m. local time.

* Social Media Presale password for Hollywood, Florida is Dove

* Live Nation Presale password for Hollywood, Florida is Treble

These additions appear to fill in gaps left by the cancellation of Billy Joel’s tour, with whom Nicks had planned to co-headline multiple stadium dates. Despite the change, Nicks is forging ahead—bringing her legendary voice and mystical stage presence to even more fans across North America.

For a full list of upcoming shows and ticket details, visit StevieNicksOfficial.com.

Aug 8 – Brooklyn, NY
Sept 3 – Hollywood, FL
Sept 7 – Detroit MI
Oct 1 – Portland OR
Oct 4 – Sacramento, CA
Oct 18 – Atlantic City, NJ
Oct 21 – Charlotte, NC
Oct 25 – Hartford, CT

New Release - Stevie Nicks (Rhino Hi-Fi) Bella Donna

 

Rhino High Fidelity (Rhino Hi-Fi) continues its acclaimed series of limited-edition, high-end vinyl reissues with the solo debut from Stevie Nicks.

Stevie Nicks’ Bella Donna (1981) is available now exclusively at Rhino.com and internationally at select WMG stores. Each release is limited to 5,000 individually numbered copies and priced at $39.98. Available while supplies last at Rhino.com.

• AAA Cut From The Original Stereo Master Tapes By Kevin Gray
• Pressed On 180-Gram Heavyweight Vinyl At Optimal
• Heavyweight Glossy Gatefold Jacket
• Features An Exclusive Insert With Liner Notes From Bob Mehr

• Limited Numbered Edition Of 5,000
• Exclusive To Rhino.com

ABOUT THE RHINO HIGH FIDELITY SERIES
Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we've raised the bar with a premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and “tip-on” jackets, an old-school aesthetic that evokes the golden age of vinyl.

Rhino.com

BELLA DONNA (RHINO HIGH FIDELITY)

$39.98

🎤 TOUR NEWS UPDATE: Stevie Nicks & Billy Joel Joint Shows Canceled

In disappointing news for fans across the globe, Billy Joel has officially canceled all upcoming concert dates — including the highly anticipated co-headlining shows with Stevie Nicks — following a recent medical diagnosis.

On May 23, 2025, Joel announced he has been diagnosed with normal pressure hydrocephalus (NPH), a neurological condition affecting balance, vision, and hearing. The 76-year-old singer-songwriter has been advised by his medical team to halt all performances while he undergoes physical therapy and treatment.

As a result, all scheduled stadium shows with Stevie Nicks — part of the ongoing “Two Icons, One Night” tour — have been canceled. This includes dates in North America and the UK that fans had eagerly been looking forward to since their powerhouse performances began in 2023.

Ticket holders will receive automatic refunds via their original point of purchase.

Stevie has not issued a formal statement yet regarding the cancellation or potential rescheduling, but fans are encouraged to keep an eye on her official website and social channels for updates.

Our thoughts are with Billy as he focuses on recovery, and those fans who were excited to see Stevie shine on stage once again.

Stevie has a number of solo shows booked for this year that she may expand on. Check out her official website stevienicksofficial.com

Stay tuned for any further updates.

Stevie Nicks Working on New Album Her First Since 2011

Stevie Nicks Reveals She’s Working On New Album, Includes Song About Prince

Pollstar

The legendary Stevie Nicks, who tonight was inducted into the Pollstar Live Hall of Fame and graces the cover of this week’s Pollstar, broke news from the stage during her acceptance speech that she is currently working on a new album.

“I’m actually making a record right now,” Nicks said. “I call it the ghost record because it just kind of happened in the last couple of weeks.”  Nicks explained that she began work on the new record after being evacuated from her Los Angeles home due to the wildfires and after being evacuated for 91 days she needed  to “get back to work.”  That led to her writing new music.  

“I have seven songs and they are autobiographical,” Nicks continued. “real stories where I’m not pulling any punches for probably the first time in my life. They’re not airy-fairy songs that you’re wondering who they’re about, but you really don’t get it. They are real stories, memories of mine, of fantastic men.”

Nicks then pointed to one of those “fantastic men,” famed music mogul Jimmy Iovine and said, “You’re next.” Iovine, who inducted Nicks into the Pollstar Live Hall of Fame and also produced her records, once dated Nicks.

Another “fantastic man” is the music icon Prince, who initially inspired Nicks to work on her new record. “I’ve written a song about Prince because we were friends,” she explained before recounting a story of meeting up with the famed musician at the Hollywood premiere of “Purple Rain,” which she apparently couldn’t watch after the film’s love interest, Apollonia, is slapped.

“So I go across the street to the party. (Prince) Is upstairs in a little room and he’s basically waiting for me to ask me, ‘Well, did you love it?’ And I’m like, ‘I only saw the first half.’ And he’s like, ‘Why?’  “Because you slap that girl.’  And I said, ‘But I brought you a gift. It’s a really beautiful 24 carat necklace with little gold hearts on it.’ And he goes, “I don’t want your necklace and then he said, this is in the song and this is where this record began. ‘You always bring me a gift. You never bring me you.’

Nicks, whose extensive music career dates back to the 1960s, forming Buckingham Nicks, joingng Fleetwood Mac in 1974  and going solo in the early-’80s has had one of the most successful careers in the music business. She’s the only women to be elected to the Rock ‘n’ Roll Hall of Fame—twice.

Stevie Nicks The Road & 2025 Pollstar Live Hall Of Fame Inductee

Stevie Nicks, The Reigning Queen Of Rock & Roll, The Road & 2025 Pollstar Live Hall Of Fame Inductee

by Bob Mehr

Pollstar

It was somewhere around 1960 when Stevie Nicks stepped on stage for the first time. Nicks was just 12 years-old she made her debut, bringing a bit of rock ‘n’ roll showmanship to her El Paso grade school talent show.

“Me and my friend Colleen, we choreographed a tap dance routine to Buddy Holly’s ‘Everyday,’” Nicks recalls. “We practiced on my porch for weeks ’til we got it perfect. All the people there really seemed to like it, and I was hooked.”

More than six decades later, Nicks’ dedication to performing and the affection of audiences remains undiminished making her a much-deserved inductee into Pollstar’s 2025 Live Hall of Fame. “The ability to go on stage and put on makeup and outfits and sing and dance and tell stories, that’s such a big part of who I am,” says Nicks. To wit, as this story was going to press, Nicks announced new arena tour dates slated for August and October.

As a member of Fleetwood Mac – a group which she joined in 1974 – Nicks would come to define the band’s transformation from blues-rock band to global pop superstars. In the early-’80s, at the height of the Mac’s multiplatinum peak, she ventured off into a solo career with the equally successful Bella Donna, eventually earning distinction as one of the only women elected to the Rock ‘n’ Roll Hall of Fame—twice.

These days, multiple generations of stars – including the biggest contemporary acts, from Taylor Swift to Beyoncé to Lana Del Rey – all pay homage to Nicks. At 76, she’s arguably at the height of her cultural relevance and popularity, playing massive shows throughout the world. “Look at the power and joy she brings to people,” says her friend and longtime bandmate Mick Fleetwood. “She’s like Edith Piaf. They love her. They feel her.”

“She’s a force,” notes Nicks’ longtime collaborator, Tom Petty & The Heartbreakers keyboardist Benmont Tench. “Artist after artist – mostly women – talk about her as a creative influence, as an example of someone who just shone through in the midst of all the men in this business. She’s had a huge impact on things in a way that people don’t even realize.”

Fellow Heartbreaker Mike Campbell – who toured with Nicks as part of Fleetwood Mac in 2018-2019 – says it’s her total commitment that makes her so compelling. “She has a way of connecting with people in this very passionate, real way,” notes Campbell. “And I think that’s why she’s so beloved. Stevie’s really unlike any other rock star I can think of.”

For Nicks, the importance of playing live has taken on a new meaning since the disruption caused by the COVID-19 pandemic. After being forced off the road in 2020 and 2021, Nicks returned to the stage 2022 and has been going strong ever since, headlining her own shows and sharing bills with fellow rock vet Billy Joel.

The pandemic pause was difficult and frustrating for Nicks, but the time away also helped reinvigorate her. “I feel like I’m a better performer than I’ve ever been,” Nicks says. “And maybe that’s because of the years we had off and were banished from the road. I certainly appreciate being able to go on stage now more than ever.”

Campbell notes that Nicks has devoted herself to maintaining her greatest gift, her voice. “Stevie’s such a unique singer, but she also has a really strong work ethic,” says Campbell. “She has her vocal coach on tour who works with her every day. And she still sings great because she works at it. She doesn’t just coast along.”

Tench, who filled in on tour with Nicks a few summers ago, notes that her powerful contralto remains a thrilling instrument. “It was astounding to be on stage every night and listen to that,” says Tench, “to listen to her sing like that night after night.”

In 2025, Nicks also continues to find deep connection with her veteran backing group, which includes close decades-long collaborators like singer Sharon Celani and guitarist Waddy Wachtel. “When I walk on-stage, I couldn’t be prouder of my band,” notes Nicks.

“The thing about Stevie is she’s real rock and roller, and I don’t use that term loosely,” says Wachtel, who’s known Nicks since 1970 and has been her band leader since the early-’80s. “We get out there and try and put the songs across in a genuine way. We’re trying to present them the way those records affected people originally. That’s an important thing.”

These days, Nicks’ concerts are less elaborate stage productions, and more deeply felt story sessions. “I just wear one cool outfit for the whole thing and tell a lot of tales,” Nicks says. “I have a really good time putting my stories in and out of the songs. That part has been fun.”

Nicks’ recent FireAid performance was one of the night’s most poignant. She told tale of her harrowing evacuation from her Palisades home, which she was certain would be destroyed by the encroaching inferno. Giving full credit to the heroic firefighters, especially a team from Santa Rosa who saved her home, Nicks dedicated to them a stunning rendition of “Landslide,” a song she wrote in 1973 that has come to mean so much to so many.

According to Pollstar Boxoffice Reports, Nicks has averaged 10,200 tickets and $1.2 million gross per show. Her career gross, listed at $320 million, is much higher with her Boxoffice reports only dating back to 2001. If you add in Fleetwood Mac’s Boxoffice total of $600 million and her solo career launched in 1981 she easily crosses the $1 billion mark.

Nicks’ top-notch team includes manager Sheryl Louis of CSM Management, Creative Artists Agency’s Jeff Frasco, lawyer Jamie Young, longtime executive assistant Karen Johnston and Kristen Foster of Full Coverage Communications.

Now with her solo arena tour and a series of major stadium shows withoel planned for the summer of and fall of 2025 – at MetLife Stadium in New Jersey, Levi’s Stadium in Santa Clara, California, the Caesars Superdome in New Orleans, and Ford Field in Detroit – Nicks plans on carrying on as she always has: bringing her special alchemy of music and magic to massive audiences across the country, and around the world.

“That’s what I’ve done since I was a kid, since I was a little girl,” says Nicks. “And I’m still doing it. I don’t intend to stop.”