Philadelphia, PA (Citi Presale: 12/12, Venue Presale: 12/13, Live Nation: 12/15, General tickets: 12/16 at 10:00 a.m.) Lincoln Financial Field
June 16, 2023
Foxborough, MA (Citi Presale: 12/12, Venue Presale: 12/13, Live Nation: 12/15, General tickets: 12/16 at 10:00 a.m.) Gillette Stadium
September 23, 2023
Minneapolis, MN (Citi pre-sale: Mon, 1/9, Venue pre-sale: Tue, 1/10, Live Nation pre-sale: Thu, 1/12, General tickets: Fri, 1/13 at 10:00 a.m.) U.S. Bank Stadium
November 10, 2023
Baltimore, MD (Citi pre-sale: Mon, 1/16, Venue pre-sale: Tue, 1/17, Live Nation pre-sale: Thu, 1/19 at 10:00 a.m.) M&T Bank Stadium
October 7, 2023
Stevie Nicks has released “For What It’s Worth,” a brand new track that she recorded this past May. The track is currently available as a streaming track and a digital download.
The cover artwork for “For What It’s Worth” features a beautiful, vintage photo of Stevie as a brunette.
Official description: Stevie Nicks has released her signature take on Buffalo Springfield’s timeless protest song “For What It’s Worth” as a digital download and streaming single. A Dolby Atmos mix of the track is also available now on all platforms that support the format.
iHeartRadio gave an advance preview of “For What It’s Worth” on Thursday, premiering the song over its radio network.
Not to be confused with Stevie’s own track of the same name from In Your Dreams (2011), “For What It’s Worth” 2022 is actually a cover of the classic Buffalo Springfield track from 1966. Earlier this week, Stevie shared a digital scan of her handwritten note, describing the recording and what the original song has meant to her all this time.
Stevie has been covering the Stephen Stills-penned track at shows on her fall concert tour. See a video clip below of her cover of “For What It’s Worth” from the Jazz Snowmass Aspen Festival earlier this month.
I am so excited to release my new song this Friday. It’s called “For What It’s Worth” and it was written by Stephen Stills in 1966. It meant something to me then, and it means something to me now. I always wanted to interpret it thru the eyes of a woman ~ and it seems like today, in the the times that we live in ~ that it has alot to say… I can’t wait for you to hear it. ~❤️~Stevie Nicks
We are airing the World Premiere of @StevieNicks’ new song “For What It’s Worth” and it's a must-listen!!! 🔥🤩
Music historian Simon Morrison explores the songwriting craft of Stevie Nicks in his new biography Mirror in the Sky and answers questions for Stevie Nicks Info
Fall is turning out to be an exciting time for Stevie Nicks fans. At the start of September, Stevie kicked off the next leg of her 2022 amphitheatre/festival-circuit tour and, today, she released the fantastic new song, “For What It’s Worth.” Now, fans can peruse a new book on their favorite subject, the biography Mirror in the Sky: The Life and Music of Stevie Nicks by music historian Simon Morrison, out October 4th in hardcover.
Unlike previous biographies, which largely recounted highlights of Stevie’s long, storied career, Morrison takes a different approach. While he still includes all the important facts (Stevie’s Bay Area beginnings, chaotic tenure in Fleetwood Mac, Bella Donna backstory, etc.), his narrative centers on Stevie’s remarkable gifts as a songwriter, musical artist, and visionary, which have been historically downplayed by journalists and even her musical partners.
Just ahead of the biography’s hardcover release (the Kindle Book was released earlier this month), Simon Morrison answered some questions for STEVIE NICKS INFO, sharing his motivation for writing about the iconic Stevie Nicks, insights gained from studying her famous demos, and why he thinks she is deserving of the Nobel Prize.
(UCP)
STEVIE NICKS INFO: As a cultural historian specializing in Russia, modernism, and ballet, you took a curious interest in a seemingly random subject, at least on the surface. What motivated you to write a book about this American rock star?
SIMON MORRISON: Yes, there’s seemingly little connection between writing about ballet and Russia and Stevie (aside from Fleetwood Mac’s efforts to tour in the Soviet Union and Stevie’s ballet lessons!). But I’ve listened to her music since I was a child and welcomed the opportunity to finally write about her. I did so because my experience with her music, and I’m sure the experiences of most of her fans with her music, did not align with what journalists have said about her. I consider her to be one of the finest songwriters of the past half-century and wanted to make that argument while also correcting some misperceptions and filling in the biography.
How much did you know about Stevie Nicks, the person and now-revered rock and roll icon, prior to writing your book?
I knew most of her solo records, Rumours, and Tusk the best. I also read the (Stephen) Davis biography, which doesn’t much engage with her music, and I followed the discussions of her career, the ups and downs of the 70s and 80s and her “resurgence” (to quote Amanda Petrusich) in the 90s and the last two decades both as inspiration to other singers and spiritual resource to her fans.
Were there any hurdles, logistically or legally, getting your book published?
Not really. University of California Press expressed an interest in a book about Stevie and I sent in a proposal that combined a biography of the songwriter and a biography of the songs. Raina Polivka and Kim Robinson at the press were immensely supportive. I pestered a lot of people in Stevie’s world for interviews, and most of them obliged me, assuming that I was going to write something respectful and positive. As to the artist herself, I made sure she was aware of the project and the approach. When I dug up some little-known facts about her musical upbringing – where she sang with her grandfather, for example – I sent it her way.
For your research, you communicated with a number of people who have worked closely with Stevie on her music, such as music mogul Danny Goldberg and producers Ken Caillat and Rick Nowels. I’d imagine they had nothing but glowing praise for her. Was there a common theme about Stevie, her music, or creative process that emerged from those interviews?
All of them greatly admire her, but the amount of time they spent with her and in what contexts they worked together differed. Caillat’s experience was the late 70s. Nowels, a childhood friend, reconnected with her toward the mid-80s. Goldberg helped motivate her solo career. She’s personally closer to Irving Azoff, going to movie nights at his place, but I didn’t reach out to Azoff given that my focus is less on the music business than what happened in the studio. That said, Fleetwood Mac’s lawyer Mickey Shapiro was fun to meet. As to common themes, I’d say it was the warmth of her personality, her generosity even in trying circumstances, and her intuitive musical gifts. Also her overcoming of some bad behavior from her bandmates and the fact that not all of her music got the respect and attention it deserved in the studio. When she became an iconic solo artist that all changed, of course, but there’s an awful lot of music on the cutting room floor, so to speak.
Stevie Nicks and Danny Goldberg
Your research on Rhiannon and the Mabinogion stories is quite fascinating. Perhaps your book will finally get that Rhiannon movie made! In your book, you suggest that Stevie may have had more knowledge of the Rhiannon legend than she initially led on, perhaps on a subconscious level; it all seems to be connected. Do you think Stevie was creating a rock-star version of Rhiannon fashioned after the legend? Today, the kids would call that a superhero.
Great question. Her on-stage persona has a lot of layers (think of the wondrous shawls), just as her songs do, but Rhiannon provided her first and most famous identity. Stevie absorbed country music, torch songs, the blues, Janis Joplin, and burlesque theater (“Cat House Blues”) growing up, yet sought a different, meaning distinct, identity for herself as a performer, one that reached into the mystical past, which she treats seriously. She’s drawn to paganism, legend, myth. Her lyrics refer to ancient tales, some told to her by her grandmother, and when she came across Rhiannon she found the perfect figure to embody, channel, and reincarnate.
You studied the musical elements used to create some of Stevie’s most recognizable songs, everything from the chord structure to key relationships. This narrative plays a key role (pun intended) in your book. Share your thoughts about what you uncovered?
If you compare the demo versions of her most famous songs with the recorded versions you first notice their length. The drafts are much longer than the final cut. That can be a good thing, but much is lost, and the act of compressing the music became, in the studio, an act of repression. Filigreed detail, unusual harmonic turns and modal inflections also disappeared. Buckingham busied up the backgrounds at the expense of the foreground of “Sara,” for example. Still, songs like “Bella Donna” and “Rock a Little” retain the ruminative, meditative detours of their first iteration, the departures from conventional chords and sturdy forms where Stevie most distinctly “speaks.” She transformed as an artist from expressing herself (which was unusual in the seventies) to expressing her dialogues with herself, truly opening up to her audience. Those dialogues are preserved in the demos.
Stevie Nicks performs “Sara” in concert during Fleetwood Mac’s Tusk Tour, 1979. (Warner Archives)
In interviews, Stevie has indicated a clear preference towards the rawness and simplicity of her demos. When producers get involved, they sometimes end up making a mess of things and cause tension between them and the artist. In comparing her demos with the completed recordings, do you have any advice for future producers who may arrange and interpret her songs?
I frankly think that the producer should be a she, and someone Stevie trusts. There still are too few women producers in the major studios, and that situation needs to change. She worked some with Sheryl Crow, and has done production work of her own, and I personally would be thrilled if she and Taylor Swift got together at the console. Stevie can record what she wants, how she wants, and she’s freed herself from corporate branding by defining it. The “rawness and simplicity” of the demos should, I think, be preserved, with some of the intonations amplified and the vocals and piano-guitar accompaniments processed so that they sound great on all our devices.
Sheryl Crow and Stevie Nicks embrace onstage at the Ace Theatre in Los Angeles on December 4, 2019. (@dzrimages)
Since the 1980s, fans have learned a great deal about Stevie’s songwriting process by listening to her unreleased demos, many of which have surfaced on social media in recent years. You examined some interesting ones for your book, such as “Joan of Arc” from the Rock a Little sessions. What intrigued you about this demo?
It’s a raw, tough, penetrating song that blends images and scenes from her own life with the legend, of fantasy, of an iconic woman of the past. That blend is key to her art, I think, the tripping over from the real to the dreamed or imagined to the mythic. I took the lyrics to an expert on the Joan of Arc legend, and he was struck by the canniness of Stevie’s interpretation. The lullaby strains, the dark cave spookiness of the background, and the move she makes from velvety whisper to defiance in her voice is perfect for the subject matter. Likewise the dissolve into fragmented recitation before the song reasserts itself as a musical act of defiance about a defiant historical figure. For the life of me I don’t understand why it wasn’t fully realized and produced on a record – even “Songs from the Vault” – it’s so great.
(Herbert W. Worthington III)
Your biography is one of the first to delve into the devoted Stevie Nicks “fandom,” with a concluding chapter on the long-running, annual Night of 1000 Stevies drag show extravaganza in New York and an appendix listing some popular and elusive fansites. How do Stevie Nicks fans fit into the narrative you’ve presented in your book?
She’s a huge part of the lives of so many people, around the world, offering comfort and wisdom and beauty to all of us. Hard truths too. Think of the importance of “Landslide”: that song has gotten people through so much. I most admire the space and importance she assigns to female imaginings. I have a (soon to be) teenage daughter and have learned that teenage girls are bad ass – and I’m all for that. I think that if this culture of ours had its head and heart right Stevie Nicks would have received a Nobel Prize for her lyrics. That’s a long way of saying that, while she obviously composed her songs, they belong to her fans, and mean specific and special things to people that she might not have intended but she respects and admires. Such is the consequence of lyrical and musical multivalence! She’s very devoted to her fans and I wanted to acknowledge that in the book. Sites like yours also provided rich insight into her music, how it resonates, why it matters so much.
(Kevin Tachman/BackstageAt)
Do you teach any courses on Stevie Nicks at Princeton?
Not exclusively about her, but she’s been part of lectures I’ve given about songwriting, and I once asked our graduate students to analyze “Storms” as part of a music theory exam!
◊ ◊ ◊ ◊
MIRROR IN THE SKY: THE LIFE AND MUSIC OF STEVIE NICKS. A stunning musical biography of Stevie Nicks that paints a portrait of an artist, not a caricature of a superstar. Reflective and expansive, Mirror in the Sky situates Stevie Nicks as one of the finest songwriters of the twentieth century. This biography from distinguished music historian Simon Morrison examines Nicks as a singer and songwriter before and beyond her career with Fleetwood Mac, from the Arizona landscape of her childhood to the strobe-lit Night of 1000 Stevies celebrations.
Simon Morrison’s new bookMirror in the Sky: The Life and Music of Stevie Nicks (University of California Press) will released in hardcover on Tuesday, October 4. The digital edition, including Kindle Book, is available now. Catch Morrison at one his upcoming speaking engagements, listed below.
Morrison is Professor of Music at Princeton University.
MIRROR IN THE SKY — Speaking Engagements
AUSTIN – BookPeople
October 14, 2022 at 7:00pm CT
603 N Lamar Blvd.
Austin, TX 78703
Join Morrison for a book event moderated by Kristin Casey at BookPeople, Texas’ largest independent bookstore. More information.
LOS ANGELES – Book Soup
October 19, 2022 at 7:00pm PT
8818 Sunset Blvd.
West Hollywood, CA 90069
Simon Morrison discusses Mirror in the Sky: The Life and Music of Stevie Nicks. More information.
PRINCETON – Labyrinth Books
November 10, 2022 at 6:00pm ET
122 Nassau St.
Princeton, NJ 08542
Simon Morrison and Pamela Des Barres. Labyrinth and the Princeton Public Library invite you to a conversation about Morrison’s new musical biography of Stevie Nicks, which paints a portrait of an artist, not a caricature of a superstar. Watch the livestream here or attend in person at Labyrinth
On Friday, Stevie Nicks will be releasing “For What It’s Worth,” a new track she recorded this past May. Not to be confused with Stevie’s own track of the same name from In Your Dreams (2011), Friday’s release is a cover of the classic Buffalo Springfield track from 1966. Stevie shared a digital scan of her handwritten note, describing the recording and what the original song has meant to her all this time.
Stevie has been covering the Stephen Stills-penned track at shows on her fall concert tour. See a video clip below of her cover of “For What It’s Worth” from the Jazz Snowmass Aspen Festival earlier this month.
I am so excited to release my new song this Friday. It’s called “For What It’s Worth” and it was written by Stephen Stills in 1966. It meant something to me then, and it means something to me now. I always wanted to interpret it thru the eyes of a woman ~ and it seems like today, in the the times that we live in ~ that it has alot to say… I can’t wait for you to hear it. ~❤️~Stevie Nicks
Stevie Nicks opened her fall 2022 tour at the Jazz Aspen Snowmass, closing out the three-day festival as Sunday night’s headliner. Looking radiant with brand new curls, Stevie played a full set of her solo and Fleetwood Mac classics. In between songs, she was chatty and told fun stories about her past visits to Aspen, such as the time she took skiing lessons there in 1977.
Stevie added one new song to the set list, a cover of Buffalo Springfield’s “For What It’s Worth.” (See the full set list below.) She said that she fell in love with the song the first time she heard it on the radio in the late 1960s. (It likely inspired the title her own song of the same name from 2011’s In Your Dreams (2011).) She also dropped news that she recorded her own version of the Stephen Stills (Crosby, Stills & Nash) classic, which will be released “in a couple of weeks.” Flattered by Stevie’s cover, Stills later tweeted his appreciation. Can you blame him? Whenever Stevie covers another artist’s song, there’s an immediate bump in interest in the original song and, of course, streaming revenue for the songwriter. Everybody wins!
Here are transcriptions of some of stories that Stevie told.
Special thanks to Joni Decker for sharing the videos!
Introduction (after Dreams)
“I’m trying to tell less stories in my career after not playing for really three years. But I have to tell you this one story because it’s really important and it’s about you.
“So in 1977, me and brother and his girlfriend Christy, we decided to come to Aspen/Snowmass, so that my brother could ski. And Christy and I were gonna like sit in the hotel in front of the fire and drink — for months. It was really an expensive place where we were staying, and I had only been rich for a year and a half, so I was still my frugal cleaning lady self. So my brother says to me, ‘Okay, I’m going skiing.’ So out he went, and he comes back. He has broken his leg, really broken it, like badly. He’s not a pleasant person most of the times anyway so he was really not pleasant now. He’s all, ‘I broke my leg, so guess what? We’re not wasting this, you and Christy are gonna learn to ski.’ And so we did.
“For one month in Snowmass, Colorado, meet up with an Olympic ski teacher at 8:30 in the morning — God-awful 8:30 in the morning. My brother would play ‘Do You Think I’m Sexy?’ by Rod Stewart as loud as he could. At 6:30, we would drive there, meet up with our teacher. And by the time we left there, my friend Christy actually got a little sick, so we never got to get poled because we learned on the graduated legs, whatever it is, little tiny skis. But we were flying down the hill. I loved it! I thought, this could be my new calling.
“So anyway, what happened was — this will make you sad or maybe even cry — Christy went on to become a really good skier, Christopher was already a good skier, and Stevie never skied again. However, my teacher told me I had excellent technique and could be a very good skier, so I live with that. Learned it in Snowmass. That’s my Snowmass story. Thank you for that.
“So here we go on and the next song just happens to be ‘If Anyone Falls.’ I don’t think I ever fell. So here we go.”
Stop Draggin’ My Heart Around
For What It’s Worth
“This song came on the radio and I… Really, this was when I was in a band with Lindsey, and it’s like we didn’t know. I mean, is this gonna work, maybe, who knew? So anyway, this song, I loved it. But I said in my mind, someday I’m gonna record that song, because I always wanted to look at the glass half full, right? So this song became, then, slightly political, but not really, and I was like really not political so I just loved the song.
So anyway, I recorded it, and you’ll hear it because it’s gonna come out in just a couple of weeks. And really my message with doing this song is just everybody if you can when it comes around to the time for us all to vote, please vote because it’s important because we can. And even I, who didn’t vote for, you know, like I don’t know like 30 years, I mean, because I was what? Too busy, and I was just too busy so I didn’t. So I’m telling you, it would be a great thing. You would be proud of yourself; please vote. This song, written by Stephen Stills of Crosby, Stills & Nash, ‘For What It’s Worth.’”
Landslide
“I’d like to dedicate this next song to this great man, who is a cardiologist in Los Angeles, who has a home here. At some point in my life, you might all want to do this too, I’m one of those people that reads really high when it comes to cholesterol and had to take that horrible drug, Lipitor [statin], for five years and [it] nearly killed me. And then Dr. Freedman did this test and said, ‘You just read high. You don’t have high cholesterol. You have no cholesterol, or plaque, or anything, so you can go off all of those drugs.’ CAN WE JUST HAVE ONE BIG WOO-HOO FOR DR. FREEDMAN? YES! Changed my life. Thank you, Doctor. This is for you, and it’s called ‘Landslide’”
Moonlight (A Vampire’s Dream)
Set List
Outside the Rain
Dreams
If Anyone Falls
Stop Draggin’ My Heart Around
For What It’s Worth (Buffalo Springfield cover)
Enchanted
Wild Heart
Bella Donna
Gypsy
Landslide
Soldier’s Angel
Stand Back
Gold Dust Woman
Moonlight (A Vampire’s Dream)
Edge of Seventeen ENCORE
Free Fallin’ (Tom Petty cover)
Rhiannon
Rock and Roll (Led Zeppelin cover)
Bella Donna (4), The Wild Heart (4), In Your Dreams (2), Fleetwood Mac (5), covers (3)
Review
Stevie Nicks walked out onto the stage on Sunday night like a ravishing, witchy goddess, who immediately left everyone awe-struck by her presence alone. At 74 years old, still touring and sounding terrific, she is truly a legend, and it was an honor to have seen her perform live. Nicks reaffirmed her status as one of the greats by performing songs from both her solo career and Fleetwood Mac while captivating an audience filled with several generations of fans. Her melodic, dreamy movements breezed across the stage, while her mic stand (filled with scarves and a tambourine) stood majestically on stage like a relic from the 1970s.
Nicks gazed out beyond the crowd and was struck by a memory that immediately hushed the crowd and made all heads turn. Nostalgically, she recalled her time spent in Aspen that inspired the iconic song “Landslide.” She was emotional while discussing this memory, her eyes at times filling with tears. The moment she started sharing this story also happened to be the moment that my phone died. Initially seen as an issue because I couldn’t take a video of this heart-felt song on my phone, I eventually came to realize that it was much more special this way. It was enough to just be fully in the moment and present with her alluring words and dazzling presence.
I’m having serious music withdrawals as I sit down to write this after an outrageously fun weekend. This festival filled me up in a way that few other things in life do. The whole time, I knew I was right where I needed to be, and I never wanted the weekend to end. With every high there is a low, and a concert high from live music is no exception. Some people feel it more than others, but there’s no denying that everyone feels the brutal comedown after the music comes to a crashing halt. Until the next enchanting concert, I guess I’ll have to rely on car jams with good friends and house parties with great playlists. Alexa, play Chris Stapleton!
Shannon Asher / The Aspen Times / September 8, 2022
I just saw Stevie Nicks in concert tonight. It doesn’t even feel real. She looks and sounds incredible pic.twitter.com/V3v3Valng5
The fall tour is almost here! Today, Stevie Nicks shared on her socials that she is revved up and “ready to hit the stage” again — and we are so here for it and can’t wait!
Stevie will close out the Jazz Aspen Snowmass Festival this Sunday, September 4, kicking off the next leg of her 2022 tour. She’s been keeping herself and fans safe from COVID exposure by focusing on outdoor concert venues this year. She has joked at shows that she and her crew are “in a bubble.” In other words, they’re taking all the necessary precautions to avoid unnecessary exposure to the virus, even if it meant missing opportunities to spend time with loved ones at different cities along the way. So far, the plan has worked and paid off — we appreciate Team Stevie!
The Aspen Timesreports that lodging occupancy is at capacity, so the fans are clearly already there. Get ready to put on your favorite boots and flowy tops and sing and dance to the melodic refrains of “Rhiannon,” “Landslide,” “Edge of Seventeen,” and much more this weekend!
Stevie Nicks has added another show to her upcoming fall tour. The new show is in Huntsville, Alabama at the Orion Amphitheatre on October 31 — Halloween night! Tickets go on sale this Friday, August 26.
I’m very excited to add a new show on one of my favorite days of the year: Huntsville, AL on October 31st. Tickets on sale this Friday – Hope to see you there this Halloween!🎃 https://t.co/5oMQl8eMxYpic.twitter.com/C1D5qDmAm1
The fall leg of the 2022 tour kicks off on Sunday, September 4 at the Jazz Aspen Snowmass Festival in Snowmass, CO. Stevie will be the headliner closing out the festival!
Stevie Nicks has added new shows to her 2022 concert schedule. Earlier this year, Stevie shared that there was “more to come” and she has delivered with 12 more shows through October. Vanessa Carlton will be re-joining the tour, performing at all of the added dates.
Rested and ready to started performing again, Stevie said, “I’m so excited to be back on the road and can’t wait to see everyone.”
Pre-sale tickets go on sale this at Thursday, July 28 at 10 a.m. local time. General sale tickets go on sale this Friday, July 29 at 10 a.m. local time.
Upcoming shows
September 2-4, 2022
JAS Aspen Snowmass
Snowmass, CO
w/ Chris Stapleton & Leon Bridges
Thursday, September 8
Ravinia Festival
Highland Park, IL
Saturday, September 10
Ravinia Festival
Highland Park, IL
September 13, 2022
Pine Knob Music Theatre
Clarkston, MI
w/ Vanessa Carlton
September 17, 2022
Sea Hear Now Festival
Asbury Park, NJ
September 19, 2022
Xfinity Center
Mansfield, MA
w/ Vanessa Carlton
September 22, 2022
Maine Savings Amphitheatre
Bangor, ME
w/ Vanessa Carlton
September 24, 2022
Sound on Sound Festival
Bridgeport, CT
September 30, 2022
Ohana Festival
Dana Point, CA
October 3, 2022
Hollywood Bowl
Los Angeles, CA
w/ Vanessa Carlton
October 6, 2022
Ak-Chin Pavilion
Phoenix, AZ
w/ Vanessa Carlton
October 9, 2022
Cynthia Woods Mitchell Pavilion
The Woodlands, TX
w/ Vanessa Carlton
October 12, 2022
Ameris Bank Amphitheatre
Alpharetta, GA
w/ Vanessa Carlton
October 16, 2022
Ascend Amphitheater
Nashville, TN
w/ Vanessa Carlton
October 19, 2022
Credit One Stadium
Charleston, SC
w/ Vanessa Carlton
October 22, 2022
PNC Music Pavilion
Charlotte, NC
w/ Vanessa Carlton
October 25, 2022
MIDFLORIDA Credit Union Amphitheatre
Tampa, FL
w/ Vanessa Carlton
October 28, 2022
iTHINK Financial Amphitheatre
West Palm Beach, FL
w/ Vanessa Carlton
Stevie Nicks performed at the Bonnaroo Music & Arts Festival in Manchester, Tennessee on Sunday. The popular four-day festival took place at Great Stage Park, a 650-acre outdoor event space located 65 miles southeast of Nashville.
Surprisingly, Stevie was the festival’s first female headliner in its 20-year history. “I am very honored to be the first girl to be the last person on tonight,” she said. “For the women! Yes! But of course, the girl in me says I’m also really glad that there’s a lot of cool men here tonight, too. So do not feel left out.”
For the festival show, Stevie slightly modified her set list, swapping out deep cut “Moonlight (A Vampire’s Dream)” with an even deeper Buckingham Nicks-era cut “Crying in the Night.” She went on to share the latter song’s elusive history with the crowd and then encouraged them to stay the course when pursuing dreams. “It may take a while to get to your dreamy place,” she said, “but you will get there. I promise you.”
Stevie later shared the following video, shot from backstage, of her performing onstage during “Edge of Seventeen.” “What a night, Bonnaroo!” she exclaimed.
Videos
Thank you to Jim Miller and Melanie Berry for sharing these videos – much love!
Outside the Rain/Dreams (Jim Miller)
Gypsy (Jim Miller)
Landslide (Jim Miller)
Crying in the Night (Jim Miller)
“Thank you. Okay, so this is a really quick dreamy story, a dreamy story. So this next song, we actually did, I don’t know, before the pandemic. It’s like, who remembers? So this song I wrote in probably about 1973. It was on the Buckingham Nicks album, and it was supposed [audience cheers]… I know, I know, thank you. I was a cleaning lady at that point, and it was not that big of a deal, so. However, this song was supposed to be the single off of the Buckingham Nicks record. So when they put it out in 1973, in the summer of 19…, it didn’t really ever go out. So it was like, you know, it was great and then it was released and then the single was supposed to be… It was my song, it was going to be great. So it didn’t really go out.
“So anyway, this is just to tell you about your dreams. Okay, this is my ‘Just Ask, Stevie’ column. If and when you think your dreams are falling apart, just ask Stevie, and she will tell you that in 1973, I wrote the song that you’re gonna hear in one second. And it never even got played because Buckingham Nicks never even toured. So not only was it not a single, the whole record actually tanked. And I mean down the road, yes, everybody thought it was like this great, great record, but who knew? We certainly didn’t know. So if you think your dreams are just trashing out and you’re never gonna make it to where you wanna go, that’s not true because I’m standing here tonight singing the song that was never heard in the world — ever! In 1973! So it may take a while to get to your dreamy place, but you will get there. I promise you, I promise you [kissing sound]. It’s called ‘Crying in the Night’”
Edge of Seventeen (Melanie Berry)
Free Fallin’/Rhiannon (Jim Miller)
Rock and Roll (Jim Miller)
“I might just drop by to tell you some more stories at some point in the future. I’ll call it ‘Stevie 101’.
“Take care of yourselves. Be well, be safe. Don’t get sick. Don’t even, don’t think about it — never. You’re gonna all be wonderful. And me too. So take care, we’ll see you again soon. It’s been really wonderful. Thank you so much.”
Set List
Outside the Rain
Dreams
If Anyone Falls
Stop Draggin’ My Heart Around
Enchanted
Wild Heart
Bella Donna
Gypsy
Landslide
Stand Back
Soldier’s Angel
Gold Dust Woman
Crying in the Night
Edge of Seventeen
Free Fallin’
Rhiannon
Rock and Roll
Coverage
Bonnaroo 2022: Stevie Nicks sends the weekend off in timeless form (Nashville Tennessean)
On Sunday, Stevie Nicks became the first female headliner in Bonnaroo’s 20-year history.
Bonnaroo photos: See Stevie Nicks, Machine Gun Kelly close the festival (Nashville Tennessean)
The Bonnaroo Music and Arts Festival closed out in Manchester, TN, with performances by Stevie Nicks, Machine Gun Kelly, Herbie Hancock and more.
Stevie Nicks Casts a Spell, Sierra Ferrell Captures the Spirit at Bonnaroo (Nashville Scene)
Powerful legacies, compelling new talent mark the final day of the fest
