As previously announced, Fleetwood Mac will be releasing Fleetwood Mac: Live 1975 on November 28th as part of Record Store Day Black Friday. The 2LP, 13 song set will be released on crystal-cleaer vinyl.
It's now been announced that Rhino will also release the live album on CD. Pre-orders are now open on AmazonUS | AmazonCA
The live album captures the band’s first tour with the now-legendary lineup of Stevie Nicks, Lindsey Buckingham, Mick Fleetwood, John McVie, and Christine McVie, the set delivers the energy and raw brilliance that defined their mid-’70s ascent.
Recorded 50 years ago at the Capitol Theatre in Passaic, NJ (October 17, 1975) and Jorgensen Auditorium at the University of Connecticut (October 25, 1975), the collection showcases live performances of recent hits like “Rhiannon” and “Landslide” alongside earlier gems such as “Hypnotized” and “Oh Well.” Pressed on vinyl for the first time, the album will be available at your local brick and motar record stores on November 28th. Vinyl quantity is limited to 5,000.
Also available for pre-order Target will issue an exclusive translucent purple edition of Fleetwood Mac’s classic Greatest Hits (1988) on December 5th, also available for pre-order now.
A Stevie Nicks concert, like the one Tuesday night at Charlotte’s Spectrum Center, is still an event. Fans dress up in leather, lace, flowing skirts, hats, scarves and the color black — lots of black. Nicks, the former Fleetwood Mac frontwoman turned solo star, rolls through songs and stories with the talented/beautiful/spacey/earth mother persona that she has cultivated through more than 50 years in an adoring spotlight. She can still belt one out, too, and singing “Edge of Seventeen” when you’re actually 77 years old is no simple feat.
Her show was packed to the top row of the upper deck with fans — about 70% of them female and a surprising number of them under age 30. Nicks has stayed relevant for all these years, still able to fill up the Charlotte Hornets’ building the night before they open the regular season, in part because she’s not simply a rock star. She’s an icon with not one but two Barbie Signature dolls made in her likeness — the second of which was just announced and which she revealed to the crowd midway through her show.
“So now I actually have, like, an incredibly fabulous surprise for you!” Nicks cooed. Soon she was giddily displaying the Mattel doll that she calls “Bella Donna Barbie,” which is an ode to the flowy-white-dress look she had when her hit solo album “Bella Donna” was released in 1981. Nicks then proceeded to do a little bit of jokey ventriloquism with the doll and eventually gave it away to a fan.
Video: ashtenree
That Nicks has had not one but two Barbie dolls created in her likeness — the first one portrayed Nicks in her “Rumours”-era Fleetwood Mac garb — gives you an idea of her legendary status. She’s moving more slowly now, having postponed all her concerts in August and September due to a shoulder injury. She only recently returned to touring. Her twirls and spins are more careful, as befits a septuagenarian, and each was cheered enthusiastically by a crowd urging her on. And although her voice remains wondrous, she gets help with the more difficult notes from a couple of excellent backup singers.
Nicks was on stage Tuesday night for an hour and 40 minutes. Given it was a school night, the tight schedule she kept was probably appreciated by all the parents of young children in the audience. Onstage at 8:20 p.m., off at 10 p.m., good night, good luck and thank you very much. But she’s still Stevie Nicks, and she still brought the house down with her two-song encore of “Rhiannon” and “Landslide,” the latter performed as evocative photos of Christine McVie, Nicks’ Fleetwood Mac bandmate who died in 2022, played on the big screen. To me, “Landslide” was the highlight of the show, just as all final encores should be. “Dreams,” “Gold Dust Woman” and a cover of Tom Petty’s “Free Fallin’” were also standouts.
Would I have liked to have heard more of Nicks’ vast catalog? Absolutely. Neither “Sara,” “Leather and Lace” nor “Silver Spring,” unfortunately, made an appearance. But the stories she tells between songs — some of them several minutes long — are endearing, too, even when they flutter all over the place like a white-winged dove.
Nicks sang “happy birthday” to the Spectrum Center to begin her show (“Happy birthday to this building, this great old Southern building” went one ad-libbed line). Her concert came on the exact same day, 20 years ago, in which the Spectrum Center officially opened (albeit under another name) with a Rolling Stones concert. The newly-renovated venue does feel refreshed and more open everywhere after its $245-million upgrade. That’s a significant improvement. There’s no doubt it has added a number of places where you can spend your money. After the “great old Southern building” ditty sung for a building that, if it were a person would still not be old enough to buy a drink, Nicks referenced her return to the stage and her shoulder injury like this:
“Well, I think that I’m so happy to be here. I’m pretty sure I’m here. I’ve had a little problem in the past, in the last few months, but I’m not wearing a sling just for you. And I’m really happy to be here and not back there, waiting to leave there and come here. Yes. So anyway, let’s just kick this thing up into the universe and get this party started!” The party was directed by a witchy master of the craft who led a talented band but didn’t play an instrument herself all night. Not a tambourine, not a brief turn at the piano — nothing. A Stevie Nicks concert mainly consists of Nicks, her decorated mic stand, her voice and her assortment of theatrical capes — most of them with their own, decades-old history. And yet you can’t really take your eyes off of her.
It should also be noted that Nicks picked a fine opening act. Country singer Abby Anderson, gave a 30-minute, one-woman show in which she alternated between piano, guitar and stories about growing up in Texas. She seems like a rising star.
But Nicks was the showstopper, along with the cameo by Bella Donna Barbie, the doll with which she was so obviously delighted. Said Nicks at one point late in the show, speaking to the crowd: “We are here. We’re having fun. ... Yes, we’re the lucky ones.”
And it did feel lucky to be there Tuesday. Who knows how many more times Stevie Nicks will come to Charlotte? Listening to her talk about her collaborative friendship with the late Tom Petty and seeing the photos of her with the late McVie during “Landslide” certainly soaked the evening with nostalgia. In what her fans know as her “Edge of Seventeen” walk, Nicks left the mic stand during the instrumental portion and dance-walked-posed all the way from one side of the stage to the other, slowly, with the applause rising at her every stop. Yes, she’s got a new doll. But we’ve still got the real thing.
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.
Nearly fifty years after Rumours first rewired the landscape of pop and rock, Fleetwood Mac continue to defy time, trend, and turnover. This week marks a new milestone in the UK: “The Chain” has entered the Top 75 for the first time, Fleetwood Mac’s first NEW entry in the top 75 in 35 years, an extraordinary feat for a song whose heartbeat has never stopped echoing through British culture.
UNITED KINGDOM
The Chain Pulls the Band Back into the Top 75
Fleetwood Mac score their 26th Top 75 hit as “The Chain” jumps 79-68 on the Official Singles Chart, surpassing its previous July peak of No. 76 and clocking 6,189 ACR units. That may sound like a statistic, but in context, it’s a revival story: a four-minute masterclass in tension, heartbreak, and unity that has now out-raced time itself.
“The Chain” joins Fleetwood Mac’s “big four” UK digital-era juggernauts — “Everywhere” (3.94 million units), “Dreams” (3.79 million), and “Go Your Own Way” (3.27 million), each now comfortably six-times-platinum in the streaming age. This renewed climb underscores how the streaming generation has adopted Rumours not as a relic, but as a living, breathing record.
Meanwhile, “Dreams,” Fleetwood Mac’s most enduring single on the UK charts, refuses to rest. The song climbs again this week, from No. 52 to No. 49, now logging an astonishing cumulative 52 weeks in the UK Top 75, a full year’s worth of modern-era visibility for a song that first peaked at No. 24 almost half a century ago. “Everywhere” remains a quiet constant at No. 83, part of a trio of Mac classics still soundtracking life in 2025 Britain.
On albums, 50 Years – Don’t Stop remains the band’s most consistent seller, holding firm at No. 7 with 7,495 sales, while Rumours edges up a notch to No. 18 on the Top 100 and continues to dominate on other charts: No. 6 on streaming albums, No. 24 on physical and sales lists, and No. 15 on vinyl. Nearly five decades on, Rumours sells like a record that has just come out.
And not to be overlooked, the collaboration between Miley Cyrus and Lindsey Buckingham with Mick Fleetwood on drums, “Secrets,” continues to show surprising longevity across download and sales charts, peaking at No. 13 on downloads and No. 16 on sales earlier this month. While its one-week cameo in the main Top 100 (peaking No. 86 on Sept 27) was brief, its cross-generational pairing feels emblematic of the Mac’s ongoing relevance to pop’s younger vanguard.
Buckingham Nicks, now in its fourth UK chart week following its long-awaited reissue, continues to impress. It ranks No. 32 on Album Sales, No. 28 on Physical Albums, and holds No. 7 on the Americana Chart, proving that the 1973 cult classic has finally found its audience half a century later.
UNITED STATES
Rumours Reigns, The Chain Returns, and Nostalgia Still Streams
Across the Atlantic, Rumours continues its remarkable streak on the Billboard 200, climbing to No. 20. Greatest Hits holds steady at No. 105. On genre-specific tallies, the Mac remain unrivalled: No. 3 on Rock Albums and No. 4 on Rock & Alternative Albums, underscoring the LP’s unique status as both a pop and a rock institution.
Streaming tells an equally compelling story. “Dreams,” still riding residual waves from its 2020 viral resurgence, rises again on the Billboard Global 200 to No. 57 and reappears on the Global Excl. US chart at No. 116. More tellingly, “The Chain” makes a re-entry at No. 154 – suggesting a synchronized global spark likely tied to renewed playlist placement, social media traction, or cross-media exposure. Within the U.S., “Dreams” ranks No. 31 on the Top 50 Streaming Songs, while Rumours keeps its iron grip on the Top 50 Streaming Albums (No. 26) and Vinyl Albums (No. 11).
Sales charts echo that vitality: Rumours (No. 30 on Top Album Sales) remains one of the few ’70s albums selling enough pure copies to rank among 2025’s new releases. Meanwhile, Buckingham Nicks continues its U.S. momentum in week three at No. 20 on Album Sales and No. 9 on Indie Store Albums, a remarkable achievement for a title that spent five decades out of print.
In Canada, Rumours re-enters at No. 15, while Greatest Hits slides to No. 91, proving the Mac’s cross-border appeal remains as strong as ever.
THE REST OF THE WORLD
Rumours Rolls On, The Chain Echoes Across Europe
From Dublin to Düsseldorf, Fleetwood Mac continues to show a remarkable global footprint.
In Ireland, 50 Years – Don’t Stop rises to No. 6, while Rumours holds at No. 16. Singles activity remains robust too: “Dreams” climbs to No. 48, “The Chain” to No. 63, and the beloved B-side “Silver Springs” edges up to No. 76, a rare sight for a track that never had a major single release.
Across continental Europe, the pattern is clear — Rumours never truly leaves the charts, it simply pauses before resuming its march.
Netherlands: No. 8 for Rumours, No. 97 for Tango in the Night – demonstrating multi-album endurance.
Germany: Rumours rockets from No. 99 to No. 67 on the main chart and re-enters the Rock/Metal albums list at No. 14.
Austria: steady at No. 54.
Norway: No. 18.
Sweden: Rumours rises to No. 31 and its singles gain momentum – “Dreams” up to No. 56 and “Everywhere” re-enters at No. 94.
Croatia: a surprise re-entry for the self-titled 1975 Fleetwood Mac album at No. 37, showing even the deep catalog finds new life in 2025’s rediscovery era.
A Legacy That Refuses to Fade
What we’re seeing is more than nostalgia. Fleetwood Mac’s catalog is performing with the vitality of a current act a testament to the universal themes of Rumours, the multi-generational pull of Stevie Nicks’ and Lindsey Buckingham’s songwriting, and the band’s continued pop-culture presence. From viral moments to vinyl collectors, Fleetwood Mac is not merely maintaining relevance; they’re expanding it.
Nearly half a century on, the message remains unchanged: Never break the chain.
Stevie Nicks’ cultural legacy looms as large as the T-Mobile Arena itself – after all, the two-time Rock & Roll Hall of Famer remains the only woman inducted twice into the Hall.
That legend was on full display in Las Vegas on October 11, 2025, as Nicks – now 77 – took the stage for the fourth show of her fall tour. The rock icon proved her enduring appeal with a mystical, high-energy performance that had thousands of fans under her spell. Die-hard attendees noted that the setlist held steady from earlier stops, meaning the rare gem “Angel” (revived on opening night in Portland) was once again left off the set. But with a trove of other beloved songs and deep cuts to offer, Nicks kept the crowd enthralled from the first note to the final bow.
What is there to say about an artist as legendary as Stevie Nicks? The Valley native has been in our lives for decades. As a member of the storied rock group Fleetwood Mac, she was responsible for singing parts of some of the most enduring songs of the last 50 years. When “Rhiannon,” “Dreams” and “Landslide” first entered the culture, they’ve been fixtures ever since. How many songs achieve this? Not many.
Her unique image — an interesting mix of upbeat femininity, hippie vibes and dark energy that was put to good use when she guest-starred on an episode of “American Horror Story” — has also probably made her a lasting cultural icon. Which is why it took me by complete surprise that she managed to somehow — despite her legendary status — to feel completely down to Earth. The fact that she seemed so relatable might be the impressive feat someone of her status can pull off.
After performing the first tune of the show, she immediately talked about coming home to Phoenix and how she had lived here for more than 20 years. Even though she’s a long-time California resident, she spoke about how people often asked her if she missed the ocean when she was in Arizona. She told them that the desert and the ocean managed to somehow make similar sounds. Nicks also talked about how she often felt inspired by the desert whenever she was in town. The white-winged dove lyrics that open “Edge of Seventeen” were inspired by a menu of a Phoenix restaurant that read “The white wing dove sings a song that sounds like she’s singing ooh, ooh, ooh.” I couldn’t detect an ounce of pretension in her persona or performance. She even twirled a few times during the show — one of her signature moves. I also admired her candor and ability to make a show at the recently renamed Mortgage Matchup Center in downtown Phoenix feel intimate.
A dynamic image
Can you think of a better month for a Stevie Nicks show than October? I sure can’t. It was a joy seeing many audience members dressed in Nicks-inspired attire. Think spooky black, lace and her signature long shawls draped over their shoulders. If Nicks were a holiday, she’d be Halloween. Nicks wore all black when she performed behind her microphone decorated with shiny scarves, and her long blonde curls were on full display. Speaking of shawls, throughout the show, Nicks donned a few and took a few moments to explain the significance of a couple of them.
She started with the dark blue shawl that she wore on the cover of the “Bella Donna” album. She said it was strong and had never been mended. Another was the shawl she wore in the “Stand Back” videos. She jokingly said one was a good video, and that the other was not so good. Finally, she showed off the shimmery gold one that she wore during, you guessed it, the performance of “Gold Dust Woman.”
That song in particular was so dreamy, ethereal and made great use of the show’s screens with “gold dust” seemingly splashed all over the image of Nicks performing. The title was a nod to Gold Dust Avenue in Scottsdale.
Stellar production and song notes
Nicks performed in front of massive screens that displayed images that were coordinated perfectly with each tune. Many featured pictures of her from the past, with her big eyes and flowing long hair. Although the images could be a bit on the nose — a flying white dove during “The Edge of Seventeen,” anyone?—they always managed to be effective. I also enjoyed the dark images of lightning and a lighthouse for the track “The Lighthouse.” Written in Chicago by Nicks in response to the fall of Roe v. Wade, it’s impressive that she’s still able to craft powerful jams after all this time.
My personal favorite vocal performance was “Rhiannon.” Nicks managed to really nail the vocals of this track. It represents so much about what made Fleetwood Mac so great: It’s ethereal, magical and powerful all at once.
The extended drum and guitar solo that led into “Edge of Seventeen” was also particularly effective. Like a nice long tease before you finally get to that iconic opener of the enduring rock track.
The version of “Dreams” was nice and slow. I’ve always loved how dreamy (pun intended) that song feels and hearing it slowed down somewhat made it even more ethereal.
Touching tributes
The show also included a few touching tributes to Nicks’ musician pals who have passed. Before she took the stage, Tom Petty and The Heartbreakers’ “Running Down a Dream” played in its entirety. Before singing “Stop Draggin’ My Heart Around,” Nicks spoke of how the late, great and fellow rock legend Tom Petty wrote this song for her first solo album, “Bella Donna.” The album needed a single. Petty crafted the duet that ended up rocketing up the charts, and the rest is history. As Nicks sang, pictures of her alone and her together with Petty were displayed on the screen.
But the tributes didn’t stop there. Nicks performed a gorgeous rendition of Petty’s all-time anthem, “Free Fallin’.” Her vocals soared, and the entire song was such a magical, powerful tribute to such a rock icon. It was a special moment and a reminder of why we all go to live concerts in the first place. She added her own signature vocal flourishes to Petty’s most famous track. As she sang, images of Petty, his bandmates, including long-time guitar player Mike Campbell and Nicks over the years played in the background. It was such a sweet and touching tribute to an artist she had known for decades. Petty passed away eight years ago on Oct. 2, 2017. It’s hard to imagine Nicks having any real, true equal, but he’s probably as close as anyone could ever really get.
Before she launched into the final song of the evening, she talked about how she was laid up in bed for weeks recovering from a shoulder injury and listened to the opening band while she was healing — a three-piece Austin-based rock act called The Night Traveler–and wished she had never sold her Arizona house 10 or 15 years ago.
The last song of the evening was “Landslide.” As Nicks performed this touching song that’s largely about what it means to get older, images of her late Fleetwood Mac bandmate Christine McVie splashed across the screen. McVie passed in 2022. Part of aging is about accepting loss, and the images of her with McVie felt heartfelt.
After “Landslide,” Nicks and all her fellow performers took a few bows. She advised everyone to listen to music, which is her favorite activity. Finally, Nicks told everyone to get home safely. One can only hope that Nicks felt right at home on Tuesday.
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.
The latest release from Lindsey Buckingham and Stevie Nicks is the lyric video for "Frozen Love", the over 7-minute-long last song on the album.
Lindsey Buckingham and Stevie Nicks’ elusive 1973 studio album is out now with newly remastered sound on Vinyl, CD and digital. Get it Here: https://bn.lnk.to/BNAlbum
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