Review: Fleetwood Mac Live in Dublin "Stevie Nicks reminds her followers she's still the coolest hippy chick in town"

Still going their own special way 

CHRIS WASSER
Herald (Ireland)

Photos by Aaron Corr
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THERE IS a story about a lost Fleetwood Mac demo that ended up on YouTube almost 40 years after it was recorded.

Stevie Nicks found it, showed it to Lindsey Buckingham and they stuck it on an EP. End of. Somehow, Nicks turns this simple anecdote into an epic bedtime story, apologising as a sweaty Buckingham places his hands on his hips and sighs. If the latter is right about there being "a few chapters left in the book of Fleetwood Mac", they'd be doing well to play Without You without the lengthy backstory. Thankfully, it's one of very few slip-ups in a sublime set from the British-American foursome. This is the Rumours line-up, minus Christine McVie. But Buckingham and friends are keen to explore the various guises of their intricate, colourful history together.

Thrilling

You don't expect them to dig into 1979's Tusk. Nor do you expect its experimental leanings to sound better than soft rock beauty Dreams. You sense the shake-up in the setlist was down to Buckingham – a thrilling guitarist who also trades under the "artist" title. The British gentlemen in the gang (bassist John McVie and drummer Mick Fleetwood) are, it seems, just happy to be here. McVie, the group's backbone, has got the best job in the world. The always-reliable Fleetwood operates from a gorgeous workstation.

And then there's Stevie Nicks. Just as Lindsey likes to squeeze into his tight jeans and wink at the ladies in the front row, Stevie is also in the mood to remind her followers that she's still the coolest hippy chick in town. Prancing about with her scarves hanging from her microphone stand, and spinning in the spotlight like a stoned ballerina, you'd never guess she turned 65 this year. An enchanting songstress, her voice remains up to the task, too, not least on Sara, and acoustic favourite, Landslide.

Refreshed

Again, it's not all perfect – the new material falls flat and a few moments of self-indulgence creep in. They are, however, in the form of their lives; refreshed, re-engaged and ready for the next round. Buckingham's breath-taking solo on I'm So Afraid is incredible, and a crowd-pleasing, marathon version of Go Your Own Way is astounding. A few more chapters? Bring it on.

THE CHAIN

Fleetwood Mac "Eye Of The Hurricane" 5 Page Spread on "Tango In The Night" - Classic Rock Mag Oct, 2013

Fleetwood Mac: Colossal drug abuse, physical violence, epic strops... Forget Rumours, the Mac's craziest album was Tango In The Night.

Classic Rock Magazine - October, 2013 issue.  Available now

Fiona Sturges hails the legacy of the Fleetwood Mac, a band who have weathered more storms than the Atlantic

It’s not just a rumour: Fleetwood Mac are back
The Independent

Fleetwood Mac may have had their ups and downs but they sure know a thing or two about timing. Last year singer Stevie Nicks told Rolling Stone that 2013 would be “the year of Fleetwood Mac”. And so it has proved. Thirty-six years on from their 40 million-selling album Rumours, a languid, harmony-laden work about heartbreak which now resides in one in six US households, the Mac are back on top.

Since their Seventies heyday the band have been as famous for broken marriages and drug addictions as their music, and only recently has their back catalogue been deemed ripe for reappraisal. Following a series of re-issued LPs, next week their comeback tour rolls into the UK. Meanwhile, a new generation of artists are making known their appreciation. Below some of them explain the band’s appeal and pick their favourite LP from the back catalogue.

Check it out at The Independent

REVIEW | PHOTOS: First night: Fleetwood Mac, The 02, Dublin

"The mighty Mac are back" 

BY PIERRE PERRONE
The Independent

Photos by Debbie Hickey
Studio 10 Media
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Three songs into the first European date Fleetwood Mac have played since 2009 comes the first of several magical moments as mad-eyed drummer and ringmaster Mick Fleetwood suddenly hits his monogrammed kit harder to underpin the “loneliness of a heartbeat drives you mad” lyric of the US chart-topper ''Dreams'' Stevie Nicks is delivering in her trademark low yearning voice. This perfect marriage of musicians from two different countries united by a common language and purpose is part of what makes the Mac such a compelling concert attraction and must-see act into their fifth decade.

However, the main ingredient remains the soap opera of their intertwined relationships, acknowledged from the off with ''Second Hand News'' from 1977's epochal Rumours, and given a sense of closure with the apposite ''Say Goodbye'' at the end. Not many set lists have a narrative arc or the feel of a group therapy session but no band, not even ABBA, have lived their personal lives in public and used this emotional roller-coaster as inspiration like the Mac. Guitarist Lindsey Buckingham, wearing a Ramones-like tight jeans and leather jacket combo, admits as much, talking about “the power of change” before an impassionate solo version of ''Big Love''. He has just been hugged by Nicks after a sublime double whammy of ''Sisters Of The Moon'' and ''Sara'', two of four selections from Tusk, the somewhat self-indulgent double set the Mac issued in 1979, since reclaimed by left-field acts like Camper Van Beethoven.

Nicks has made a specialty of these ethereal, floating ballads, mining the same rich seam from ''Rhiannon'' to

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the Velvet Underground-referencing ''Gypsy'', but they all prove so affecting it would be impossible to pick a favourite or indeed to omit any of them. Their inclusion also illustrates why Nicks has been such a strong influence on Florence Welch and Natasha Khan, aka Bat For Lashes. Her writing remains as distinctive as the gothic, timeless look she fashioned for herself in the mid-seventies and she twirls around the stage – without quite essaying an Irish jig, an impossible feat in the high-heel boots she favours – and drapes herself dramatically in yet another shawl during ''Gold Dust Woman''.

Try as he might, including the dazzling solo which rescues a listing ''I'm So Afraid'', Buckingham knows that Nicks is the star of the show, even as she rambles on while introducing the sweet ''Without You'', the mid-70s demo they recently revisited for a digital download EP. She shoe-horns her own eighties electro hit ''Stand Back'' to add pop heft – and a groovy John McVie bassline – to a lengthy, nuanced, contrasting set which closes with the cross-generational audience on its feet for the evergreen ''Go Your Own Way''. Even Fleetwood's demented drum solo can't spoil the fun. The mighty Mac are back.

Fleetwood Mac play the 02 in London 24, 25 and 27 September, the LG Arena Birmingham 29 September, the Manchester Arena on the 1 October and the Hydro in Glasgow on the 3 October

GO YOUR OWN WAY

WITHOUT YOU (With intro)

SAD ANGEL

Spotlight: Stevie's prediction for Fleetwood future

The singer is relieved her tip about the band’s big return has

come true, writes Sarah Walters
Manchester Evening News

‘I TOLD the press last year that 2013 was going to be the year of Fleetwood Mac,” comes the nervous confession of Stevie Nicks, the band’s vocalist and songwriter. “I was just hoping with all my heart that this big statement was gonna come true!”

Certainly, the UK hasn’t made a liar out of Nicks who, at the age of 65, is about to embark on a headline trip around the country’s biggest arenas. Nor, in fact, has the rest of the world: the band’s biggest selling album, 1977’s Rumours, found itself nearing the top of several worldwide charts again this year – adding hundreds of thousands more sales to the 40m copies shifted since its release.

Nicks is still a blonde stunner, and it’s hard to believe she’s preparing to celebrate her 40th year with the group in 2014; in that same year, Fleetwood Mac – completed by Mick Fleetwood (drums), John McVie (bass) and Lindsey Buckingham (vocals, guitar) since the departure of Christine “Perfect” McVie in 1998 – will reach the grand age of 47.

They lost years to drugs, in-fighting and line-up changes, but since the Anglo-American blues-rock band dropped to a four-piece they’ve seemed unstoppable, their international live shows grossing millions at the box office. And that’s, in part, because of the longevity of their back catalogue; Albatross, Go Your Own Way and Nicks-penned Dreams and Rhiannon have endured through musical fads and fashions.

Fleetwood Mac, O2 Arena, Dublin, Review ★★★★ out of 5 stars

Watching Stevie Nicks and Lindsey Buckingham sing into the same microphone in a surprisingly edgy set is the musical equivalent of seeing divorced parents back together, says Neil McCormick.

By Neil McCormick
Telegraph
September 20, 2013 Dublin, Ireland

Amidst an absolute thunder of drums, a sleek, racing Formula One bass line and a fuzzed-up guitar attack, a high male and low female voice coalesce in a gorgeous California sunshine harmony to deliver Fleetwood Mac's key message: "You can never break the chain."

Apparently not. They've been going 45 years in one incarnation or another, yet they still seem quite unlikely, a fundamentally disparate and unstable set of elements forced through sheer popularity to share a stage together with results that may well be greater than the sum of the parts but still teeter on the brink of a kind of explosive disintegration. This long-running soap opera of conflicting personalities and opposing musical styles remains extraordinarily alive and compelling.

Even without the perfect pop songs of Christine McVie (who left the soap at the end of the last century but is rumoured to be returning for a guest appearance at their London concerts this week) and unwilling to draw on nine early albums of blues rock, Fleetwood Mac still seem to comprise at least three groups in one. There's the British rhythm section of Mick Fleetwood and John McVie, looking all Chas & Dave in waistcoats and flat caps, driving everything along with a propulsive pub rock efficiency. Then there's Lindsey Buckingham's new wave art rock energy, hopping up and down on the spot in tight pants and leather jacket as he rips out trippy, echoing guitar parts and sings snappy songs like he's going to combust if he doesn't get the words out. Meanwhile Stevie Nicks, the hippie wet dream now looking like a dark folk witch, still waving her scarves about and drawling poetic fantasies in a voice that no longer floats ethereally but cuts and thrusts with the Americana grit of a female Dylan. On paper, this is a combination that shouldn't work. Yet that sense of hanging together by a thread is part of what lends the old troupers such vitality. This may be the least comfortable excercise in nostalgia I have ever seen and all the better for it.

There is nothing smooth about Fleetwood Mac. Somehow, even after all this time, they don't have the polish of a west coast harmonic rock machine like The Eagles. Their set is surprisingly gnarly and edgy, constantly being dragged between all these opposing musical poles. Indeed, they seem to delight in contrariness, filling up a nearly three hour set with offbeat selections from the provocatively odd and unloved Tusk and new material from a recent EP, frequently preceded by rambling monologues from Buckingham or Nicks that are longer and more involved than the songs themselves. "If we're looking a little frazzled it might be because we are a little frazzled," apologises Nicks, blaming the stresses on it being the first date of a European tour. But actually Fleetwood Mac are a group who are permanently frazzled by the intensity and complexity of their relationships, particularly that of teenage sweethearts Nicks and Buckingham, who still seem to be working out their separation and reconciliation onstage in the longest and most public group therapy session ever. Nicks introduces a new song, Without You, by telling us that "before fame and all the creepiness creeped in there was a really sweet boy and a really sweet girl" but then almost undermines the sentiment by briefly bickering with Buckingham about who said what when. "I always agree with you!" insists Buckingham. "No you don't!" snorts Nicks.

The crowd love it, of course. When Nicks and Buckingham sing into the same microphone or walk out for encores hand in hand, it is the musical equivalent of seeing divorced parents back together. Their legendary album Rumours and long career of conflict and reconciliation have provided a narrative to parallel relationships in listeners' lives, only with better melodies, virtuoso playing and even a startlingly impressive drum solo.

The audience delight in the continuing saga of Fleetwood Mac is manifest. What is even more striking is the band's delight. Indeed, if there is a new development on their first tour in three years it is that they seem to be falling in love again. "There are still chapters left in the Fleetwood Mac book," enthuses Buckingham. This one is going to run and run.

GOLD DUST WOMAN

NEVER GOING BACK AGAIN
Photos by Debbie Hickey