Fleetwood Mac has announced sibling duo Angus & Julia Stone and all-sister rock group Stonefield as their supporting acts for select dates of their upcoming Australian tour.
Angus & Julia Stone will hit the road for Perth, Adelaide, Hunter Valley and Geelong, as well as Fleetwood Mac's New Zealand dates, while Stonefield will perform on the tour's winery shows at Mt Duneed Estate (Geelong) and two Hope Estate Winery Shows (Hunter Valley). Supporting acts for the band's gigs in Sydney, Brisbane and Melbourne have yet to be announced.
Fleetwood Mac's Australian Tour Dates:
- October 22 - Allphones Arena, Sydney
- October 24 - Allphones Arena Sydney
- October 25 - Allphones Arena, Sydney
- October 28 - Coopers Stadium, Adelaide w/Angus & Julia
- October 30 - Domain Stadium, Perth w/Angus & Julia
- November 2 - Rod Laver Arena, Melbourne
- November 4 - Rod Laver Arena, Melbourne
- November 6 - Rod Laver Arena, Melbourne
- November 7 - A Day On The Green, Mt Duneed Estate, Geelong w/Angus & Julia & Stonefield
- November 10 - Brisbane Entertainment Centre, Brisbane
- November 12 - Brisbane Entertainment Centre, Brisbane
- November 14 - Hope Estate Winery, Hunter Valley w/Angus & Julia & Stonefield
- November 15 - Hope Estate Winery, Hunter Valley w/Angus & Julia & Stonefield
- November 18 - Forsyth Barr Stadium, Dunedin, NZ w/Angus & Julia
- November 21 - Mt. Smart Stadium, Auckland, NZ w/Angus & Julia
- November 22 - Mt. Smart Stadium, Auckland, NZ w/Angus & Julia
Fleetwood Mac light up 3Arena Dublin
by Ed Power Independent
How fitting that Fleetwood Mac should close the European leg of their latest comeback tour with a brace of sold-out shows in Dublin.
It was at this very venue in 2013 that erstwhile singer and keyboardist Christine McVie reunited with her bandmates for the first time in 16 years. The success of their soundcheck jam that night persuaded the reclusive Englishwoman to rejoin full-time – and now here she was, back where it started.
The sense of a group operating at full tilt was evident from the outset as McVie, guitarist Lindsey Buckingham and vocalist Stevie Nicks plunged into the harmonized introduction to The Chain, a tug-of-love ballad written while Nicks and Buckingham were in the throes of their notoriously messy late '70s break-up (heartbreaking fuel for the 40-million selling Rumours album). Half a lifetime later the tune still gleamed with acidic vim as Nicks and Buckingham locked gazes and spat accusatorially lyrics at one another.
With McVie in the fold once more, it was as if a missing piece of a puzzle had clicked into place. In her absence, Buckingham's pop eccentricities wielded an outsize influence over Fleetwood Mac, his oddball histrionics threatening to capsize the ship. Tonight confirmed that McVie's classic songwriting and calm persona served as a vital counterpoint. Earlier Fleetwood Mac reunions felt like glorified Buckingham solo affairs. This was assuredly no longer the case.
How or why Fleetwood Mac became the world's favourite heritage act remains a matter of conjecture. Through the '80s and '90s, the soft rock titans were an ongoing punchline. Catchy, crowd-pleasing and always on radio, they were everything a rebellious young musician might despise. However, the onward march of the decades has seen their stock soar, with hayseed Gen Yers such as Haim and Best Coast blatantly indebted to the quintet's burned-out California cool. Wait long enough and everything comes back into fashion.
Straining my neck from my standing position towards the rear of the arena, I could just about make out the top of McVie blonde bob. It was all that I needed to see as Fleetwood Mac negotiated one of mainstream rock's greatest catalogues. From The Chain, they shifted gear into You Make Loving Fun, McVie's sly Valentine to a secret lover, while Nicks had an early opportunity to shine on Dreams, a scented-candle dirge whose hippy aphorisms yielded universal truths.
Wiry and goggle-eyed, Buckingham was a tortured yin to McVie's understated yang. He barked into the mic and bobbed his head as he dispensed platitudes to the crowd (apparently we're still the best audience in the world). McVie, in contrast, stayed in the shadows for much of the set but, when required to step beneath the spotlight, was a searing presence, especially on Everywhere, her bittersweet love ballad. Disinterred six songs in it was a knockout punch and powerful closing argument for anyone who wondered how pop's naffest ensemble ended up its most beloved.
Fans were delighted to see Christine McVie reunited on stage with ex-husband John McVie and bandmates Mick Fleetwood, Stevie Nicks and Lindsey Buckingham
Fleetwood Mac fans finally got to see the classic Rumours-era line-up reunited last night as Christine McVie joined ex-husband John McVie and bandmates Mick Fleetwood, Stevie Nicks and Lindsey Buckingham on stage at Manchester Arena.
The singer - who is the songwriter and voice behind some of the band's most enduring hits, including Don’t Stop, Little Lies and You Make Loving Fun - is back on the road with the band for the first time in 16 years for their On With The Show tour.
Fans were delighted to see her return - as was Stevie Nicks, who echoed the audience's excitement as she squealed: "Our girl is BACK!"
None of the group showed any sign of the mystery illness that forced them to cancel their first show in Manchester last month as they played an unrelenting two and a half hour set.
Now all in their mid to late 60s except Christine, who is 71, they worked the stage with the energy of a group half their age, particularly Lindsey, whose virtuoso guitar playing stole the show.
There was no sign either of the turbulence that nearly tore the band apart during the making of Rumours, with ex-lovers Stevie and Lindsey sweetly clasping hands before dueting on a gorgeous stripped-back version of Landslide (we think we even saw Stevie wipe away a tear), while Christine and John appeared just as happy to be sharing a stage again.
"Our Songbird, you might say, has returned," as Mick put it fondly - and there could only be one way to close the show as Christine sat down alone at a piano to sing her beautiful ballad.
The finale was the highlight of the show for many fans who had waited for years to hear her sing it again, but it was by no means the only standout moment.
From opener The Chain to the rousing singalong that accompanied Go Your Own Way and Mick's manic drum solo, it was a five-star performance from start to finish. Even the weather seemed to agree, with fans leaving the arena to a Dreams-worthy chorus of thunder and rain outside.
Fleetwood Mac bring thunder to Manchester Wigantoday.net
by Tom McCooey
LIGHTS down, mobile phone cameras puncturing the black canvas, Mick Fleetwood’s right foot sets the tone.
Thud, thud, thud, thud - fans know what’s coming - and when a band can open on a monster such as ‘The Chain’, the night promises to show off some of the best songwriting to be heard.
But it would be wrong to expect the latest installment of Fleetwood Mac’s ‘On with the Show’ tour - at the Manchester Arena on Wednesday night - to be a flawless evening of note perfect music.
That’s not why fans, ranging from those who had their first dance to ‘Everywhere’ to the newly grown-up kids from those relationships, are out on a sweltering night.
Shivers as guitar interludes morph into songs which bring hibernating memories alive, knowing every word, being able to say: “I saw Fleetwood Mac,” is why most are here.
The band’s older voices sometimes crack - even with a few songs knocked down a semi-tone or two - but genuine moments of pure joy excuse imperfections.
And the inclusion of Christine McVie, on tour after a 17-year absence from the band, makes the experience more authentic - this really is the Rumours lineup - the record we’ve all bought five times and played to death four.
An energetic opening sees hits ‘You Make Loving Fun’, ‘Dreams’ and ‘Second Hand News’ chalked off before the intoxicating voice of Stevie Nicks shifts the mood with a haunting rendition of ‘Rhiannon’.
For fans with numerous live albums in the car glovebox, Lindsey Buckingham didn’t disappoint with his mesmerising solo performance of ‘Tango in the Night’ opener ‘Big Love’ - a version many fans prefer over the 1987 album offering.
Nicks had another opportunity to induce stomach butterflies in the audience with ‘Landslide’ - lyrics: “‘Cause I’ve built my life around you…. And I’m getting older too,” taking on new significance, as it becomes apparent this band is playing on a radio in the background somewhere in a staggering number of life’s flashpoints.
There were moments of self-indulgence to sit through though - the main culprit being Buckingham whose solo on ‘I’m So Afraid’ was more than a touch too long - and the camaraderie between members in between songs did at times feel forced.
But what can be expected from a band which has come through such thoroughly documented turbulence spanning more than half a lifetime?
And just when eyes were beginning to roll - the band relit the fire as ‘Go Your Own Way’ came to life, paving the way for a mammoth two-part encore, culminating in McVie and Buckingham wrapping-up with ‘Songbird’.
This was made more touching by McVie’s unpolished but heartfelt performance.
For the 98th night of a tour spanning two years and two legs - due to finish in November this year - Fleetwood Mac put on a show fans won’t forget.
The downsides (including a £15 programme with no editorial in it) were soothed with enough moments of magic to make their ticking off on the gig bucket list a satisfying one.
Fleetwood Mac continue their ‘On with the Show’ tour in Leeds, Birmingham and Glasgow next week.
Orange Amplification is pleased to announce that Fleetwood Mac bassist John McVie has become their latest Ambassador. John co-founded the band along with drummer Mick Fleetwood, and the pair has gone on to form a lasting partnership that has long been regarded as one of the best rhythm sections in the history of Rock music.
Talking about becoming a new Orange Ambassador John stated, “The guys at Orange, have really put together a great amp system for me. It truly delivers the punch, bottom end and quality of sound that makes it a pleasure to hear night after night.”
John McVie’s bass legacy has anchored one of the biggest bands in the world, leading to his induction into the Rock and Roll Hall of Fame in 1998. He has provided one stellar bass line after another for Fleetwood Mac, through a multiple of line-ups that includes the classic 1970’s group, which created the timeless hit albums Rumours and Tusk. He is now using Orange bass heads, together with Orange OBC115, OBC410 and PPC112 speaker cabs. He joins a roster that includes many other legendary bassists such as Geddy Lee and Glenn Hughes.
After more than forty years at the top, Fleetwood Mac are still as popular as ever. This year sees them take their ‘On With The Show’ world tour across Australia, New Zealand and Europe. The performances showcase hits and classic songs drawn from albums that have sold in excess of 100 million copies and that span their whole career. The list of tracks includes ‘Go Your Own Way’, ‘Dreams’, ‘Tusk’, ‘Second Hand News’ and ‘Think About Me’ to name but a few.
Orange amps distributed in Australia by http://www.gibsonami.com/
Fleetwood Mac Australian tour details: https://www.livenation.co.nz/artists/fleetwood-mac
A wild-eyed genius named Mick Fleetwood says it better than I ever could as Fleetwood Mac exit the
stage - “The Mac is BACK!”
A blistering two hour and 20 minute set from the classic (yes, that word is ENTIRELY appropriate) Rumours-era line-up elicits one of the most passionate responses I have seen from an audience in my life.
A four-song opening shot from said record that made them famous the world over was always going to put us on the right foot.
The Chain, all close harmonies and blues guitar gives way to one of the most memorable of bass lines and Leeds is all theirs. You Make Loving Fun, Dreams and Second Hand News are all delivered as they should be, note perfect and intense.
The rock solid, bomb-proof rhythm section of Mr Fleetwood and his self-professed dearest friend John McVie form the bedrock of tonight’s show.
Highlights come from their front people throughout however.
Returning from a 17 year hiatus from music, Christine McVie still has the voice of an angel, as evidenced by set-closer Songbird and Everywhere.
Lindsay Buckingham storms around the stage like a man a quarter of his age, his distinctive finger-picking guitar style as ferocious and precise and it ever was. His solo-rendition of Big Love was a thing of majesty,
Best of all is centre-stage throughout. Stevie Nicks, 67, still mops the floor with any other front woman out there. During Gold Dust Woman she does not just command the stage but dominate it,
The highlight for this humble reviewer is Landslide, performed by the couple Buckingham and Nicks, whose well-documented fallings-out inspired so much of their greatest art, is tear-jerking. Stevie owns the spotlight, a magisterial performance.
Despite Mick’s bullish claim we will most-likely never see these five together again. But tonight’s gig capped a truly unique and inspirational career and cemented their legacy as one of the most special and unique rock n roll bands of all time.
The Mac is back? The Mac never left us and never will.
A man who hates gigs reviews Fleetwood Mac at the O2
By George Chesterton GQ Magazine - UK
Someone has got me a ticket to see Fleetwood Mac, you say? I love Fleetwood Mac. But hang on, I hate gigs. Love Fleetwood Mac. Hate gigs. Love Fleetwood Mac. Hate gigs. Oh well, let's just get on with it then.
The O2 would be a sterile venue to host a conference of anti-bacterial spray manufacturers, let alone a concert of one of the world's great rock bands, and the clientele were suitably hard to pin down. It was strange to go to a gig with no discernable tribes, unless fans of a carvery on a Sunday constitutes a tribe. It was like being on a Ryanair flight with 20,000 people.
Why do I hate gigs? Even when I was a teenager and went to a gig a week, I hated gigs. For starters, I experience enochlophobia (look it up). More importantly, I have always been so precious about music that it always seemed a particular perverse cruelty to have my experiences ruined by inevitable meatheads, who would always (and I mean, always) end up standing or sitting next to, behind, or in front of me. Since I refuse to enjoy myself, God punishes me by surrounding me with people who do.
And lo, George the meathead magnet strikes again. Behind me were five friends, who informed me that they had come all the way from Bristol to see their favourite band - and then talked through every song. It was all going exactly as I had expected. It was a shame that the sound at the O2 is so muffled and rough. It really is a music venue for people who don't like music. I would have preferred a bit more volume and clarity, not only to drown out my paralytic-clown neighbours, but because I really wanted to listen to the band.
Fleetwood Mac, live in London, O2 Arena
June 25, 2015:
by Michael Bonner Uncut Magazine
Now with added Christine McVie
For a band whose career has been so assiduously documented, Fleetwood Mac have always had a knotty relationship with their past. Great swathes of it are essentially ignored, while the domestic dramas of four decades ago are still the pivot for Fleetwood Mac’s live shows in 2015. Last time they played in London, for instance, the narrative privileged Lindsey Buckingham and Stevie Nicks as the tragic star-crossed former lovers reunited; this time round, it’s the return of Christine McVie after a 16 year absence that provides the show with its motor. Not that you’d necessarily forget such a momentous occasion, of course: the band have a weird, almost neurotic need to constantly refer back to the narrative in hand. Tonight, for instance, we are routinely told how delighted they are that McVie is back in the fold, while it falls to McVie herself to spell out the specifics of her return to the band: “It was two years ago I stood on this very stage and played ‘Don’t Stop’…” Meanwhile, Buckingham is eager to present McVie’s return as part of “a karmic, circular moment” in the band’s evolution. “We are a group of individuals that have seen their fair share of ups and downs,” he explains to anyone who’s not been paying attention since Rumours came out. “But we’re still here! And that’s what makes us what we are. With the return of the beautiful Christine, there is no doubt that we begin a brand new, prolific and profound and beautiful chapter in the story of this band, Fleetwood Mac.”
Despite Buckingham’s warm predictions for the future, tonight’s set is typically focussed on the band’s mid-Seventies era: half specifically from Rumours. Writing in his autobiography, Play On, Fleetwood admits to a “preservationist instinct” when it comes to his band’s history. “On my farm in Maui, Hawaii,” he begins, “I have a weather-sealed barn full of memorabilia: photographs, journals, clothes, cars, endless video tapes, concert recordings, all bits of Fleetwood Mac and my life. As much as I’ve always been driven creatively to move forward toward something bigger, brighter and unknown, I’m also a deeply-rooted nostalgic.” Although Fleetwood’s archivist sensibilities may be firmly entrenched, as a live proposition, the band has a prescribed cut-off point: you might not know, for instance, that Fleetwood Mac released 10 albums before Rumours. It’s a lovely thing that Christine McVie is back in the band; but for all the harmonic brilliance of “Everywhere” and “Little Lies”, it’d be wonderful to hear “Show Me A Smile” or “Come A Little Bit Closer”. It’d be even better to get Danny Kirwan on to play “Woman Of A 1000 Days“. Alas, the demarcation line between the early line-ups and the Buckingham/Nicks era is so rigorously enforced that we’re not treated to anything released prior to “the first album in this configuration” – as McVie rather formally describes the Fleetwood Mac record.
Admittedly, it is hard to argue with the sheer brilliance of the Buckingham/Nicks/McVie line-up. But with McVie back in the band, the set-list highlights the disjunct between the band’s three writers. This is most evident on the run of songs from “Rhiannon” to “Everywhere” and “I Know I’m Not Wrong”: Nicks’ is witchy and soft-focus, McVie’s is bright and nimble while Buckingham’s is left-field and surprisingly angry. Admittedly, McVie brings a balance to the show – both in terms of opening out the set list but also the way she softens the on-stage dynamic. Outwardly, at least, she appears less eccentric than Buckingham and more grounded than Stevie Nicks. She is also thankfully brisk when introducing her songs; unlike her bandmates. Nicks, particularly, takes an age to get to “Gypsy”, by way of a lengthy story from 1968 involving Hendrix, Joplin and a San Francisco clothing store. Buckingham, meanwhile, over shares considerably with his intro to “Big Love”. He begins with an unexpected defence of Tango In The Night – “A very difficult album to make, but as a producer I am proud of the result” – before taking the scenic route round to the song’s meaning. “It was a song about someone who was not in touch,” he says, finally getting there. “It was a contemplation of alienation but is now a meditation on the power and importance of change.”
Aside from this talk of change and new chapters, there is nonetheless something telling about the name of this tour: On With The Show. It conjures up images of the band as redoubtable showbiz troopers – which in a sense, is precisely what Fleetwood Mac are these days. For all Buckingham’s talk of “ups and downs” in the band’s history, there is a reassuring sense of professionals at work tonight. He may show-off slightly, but it’s useful to be reminded what a fine player he is, especially on “Big Love”, “Landslide” and “Songbird”. Only the overwhelming oddness of “Tusk” momentarily stops the show’s warm, comfortable vibes. But even Buckingham’s quirks are permissible. Among the most conspicuous of these is the giant image of Buckingham’s head that is beamed onto screen at the rear of the stage during “I Know I’m Not Wrong” – and then, bizarrely, can be seen floating upside down on screens in front of the stage. But for all Buckingham’s idiosyncracies and Nicks’ Twilight theatrics, the heavy lifting is done by the men with their names above the door. Mick Fleetwood might enjoy a little of the thesping done by his band mates – the gong and wind chimes ensemble he brings to bear on “World Turning”, for instance – but as with John McVie there is solid workmanship underpinning the Buckingham/Nicks flamboyance. Indeed, the most unfussy players on stage tonight appear to be the former Mr and Mrs McVie. She is very much Laura Ashley mum, cheerful and polite, effortlessly delivering many of tonight’s best songs; while John McVie remains inscrutable behind his cap and waistcoat. A rarity among Fleetwood Mac, the bassist is the only member of the band to keep his views entirely to himself.
Review: Fleetwood Mac hold nothing back in Dublin performance
by Cian Traynor Irish Times
Saturday nights show may be Fleetwood Mac’s 92nd performance of a 12-month tour but they’re adamant that it means something special.
It was at this venue, back in 2013, that singer and keyboardist Christine McVie secretly rehearsed with the band before rejoining after a 16-year absence.
The restoration of Fleetwood Mac’s classic line-up, along with the presence of signature McVie songs such as Everywhere and Little Lies, has clearly been a source of rejuvenation.
As soon as they launched into set-opener The Chain, the band waste no time in delivering the epitome of stadium pop-rock: a polished heritage act powering through one fan favourite after another.
Almost 40 years have passed since songs such as ‘Dreams’ and ‘Go Your Own Way’ documented the group’s inner turmoil, but their ability to connect with listeners remains undiminished.
The sound is clear and the pace feels well-measured, despite a two-song lull between the triumphant swagger of ‘Tusk’ and a rousing solo performance of ‘Big Love’ by guitarist Lindsey Buckingham.
Founding members Mick Fleetwood and John McVie, both dressed in waistcoats and flat-caps, combine to pound out a muscular rhythm section.
Stevie Nicks, eyes closed as she leans into the microphone, exudes unflappable charisma.
A sweat-soaked Buckingham, having expended more time and energy on stage than anyone else, pounds his chest and blows kisses to the crowd.
By the time a two-and-a-half hour set comes to a close with ‘Silver Springs’, the band look spent.
Little has been held back. For a second encore, Christine McVie performs an understated ‘Songbird’ alone at the piano before beaming with gratitude towards the crowd.
Just as that appears to be that, Stevie Nicks returns to the stage to tell the full story of McVie rejoining Fleetwood Mac - a reminder that this represents a circular moment for the band, a new chapter in their history.
That, in turn, feels like the end... until Mick Fleetwood re-emerges to offer his own farewell, urging the audience to take care of themselves and to be kind to each other.
“And remember” he shouts, donning a top hat as he turns to leave “The Mac is most definitely back!”.
Fleetwood Mac Live in Glasgow, Scotland - June 16, 2015 by Stacy Auld Tuesday’s show marked the much anticipated return of Fleetwood Mac but tonight there was a bonus, it also marked the long awaited return of Christine McVie to join the band in Glasgow. Having seen the band two years ago, minus Christine McVie, it wasn’t until this show that you realise just how much the band needed the full band back together. The famous three part harmonies from McVie, Stevie Nicks and Lindsey Buckingham can’t be matched by any other band.
On With The Show was merely a tagline last week for Fleetwood Mac when they had to cancel tour dates due to illness. Although they played the Isle of Wight festival at the weekend, Scottish fans were still on tenterhooks last night to see if the first of two nights in Glasgow would go ahead. It did - and, if it was a celebration of anyone, the members of Fleetwood Mac said this show was a "welcome back" to Christine McVie, who did not play the Hydro along with the rest of the band two years ago on their world tour.
After a warm greeting from the capacity crowd, You Make Loving Fun from seminal 1977 album Rumours highlighted the venue's tendency to challenge vocal clarity, even for legend Stevie Nicks. "This is Show 91!" screamed Nicks huskily, admitting that on many levels this was a truly amazing feat. Hits continued to be played early on: Dreams was given some minor alterations, while Everywhere saw Christine McVie take lead vocals on the classic track she penned in 1987, although the band's three-part harmonising was the main draw.
An acoustic set began with Lindsey Buckingham's contemplation on alienation (otherwise know as Big Love) which he disclosed mirrors the breakdown the band experienced at the height of their "recreational" activities. Gypsy, Little Lies and Go Your Own Way were the highlights of the closing section, although an extended Gold Dust Woman was played like a rebirthing of Nicks and Buckingham's I'm So Afraid guitar solo brought a much-needed crescendo.
ACCORDING to the traditional concert closing remarks of Fleetwood Mac’s resident ringmaster Mick Fleetwood, “the Mac is most definitely back” - and now these MOR giants come with added Christine McVie.
Hydro, Glasgow
Rating: * * * *
The singer/pianist has rejoined the line-up after a sixteen-year absence and immediately made her leavening presence felt on the close harmony of opening number The Chain.
Her simply stated love songs, such as the sweet, girlish Everywhere and mellifluous Little Lies, made a welcome comeback to the setlist, providing a charming contrast to Stevie Nicks’ more melodramatic, impressionistic numbers - though the absence of Songbird from this show’s setlist was a great shame.
The eternal hippie chick Nicks was in her theatrical element, donning a black feathery shawl for extra gothic ambience on Rhiannon – though it hardly needed an atmospheric boost with Lindsey Buckingham’s burnished guitar and the ethereal harmonies as embellishing features.
Buckingham, meanwhile, was energised throughout, limbering up those fleet fingers to deliver an athletic, acoustic Big Love which climaxed with a primal yelp.
Reunited Fleetwood Mac prove Dreams can come true
by Nick Hasted The Independent
Fleetwood Mac can actually remember the idealism which spawned 1969’s original Isle of Wight festival. But the catastrophic marriage collapses and cocaine mountains which catalysed the classic Rumours, an album which they no longer try to live down, meant they embodied the Seventies far more.
So while their Sunday headline set taps into this festival’s founding traditions, they play the smoother, harder rock of later, and far more cynical times.
Dr Showbiz has cured the unnamed ailment which cancelled two UK shows in the nervous run-up, letting them at least make it on stage, as they were always somehow going to. A bounding Mick Fleetwood is first, arms aloft in premature triumph. He is the pounding, insistent motor, musically and personally, without which the band he co-founded in 1967 would sputter and die.
Stevie Nicks and Lindsey Buckingham, by contrast, show steely determination. Buckingham, the band’s Brian Wilson-like songwriting mastermind since 1974, looks faintly above a band he has tried to put behind him many times, as if he’s too old for this foolishness.
But he gruffly leads the charge with “The Chain”, the charge of hearing its great, bass-heavy riff electrifying the huge crowd. Few have headed for the ferries with Fleetwood Mac in town.
The band’s secret, only recently returned weapon, Christine McVie dominates the early, Anglo-Californian harmonies; the English purity of her voice raises the band above the soured innocence which spawned Rumours.
When all their voices join in hippie harmony on that album’s “Dreams”, for a moment the AOR sluggishness and personal battles which have dogged them fade away.
Fleetwood Mac storm Isle of Wight Festival stage with incredible performance: See the excited reaction
by Rebecca Pocklington, Ben Mitchell Mirror- Photo Gallery
Isle of Wight Festival 2015: Fleetwood Mac, Paolo Nutini, review: 'the best Isle of Wight in years'
by Patrick Smith Telegraph
Fleetwood Mac managed to do the impossible at Isle of Wight: top Blur's performance from the previous night, says Patrick Smith.
If any act were to top Blur's glorious Saturday-night set, it would surely be folk-rock behemoths Fleetwood Mac. And so it proved, as the sun went down on what's been the best Isle of Wight festival in years, overflowing with nostalgia thanks to its affectionate nod to the 45th anniversary of Jimi Hendrix's famous performance here.
Weary bodies, battered by rain on the Friday night, hauled themselves to the Main Stage to witness the American-English quintet, who seemed to have shrugged off the illness that forced them to cancel their Birmingham and Manchester gigs earlier in the week.
It was marvellous to behold. Making their first ever appearance at Isle of Wight, this volatile soap opera of a group are now restored to their original configuration, with singer-pianist Christine McVie returning after a 16-year hiatus. That they were here to close proceedings represented a major coup for the festival – especially when you consider Michael Eavis has been trying to sign them up for Glastonbury for ages.
The Mac, now in their 48th year and in the middle of a 130-leg reunion tour, opened with the familiar driving riff of The Chain, which saw thunderous drums, coruscating guitar lines and sweeping melodies collide to devastating effect, while its chorus of, "we will never break the chain," felt rather apt.
From there the hits kept coming. Vocalists Stevie Nicks, Lindsey Buckingham and McVie, each dressed in black, all shared the limelight willingly, with the former's voice, admittedly less honey-toned than it once was, anchoring the beautiful Dreams, taken from their 1977 break-up album Rumours. "Welcome back Mrs Christine McVie," said a Nicks in one of many heartening showings of camaraderie. Everywhere, their gorgeous, twinkling ode to all-encompassing love, soon followed, with McVie taking centre stage and providing one of the high points of the festival.
Later, Buckingham stressed the importance of change, before a virtuosic performance of 1987's Big Love. How pleasing that the brilliance of Fleetwood Mac's music hasn't changed.
Earlier, in a packed-out Big Top tent, The Lightning Seeds, fresh from their appearance on TFI Friday on Friday night, were by turns wistful and energetic. Spearheaded by their charismatic frontman Ian Broudie, the Liverpudlian alt-rockers, who formed in 1989, began their 50-minute set with Sense. But it wasn't until a polished rendition of The Life of Riley, a song synonymous with Match of the Day's Goal of the Month segment in the Nineties, that the audience began to embrace them fully.
Because of the phenomenal success of Three Lions, the football anthem made with comedians Frank Skinner and David Baddiel for Euro '96 and rejigged for the 1998 World Cup, it's easy to forget that, in their pomp, Lightning Seeds were actually pretty inventive, purveyors of catchy, fey pop songs such as their 1990 track Pure which closed their set to grateful applause. Demands for Three Lions, meanwhile, were kept to a minimum – a good thing really, given that it didn't make the cut.
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