Tuesday, October 23, 2018

REVIEW Fleetwood Mac Live in St. Paul, MN October 22, 2018

Fleetwood Mac soldiers through St. Paul concert without guitarist Lindsey Buckingham

The Hall of Famers were revitalized by two new replacements. 

By Jon Bream Star Tribune

The elephant wasn’t in the room but you sensed his presence all night long anyway.

No, guitarist/singer/producer Lindsey Buckingham got kicked out of Fleetwood Mac this year, but it was obvious who was getting under Stevie Nicks’ skin when she came out of her trippy, enigmatic dance during “Gold Dust Woman” Monday night at Xcel Energy Center in St. Paul.

She approached the microphone again, tugged tightly at her spangly gold shawl and started purging in song from deep inside her psyche: “You can’t save me now. You did this to me. You can’t fix me. You can’t fake me out. You can’t save me. You can’t blame me. You can’t change me. You can’t do it.”

Talk about shattering your illusions of Fleetwood Mac.

Fleetwood Mac without Lindsey Buckingham is sort of like the Twins without Joe Mauer. He’s been there forever, right? The band, like the baseball team and Mauer, existed before Buckingham joined in 1975 and still carries on without him.

In their 10th show since booting Buckingham, Fleetwood Mac took a while to find its footing. Oddly enough, it was a cover that sparked Nicks and the rest of the band. Neil Finn, who along with Mike Campbell has replaced Buckingham, was reprising his hit from Split Enz, “I Got You,” and Nicks was relishing vocalizing as if she was in her Los Angeles mansion singing along to MTV in 1982.

Then it was time for “Rhiannon,” perhaps the Steviest of Nicks songs, and she became Stevie Nicks, all bewitching mystery, dangling scarves, shiny beads and mesmerizing vocals. Her voice was clear, she seemed focused and, for a rarity in Fleetwood Mac, relaxed. Refreshed, too.

Nicks and the band — the veterans range in age from 70 to 75 — seemed revitalized by the addition of Finn and Campbell of Tom Petty & the Heartbreakers, who represent guitarists No. 11 and 12 in Fleetwood Mac’s long history. (No, the unofficial record for replacements in one band is held by Spinal Tap’s drum seat. Google it.)

The new players helped to open up the Big Mac catalog, which, of course, dates back to the band’s beginning in 1967 in England. That gave Campbell, 68, an underappreciated guitarist in his Petty days, an opportunity to exercise his blues vocabulary, painting “Black Magic Woman” with a heavier brush than Carlos Santana used on his famous cover version and turning “Oh Well” into something swell if you welcome a Led Zeppelin feel.

The crowd of nearly 14,000 was thrilled to hear Campbell’s signature work on Petty’s “Free Fallin,” which featured the liberating lead vocals of Nicks, the world’s biggest Petty fan. New Zealand’s Finn, 60, who has a Paul McCartney vibe about him, did a lovely understated reading of “Don’t Dream It’s Over,” the 1986 hit by his other band, Crowded House. With his assertive tenor, he was a good surrogate for Buckingham’s vocals on such Mac favorites as “Second Hand News” and “Go Your Own Way.”

His acoustic guitar was all the reassurance Nicks needed to turn “Landslide” — her reflections about the fear of moving on from a relationship because, as she sings, she’d built her life around him — into one of the highlights of the 140-minute concert. As she has often done in the Twin Cities, she dedicated the song to her “one and only husband,” Kim Anderson, who was in attendance with his girlfriend of 30 years. “Minneapolis, St. Paul — quite a place in my heart forever,” she proclaimed as the fans cheered loud and long.

Always a crowd favorite, this tune seemed to have new resonance on this night. It was so obvious that she’s moved on from the elephant in the room.

Full show

Fleetwood Mac Announce 3 New Dates - London, Dublin and Berlin

Fleetwood Mac Announce 3 New Dates:

Legendary, GRAMMY-award winning band Fleetwood Mac announce a European tour, set to kick off in June with three exclusive performances currently announced in London, Dublin and Berlin. Produced by Live Nation, the tour will feature the newly announced line-up of Mick Fleetwood, John McVie, Stevie Nicks, and Christine McVie along with newcomers Mike Campbell and Neil Finn.

Tickets for the tour will go on-sale to the general public starting on Friday, October 26th at 9am local time. A complete Fleetwood Mac itinerary listing all tour dates follows this release. For further information, please visit www.fleetwoodmac.com.

A limited number of LaneOne VIP Packages will also be available, including amazing seats with premium benefits such as transportation, preferred entrance and more. LaneOne premium VIP packages are available here: LaneOne

Sunday, October 21, 2018

Lindsey Buckingham Performs Rockaway Blind by Request in Washington, DC

Lindsey Buckingham Live in Washington, DC
October 19, 2018

Rockaway Blind... First time performed on this tour... By special request :)  So cool!!

REVIEW and VIDEO Fleetwood Mac Live in St. Louis October 20, 2018

Fleetwood Mac is back, delivering Buckingham-free show at Enterprise Center
By Kevin C. Johnson
St. Louis Post-Dispatch

Photo Tim Vizer - View more HERE

Once the members of Fleetwood Mac realized it would take two players to replace one Lindsey Buckingham, did they question whether moving forward made any sense?

That question was ultimately answered when the classic band played the Enterprise Center on Saturday night in front of 13,400 fans, many likely wondering how Fleetwood Mac would pull off a Buckingham-free tour with Neil Finn and Mike Campbell as newcomers to the fold.

As we all know, Buckingham was a key singer, songwriter and guitarist with the band as far back as the ’70s, but parted ways early this year over touring conflicts (reportedly everyone was ready to go out on the current tour except for Buckingham, so they went without him).

It has been messy ever since, resulting in Buckingham filing a lawsuit against the band over $12 million in lost touring wages.

Touring without Buckingham is a punch to the gut not only to Buckingham but to fans who want their Fleetwood Mac intact.

“The Mac is definitely back,” drummer Mick Fleetwood said at one point. And it’s true though different from before.

During band introductions, Mick Fleetwood said Campbell (Tom Petty and the Heartbreakers) and Finn (Crowded House, Split Enz) had their own stories to tell before joining “this crazy band,” and gave them time to show who they are, within the context of Fleetwood Mac and on their own.

Opening with “The Chain,” the combination of Mick Fleetwood, Stevie Nicks, Christine McVie, John McVie, Campbell and Finn felt tentative initially. It was hard to tell how this would all play out. “Little Lies” and “Dreams” were safe second and third song choices with Christine McVie and Nicks on lead, respectively.

The first real test came with the Buckingham-penned “Second Hand News,” on which Finn assumed lead and to his credit pretty much nailed it. And with that was the realization the new Fleetwood Mac isn’t a bad thing, but rather a different thing. And maybe a shake-up is necessary at times to bring new elements into an old thing.

It was smooth sailing from there, as the band performed expected staples such as “Say You Love Me,” “Go Your Own Way,” “Everywhere,” “Rhiannon,” “Gold Dust Woman,” giving Nicks and Christine McVie their required moments to shine. But there were also a few surprises, and songs unique to Finn and Campbell.

Among the moments that could have happened only with this version of Fleetwood Mac were Campbell augmenting a version of “Gypsy,” Finn on a cover of Split Enz “I Got You” (perhaps not so much a big deal) and more memorably, the cover of Crowded House’s “Don’t Dream It’s Over” showcasing Finn, and Nicks and Finn on “Landslide.”

Finn blended with Christine McVie on “Tell Me All the Things You Do” and with Nicks and Christine McVie on “World Turning.” The latter included an enthusiastic super extended drum solo from Mick Fleetwood as the other players left the stage, with plenty of screaming call-and-response between him and the crowd.

One nice inclusion was Nicks singing lead on “Black Magic Woman,” which was a Fleetwood Mac song before it was a Santana song. If in name only, outside of “Gypsy,” is there a song with a title better suited to her? The song culminated with Christine McVie and Campbell jamming on piano and guitar with her, respectively.

The concert fell on the occasion of what would have been Petty’s 68th birthday, marked here by “Free Fallin” with Nicks on lead, which opened the encore (Fleetwood Mac has actually been playing the song all month on tour). Petty’s wasn’t the only birthday celebrated.There was also a quick nod to Chuck Berry, who would have been 92 on Oct. 18, with Campbell offering a few quick licks of “Johnny B. Goode” before going into “Oh Well.”

Mick Fleetwood addressed the crowd at the end of the show, a St. Louis backdrop behind him, and thanked fans for support and encouraged them to be kind to each other.

Videos at the link below

Friday, October 19, 2018

REVIEW Fleetwood Mac Live in Kansas City, MO October 18, 2018

Divorce is no stranger to Fleetwood Mac. The band, founded more than 50 years ago as a British blues ensemble, has survived an inordinate amount of personnel changes and internal turmoil yet remains an unfailing success as an arena band and the object of affection among fans from among at least three generations.

Thursday night, the latest version of Fleetwood Mac visited the Sprint Center.  A crowd in excess of 13,000 attended, knowing from the moment they purchased tickets that one of the band’s most beloved and elemental members had been fired: chief mastermind, Lindsey Buckingham.

Photos by Sprint Center

Back in April, the band announced they’d parted ways with the guitarist/songwriter. Lawyers have since gotten involved and lawsuits have been filed—just more nastiness within a band renowned for estrangements, departures, and internal acrimony.

Nonetheless, the tour, as usual, went on. The band hired two absolute ringers to fill Buckingham’s large shoes: Mike Campbell, lead guitar slinger for the late Tom Petty’s band, the Heartbreakers; and Neil Finn, ace singer-songwriter and guitarist from New Zealand best known for his time in the bands Crowded House and Split Enz.

Despite those top-shelf additions, there was much consternation over how this version of Fleetwood Mac would survive Buckingham’s second departure (he went on “hiatus” from 1987-97).

The answer: just fine, though something definitely was missing.

This six-piece version of Fleetwood Mac (Finn, Campbell, Stevie Nicks, Christine McVie, and founders John McVie and Mick Fleetwood) was fortified with plenty of backup help: two backup vocalists, a percussionist (perched amid a large drum kit aside Fleetwood), plus a keyboardist and third guitarist, both of whom also delivered vocal harmonies, adding luster and heft to nearly every song.

Buckingham’s absence would not affect the set list much, a point made evident from the very first song, The Chain, a classic from the blockbuster Rumors album that is usually commandeered vocally by Buckingham. Not this time, though, and his absence seemed to matter little to the big, rowdy crowd, which sang along with gusto.

From there, they bounced about from one hit to another: Little Lies, a porcelain pop hit from Christine McVie, to Dreams, a career-defining Nicks song, to Second Hand News, a Buckingham number that Finn handled vocally and which includes the line, “Someone has taken my place.” Zing No 1.

Then Christine McVie delivered an on-point version of Say You Love Me, a timeless and perfect pop hit from the Fleetwood Mac album, now 43 years old. It’s worth noting that there were plenty of fans in attendance who were half the age of that album, even younger. This band keeps growing fans.

One of the points of this tour, evidently, is to honor the Fleetwood Mac heritage and brand by visiting albums and songs that pre-date the Buckingham-Nicks days. So Nicks led the band through a rendition of Black Magic Woman, a song made famous by the band Santana but written and first recorded by Fleetwood Mac alum Peter Green in 1968.

Campbell had no trouble re-creating Carlos Santana’s leads on guitar, and Nicks’ vocals were fine, but this exercise seemed unnecessary: a group with so many hits in its warehouse turning into a cover band playing a classic-rock radio staple.

The rendition of the Danny Kerwin song Tell Me All The Things You Do, a lively but inconsequential rock-blues number, was equally as unsatisfying. Furthermore, they played nothing off the brilliant Tusk album—Buckingham’s crown achievement–which was a significant disappointment.

They gave Finn a couple of big moments in the spotlight that paid off. First, he and Nicks performed the Split Enz new wave classic I Got You. Later, after a gracious introduction from Fleetwood, he serenaded the crowd, with some help from Nicks, with Don’t Dream It’s Over, a Crowded House number that, somewhat surprisingly, prompted a healthy sing-along.

Things got too jammy a few times. Fleetwood’s drum solo during World Turning, as it has for decades, went on too long. And Campbell passed the vocal test during Oh Well, another Peter Green classic, but the prolonged, bluesy instrumental revived memories of jam-band incidents at the Wakarusa Festival

Nicks, still a rock-star heroine, delivered a few of the evening’s biggest and most memorable moments: Rhiannon, Gypsy and Landside, which never fails to turn a bustling arena crowd into a campfire sing-along choir.

They brought the first set to a rip-roaring close with four blockbusters: Monday Morning, which Finn handled with ease, as if he’d written it himself; You Make Loving Fun, another Christine McVie pop tart; Gold Dust Woman, which was appended by an instrumental jam that went on too long; and then, depending on your perspective, a moment of blasphemy or bliss: Finn and Nicks barnstorming through Go Your Own Way, the definitive Buckingham-Nicks breakup song.

As emotional as that was, that was just a warm-up for what ensued. For the first encore, Nicks, stepped up and sang one of Petty’s biggest hits, Free Fallin’. As the crowd roared back the chorus, the video screen behind the band broadcast portraits of Petty with Campbell, other Heartbreakers and Nicks. So bittersweet.

They followed that with another Rumors blockbuster, Don’t Stop, which could easily be interpreted as a missive to Buckingham’s absence: Yesterday’s gone; don’t you look back.

There was no misinterpreting the closer, however: a lesser-known Christine McVie song from the Time album that she performed with Nicks called All Over Again. It’s an elegy for a fractured romance, a declaration that all was over, but there were no regrets: “I have to let you go” but “in spite of the heartaches … I’d do it all over again.”

It ended the evening perfectly. For amid all the prevailing joy and warm reconnections to longtime favorite songs, there was also in the air a wistful sense that something profound was missing, but life was moving on.

The Chain; Little Lies; Dreams; Second Hand News; Say You Love Me; Black Magic Woman; Everywhere; I Got You; Rhiannon; Tell Me All The Things You Do; World Turning; Gypsy; Oh Well; Don’t Dream It’s Over; Landslide; Isn’t It Midnight; Monday Morning; You Make Loving Fun; Gold Dust Woman; Go Your Own Way. Encore: Free Fallin’; Don’t Stop; All Over Again.

Side note: Gypy was added to the set, Hypnotized and Storms still out.


Videos at the link below

REVIEW Fleetwood Mac Live in Indianapolis, IN October 16, 2018

Review: Fleetwood Mac at Bankers Life
Iconic band impresses with Buckingham-less lineup
by Seth Johnson
Music Editor Nuvo.net

Photo Gallery
by Haley Ward

Few bands have a history as interesting as Fleetwood Mac.

The band’s current tour marks yet another chapter of intrigue, as Lindsey Buckingham is no longer in the lineup. In his absence, Fleetwood Mac is digging back into their 50-year-old catalog with the help of Mike Campbell on guitar and Neil Finn on rhythm guitar/vocals. Together, the star-studded pairing did a more than adequate job of filling in for Buckingham at their show in Indy, while also adding a bit of their own flavor to the band’s age-old classics.

Fleetwood Mac stopped by Bankers Life Fieldhouse for the seventh show of their current Buckingham-less tour on Tuesday, Oct. 16. The band kicked things off with a bang, opening the set with the 1977 Rumours standby “The Chain.” This was followed by their ‘80s-tastic single “Little Lies” and the eternal Rumours hit “Dreams.”

Throughout the set, Fleetwood Mac intermingled some older Peter Green-era material into the mix. This was capped off with “Black Magic Woman,” with Stevie Nicks mentioning how Fleetwood Mac was the real band responsible for the rock ’n’ roll staple. Another Peter Green-inspired highlight included a raucous rendition of 1969’s “Oh Well,” with Campbell excitedly leading the way on vocals and guitar for the song. This decision from the band made perfect sense, being that Tom Petty and the Heartbreakers were also known for covering the Fleetwood Mac throwback from time to time.

Over the course of the evening, Fleetwood Mac made sure to honor the past work of both of Campbell and Finn. In Finn’s case, this included covers of “Don’t Dream It’s Over” by Crowded House and “I Got You” by Split Enz. As for Campbell, Nicks led the band in a tear-jerking cover of Tom Petty and the Heartbreakers’ “Free Fallin’,” as images of Petty showed on the big screen.

To close out the evening, McVie and Nicks sang the 1995 Fleetwood Mac song “All Over Again” in unison. After the whole band had taken its final bow, drummer Mick Fleetwood stuck around to thank fans one final time. Before sending them off into the streets of Downtown Indy, the always-exuberant Fleetwood urged the remains crowd to be kind to one another in the “increasingly strange world we seem to be living in.”

The message was delightful to hear and one that would have certainly made Tom Petty himself proud.

REVIEW Fleetwood Mac Live in Indianapolis, IN October 16, 2018

5 ways Fleetwood Mac gave Indianapolis a career overview plus a bit of Tom Petty closure
David Lindquist,
Indianapolis Star

Photo Gallery
by Robert Scheer/IndyStar

Fleetwood Mac was a blues-rock act of some renown before Lindsey Buckingham and Stevie Nicks joined the band in 1974.

Featuring vocalist-guitarist Peter Green, Fleetwood Mac crafted "Black Magic Woman" (later a signature hit for Santana) and "Oh Well" (a scorched-earth jam Tom Petty frequently covered).

The band played "Black Magic Woman," "Oh Well" and a wealth of hits from the Buckingham-Nicks era Tuesday at Bankers Life Fieldhouse, giving a packed house the long view of Fleetwood Mac's 51-year career.

Green left the lineup in 1970 and vocalist-guitarist Buckingham was disinvited to participate in Fleetwood Mac activities six months before the current tour launched two weeks ago in Tulsa, Oklahoma.

The Buckingham absence is awkward at best (he sued the band for $12 million), but the rock 'n' roll professionals of Fleetwood Mac aren't limping toward the finish line — or bank — without him. The group reloaded with vocalist Neil Finn (of Crowded House) and guitarist Mike Campbell (of Tom Petty and the Heartbreakers).

If listeners are willing to buy into the idea of the Fleetwood Mac brand being bigger than any one member, the new-look lineup is a formidable crew that masters the spectrum from Christine McVie's delicate pop to the darkened-corner raunch Green left behind.

(History shows Fleetwood Mac has soldiered on after Buckingham, Nicks and Christine McVie dropped out at various times. Campbell told Tuesday's audience Fleetwood Mac would cease to exist, however, without drummer Mick Fleetwood).

Check out five ways Fleetwood Mac framed its performance as a career overview and also gave Indianapolis a measure of closure following Petty's 2017 death:

1. This feels familiar
The band signaled its "all for one" approach during opening number "The Chain," when a large video screen was divided into six equal parts showing Nicks, Fleetwood, Finn, Campbell, Christine McVie and bass player John McVie. The song's middle section featured a spotlight on Fleetwood and John McVie, a bit of "fan service" in the tradition of modern "Star Wars" films that give viewers familiar and comforting scenes. The band is named for Fleetwood and McVie, who have played music together since a stint in John Mayall's Bluesbreakers in 1967.

Finn's voice rang true as a substitute for Buckingham's on "The Chain," while Campbell's first guitar solo of the night was relatively subdued. "The Chain" stands as an archetype of Buckingham's dual-threat abilities.

Later, Christine McVie's vocals on "You Make Loving Fun" represented a '70s FM radio flashback with Campbell sailing a melodic single-line solo high above the fray. And countless smartphones sprang into action to document "Rhiannon" — a Nicks highlight accented by Fleetwood's earthy percussion at the song's conclusion.

2. Last dance with TP
It’s difficult to overstate the presence of Tom Petty in Tuesday’s show. Indianapolis music fans, who somehow never completely warmed to Bruce Springsteen and have grown fickle even toward Hoosier Rock and Roll Hall of Famer John Mellencamp, absolutely loved Petty.

“We have an Indiana crowd on an Indiana night,” Campbell said Tuesday to thunderous cheers. He took vocal duties on “Oh Well,” and Nicks — who collaborated with Petty on the songs “Stop Draggin' My Heart Around,” “Insider,” "I Will Run to You" and a cover of Jackie DeShannon's “Needles and Pins” — sang a rendition of “Free Fallin’ ” to begin the show’s encore.

Although it would be easy to pick a more imaginative and/or rewarding song for this tribute, the series of photos featuring Petty, Nicks and Campbell on the video screen added up to an emotional wallop.

3. ‘Songbird’ Christine
Introduced by Fleetwood as the band's "songbird," Christine McVie aced a rendition of "Everywhere." The 1987 song is an example of her breezy, bittersweet sensibility that thrived without conforming to pop trends. She paid tribute to late Fleetwood Mac member Danny Kirwan with his "Tell Me All the Things You Do," a 1970 tie-dye jam that found Campbell dueling with Christine's keyboard to great roadhouse effect.

4. ‘Eternal romantic’ Nicks
Introduced by Fleetwood as the band's "eternal romantic," Nicks brought down the house with "Gold Dust Woman." With a giant voice casting its spell, this was Nicks mythology in the flesh. "Black Magic Woman," meanwhile, may be the great missed opportunity across decades of Fleetwood Mac performances. Admitting she previously assumed Carlos Santana wrote the song, Nicks then inhabited "Black Magic Woman" with the gusto she brings to witchy roles in TV shows created by Indianapolis native Ryan Murphy.

5. The ‘new guys’
Here's where we tackle the "How do they sound without Buckingham?" question. On guitar, Campbell vs. Buckingham is a matter of personal preference. Campbell gravitates to a muscular, more conventional rock style when compared to Buckingham's acoustic-meets-electric tone. Either way, Campbell's performance on "Go Your Own Way" in Indianapolis was one for the ages. Finn's vocals may be a bigger challenge for Buckingham loyalists to accept. He can't summon years of love/hate chemistry with Nicks because it didn't happen. To his credit, Finn attacked "Second Hand News" with rapid skiffle pacing, and his Down Under roots elevated "World Turning" into an Outback hootenanny.

Videos at the link below

Side Note: Hypnotized and Storms were dropped from the set with no replacement.

Thursday, October 18, 2018

REVIEW / PHOTOS Lindsey Buckingham Live in Chicago Oct 17, 2018

Lindsey Buckingham
Athenaeum Theatre, Chicago
Wednesday, October 17, 2018

View the Photo Gallery

The first time Lindsey Buckingham left Fleetwood Mac, it was on his own accord, though by all indications including a very public lawsuit, the latest round was a result of being asked to leave. But one band’s loss is another man’s gain, at least as far as the singer/songwriter/guitar slinger’s Solo Anthology Tour through the intimate Athenaeum Theatre was concerned when the Rock and Roll Hall of Famer was able to expand well beyond the commercially-minded limitations of the arena-filling juggernaut into decidedly experimental, eccentric and personal territory.

Even so, Buckingham never lost his knack for an infectious hook, launching the almost two-hour concert with the jangly, jittery “Don’t Look Down” and barely taking a breather before diving unflinchingly into the unshakable eeriness of “Go Insane.” For the entire front half of the full band offering, the 69-year-old who remains at the top of his game stuck entirely to solo contexts (“Not Too Late,” “Trouble,” “Street Of Dreams”), but after unplugging all by himself with the fittingly-named “Shut Us Down,” he cast fresh light on FM’s “Never Going Back Again” and completely deconstructed “Big Love” (much like the version from The Dance).

His four kick butt backers returned for “In Our Own Time,” “Slow Dancing” and “Soul Drifter,” then Buckingham took a rare but entirely welcome trip down the “Holiday Road” from National Lampoon’s Vacation. Granted, that cut may have been a bit of a soundtrack novelty compared to strictly following an artistic compass, but it was a front to back dog-barking blast and opened the door for a trio of other big Macs (who the headliner insists he still loves while reaching a point of acceptance that “everything happens for a reason”).

In other words, none of the “Second Hand News” that’s been floating around the gossip circles stopped him from tearing into the stomping “Tusk” with gritty abandon, keeping the raw emotion building with “I’m So Afraid” and unfurling an onslaught of guitar pyrotechnics during “Go Your Own Way.” The encore of less familiar but no less satisfying tunes such as “Turn It On” could be considered either an epilogue to this specific concert or a hint of what might be coming – which probably won’t reach the masses to the degree of a Fleetwood Mac undertaking, but may prove even more rewarding and fulfilling for a restless creative who seems ready for the challenge.

-Review and photos by Andy Argyrakis

REVIEW and PHOTOS Lindsey Buckingham Live in Chicago Oct 17, 2018

Lindsey Buckingham at Chicago’s Athenaeum Theatre
By William Fanelli
Eponymous Review

Photos by Laurie Fanelli
Photo Gallery

Fans flocked to the Athenaeum Theatre last night for a solo performance by legendary singer-guitarist Lindsey Buckingham. The Oct. 17 show took place less than two weeks after his fellow (and now former) Fleetwood Mac bandmates took the stage at Chicago’s United Center but band differences (and a subsequent lawsuit) couldn’t hold Buckingham back and, in fact, there was a feeling of freedom in the air as the artist explored the boundaries of rock with an expansive, well-rounded setlist packed with inspired tunes, youthful energy and dazzling musicianship.

The setlist, which Buckingham called “cathartic to curate,” spanned the artist’s expansive catalogue, weaving together an eclectic yet cohesive concert experience for listeners. The bulk of the artist’s solo records were represented over the course of the evening, some of which amounted to the night’s most engaging moments. Lynchian lullaby “Street Of Dreams” creeped quietly through the venue while “Shut Us Down” packed a powerful punch with its driving vocals, impressive fingerpicking and a bit of interpretive handiwork from Buckingham.

Buckingham inarguably came to play last night. His guitar work was in top form, as were his vocals… utterly guttural one moment, vulnerably tender the next. High energy renditions of Fleetwood fan favorites like “Tusk” and “Go Your Own Way” — the latter which saw the singer enlist folks in the front row to help strum his guitar — had the crowd dancing and singing along, while softer tracks like the goosebump-inducing “Never Going Back Again” entranced the theater in waves of introspection.

The intense and noisy rendition of “I’m So Afraid,” one of the many highlights of the night, built slowly before peaking with a mind-blowing, deceptively-effortless solo by Buckingham while the playful National Lampoon’s Vacation theme “Holiday Road” offered a lighter juxtaposition to the night’s more serious material. Other notable moments included the ultra-primal performance of “Big Love,” which saw the frontman crafting more distinct sounds with a single strum of the guitar than thought humanly possible.

Last night’s midwest performance — part of a larger solo tour spanning the U.S. from now until late December — was in support of Buckingham’s newly-released Solo Anthology: The Best of Lindsey Buckingham. The singer expressed his unbridled enthusiasm for the new album, noting the exciting opportunity it presented for him and his band to perform some of the songs that previously never really got a chance to shine in a live setting. “Surrender The Rain” and the title track from 1984’s Go Insane, both of which were a big hit with fans, come to mind.

Buckingham continues his U.S. Tour with a show tonight at Carnegie of Homestead Music Hall in Homestead, PA. And while some of us are already mourning Fleetwood Mac as we knew it, “you have to accept,” said Buckingham. “Look at things in a positive light. I still love those people.”

Videos at the link below

PHOTOS Lindsey Buckingham Live at the Boulder Theater Oct. 15, 2018

Lindsey Buckingham Live at the Boulder Theater Oct. 15, 2018
Photos by Nancy Isaac (Nancy Isaac Photography)

REVIEW Lindsey Buckingham Live in San Diego Oct 13, 2018

Lindsey Buckingham Shines in Concert: Review
by Thomas K. Arnold
The Classic Bands

Lindsey Buckingham is making headlines with his lawsuit against Fleetwood Mac for firing him, and for launching his own solo tour at the same time as his former bandmates, who are out on the road with new members Neil Finn (of Crowded House) on guitar and vocals and Mike Campbell (from Tom Petty and the Heartbreakers) on guitar.

But judging from his Oct. 13 show at San Diego’s historic Spreckels Theater, the man who, for more than 40 years, reimagined the venerable British blues band into a power-pop hit machine (with a little help from musical partner Stevie Nicks, of course) has emerged a compelling and commanding solo performer. Buckingham’s flair for innovation and delicious finger-picking guitar work are more than worthy of a turn in the spotlight.

Indeed, Buckingham needed neither the band nor Christine McVie, with whom he toured last year, to shine. Much like Brian Wilson, one of his idols, the essence of Lindsey Buckingham is easier to digest, and appreciate, when he’s out on stage on his own.

There, the artistry of his songwriting truly becomes apparent. The carefully crafted pop songs, the often unconventional structures and clever melodies—it’s a musical show-and-tell from an artist who throughout his career has been stretching the limits of conventional pop music, as he did on Fleetwood Mac’s famed Tusk, for which he was soundly criticized for straying from the “formula” perfected on predecessor Rumours, which went on to sell more than 40 million copies.

Touring for just two months in support of the newly issued compilation Solo Anthology – The Best of Lindsey Buckingham, Buckingham from the stage of the Spreckels performed more than 20 songs spanning his career, from his early days with Fleetwood Mac through half a dozen solo albums. It made for an eclectic, and electric, evening of musical expressionism. Buckingham and his first-rate band had the crowd on its feet as he sang Mac hits like “Go Your Own Way,” “Never Going Back Again” and “I’m So Afraid.”

His solo rendition of “Tusk” surprised in that it sounded remarkably like the record. So did all his versions of the Fleetwood Mac hits he played, and one was left with the feeling that his firing is more the band’s loss than anyone else’s.

But the evening’s true delight was the assortment of songs from his various solo efforts. Fondly remembered hits like 1981’s mischievous “Trouble,” the feel-good 1983 “Holiday Road,” written for the National Lampoon’s Vacation movies, and 1984’s vindictive “Go Insane” were clear crowd pleasers.

So was the 1984 near-hit “Slow Dancing,” which he’d reportedly never performed live before this tour.

Some of the newer, less familiar songs showed Buckingham’s musical progression over the years, a path oddly similar to Brian Wilson’s, who also pushed further and further against conventional boundaries in his body of post-Beach Boys work. “In Our Time,” from 2011’s  Seeds We Sow, is a remarkable song that defies categorization and truly showcases the brilliance and dexterity of Buckingham’s signature finger-picking. And “Treason,” the final song of Buckingham’s three-tune encore, from 2008’s Gift of Screws, is a haunting tale of betrayal and redemption that could easily have been directed at his former bandmates in Fleetwood Mac:

Deep down there’s freedom
Deep down there will be a reason
At the end of the season
We will rise from this treason

Videos at the link below

Monday, October 15, 2018

REVIEW Fleetwood Mac Live in Des Moines October 14, 2018

Behind new members, Fleetwood Mac haunts a snowy Des Moines with a night of hits

Photo: Reese Strickland (View Gallery)
by: Matthew Leimkuehler,
Des Moines Register

A thump on the kick drum lurches a restless audience to its feet. A light jingle on the wind chime sends hands flying in celebration.

An opening twang on the guitar and a sweltering, unified scream washes away thoughts of the outside world.

Harmonized vocals fill the room and the ride begins.
Behind new members, Fleetwood Mac haunts a snowy Des Moines with a night of hits
Matthew Leimkuehler, Des Moines Register

A thump on the kick drum lurches a restless audience to its feet. A light jingle on the wind chime sends hands flying in celebration.

An opening twang on the guitar and a sweltering, unified scream washes away thoughts of the outside world.

Harmonized vocals fill the room and the ride begins.

“Listen to the wind blow, watch the sun rise …”

It’s “The Chain,” the first of a 24-song set from the Rock and Roll Hall of Fame group Fleetwood Mac, playing Des Moines for the first time since 2015. An estimated 10,000 journeyed through spitting October snow to see the famed outfit perform at Wells Fargo Arena, Iowa’s largest indoor stage.