NEW YORK (AP) – Their “dream girl” is back.

The members of Fleetwood Mac each took a moment Monday night at New York City’s Madison Square Garden to welcome longtime bandmate Christine McVie back to the stage after a 16-year hiatus, thus restoring the band to its mid-1970s and most successful configuration.

In her trademark gypsy shawl, Stevie Nicks said the dream catchers she casts to the crowd each night finally netted her old friend. Lindsey Buckingham said her return marked “a beautiful, profound and poetic new chapter.” Mick Fleetwood simply looked to the ceiling and shouted “Amen.”

In between, they ripped through all their old hits with a fervor that belied their age.

The band opened with “The Chain,” a song emblematic of Fleetwood Mac’s lasting legacy, despite its many breakups and personal upheavals. The collective power of the three singers’ voices belting out the song’s refrain, “You would never break the chain,” seemed to drown out the quarrels and drug-fueled rancor that tore them apart over the years.

The McVie-penned and long-dormant “You Make Loving Fun” was back on the set list, and upon hearing her sing the opening line, “Sweet, wonderful you,” the crowd erupted in an approving roar. McVie, 71, looked comfortable and happy to be back. Her voice was strong and a welcome presence.

During the band’s concert in New York City last year, guitarist, singer and songwriter Buckingham, singer and songwriter Nicks, drummer Fleetwood, and Christine’s ex-husband and bassist John McVie powered through their catalog of classics. But despite a purposeful performance, it was hard to not feel shortchanged by the exclusion of Christine McVie’s songs.

With her return to the fold this time around, however, the band was free to explore its entire repertoire, including McVie’s songs “Over My Head,” ”Little Lies” and “Everywhere.”

One of the highlights of the night was “Second Hand News,” which the band played with the energy of young musicians playing for their first big break. The 65-year-old Buckingham, especially, attacked the guitar with such intensity and enthusiasm, you’d think it was his first time playing in front of a large audience.

Dressed in skin-tight jeans, he stomped in slow-motion across the stage during a hair-raising guitar solo for “I’m So Afraid,” as the large screen behind the performers zoomed in on his dexterous fingers plucking away at the guitar strings.

While age has not diminished his agility, it has taken a slight toll on Nicks’ voice. “Dreams,” took on a different feel to accommodate her on some of the song’s higher notes. A couple of backup singers helped out with the harder to reach registers and harmonies. But on her other signature songs, like “Silver Springs” and “Landslide,” Nicks’ voice was intact and cut through like a sharpened knife.

The New York show, the first of a two-night stint, is part of a 33-city “On With the Show” tour that started Sept. 30 in Minneapolis and is scheduled to wrap up Dec. 20 in Tampa, Florida.

Buckingham recently told The Associated Press that he, Christine McVie and Fleetwood have tracked some songs for a new album, but their concerted effort to finish it won’t begin until after the tour. For now, the band is content focusing on being back on the road, playing their classic hits with their long lost friend.

“You have to look at the five (of us) as a study in chemistry,” Buckingham told the AP. “What a lot of the fans really bought into was beyond music … it was this beautiful chemistry that they saw between the five of us.”

But the final encore Monday night belonged to only one: McVie. She performed her signature song, “Songbird,” solo on a baby grand piano, with a bit of help from Buckingham on the guitar solo. Her rendition brought the sold-out audience to a hush.

The significance of her return was not lost on her.

“I’ve been away quite a long time and you don’t often get a chance to do something you love so much twice in your life.”

Jaime Holguin / Associated Press / Washington Times / Tuesday, October 7, 2014

___

Entertainment Writer Mike Cidoni Lennox contributed to this story.

Follow Jaime Holguin on Twitter: www.twitter.com/enstereo

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Fleetwood Mac’s flexibility has always been its secret weapon, its three distinctive singers giving it a wide variety of sounds that few bands can match.

That becomes even clearer with the focus on singer/keyboardist Christine McVie at Madison Square Garden Monday night, marking her return to Fleetwood Mac after 17 years of retirement from the road.

With McVie back in the Mac, there…

Fleetwood Mac’s flexibility has always been its secret weapon, its three distinctive singers giving it a wide variety of sounds that few bands can match.

That becomes even clearer with the focus on singer/keyboardist Christine McVie at Madison Square Garden Monday night, marking her return to Fleetwood Mac after 17 years of retirement from the road.

With McVie back in the Mac, there is more of a balance of blues and rock. Her rich voice on “You Make Loving Fun” and “Everywhere” is a nice counterpoint to the more aggressive, rocking vocals of Lindsey Buckingham and the more ethereal singing of Stevie Nicks.

And when they all sing together, in the gorgeous “Rhiannon” or “Say That You Love Me,” it’s still magical.

“I’ve been away for a long time,” McVie told the cheering crowd. “You don’t often get a chance to do what you love twice in your life.”

It’s still early in the tour, which launched last week, and they are still working out some pieces. (Fleetwood Mac returns to The Garden Tuesday night and plays Prudential Center on Saturday.) Nicks mistakenly tried to introduce “Over My Head,” which was written by McVie, before laughing and yielding the stage, saying, “I don’t know the story of this song.”

However, the nervousness of such veteran performers just added to the charm of the night, which got stronger the deeper they got into the 2 1/2-hour set. Between Buckingham’s epic guitar solos, Mick Fleetwood’s massive drumming, John McVie’s strong bass work, Nicks’ patented spins to punctuate the lovely “Gypsy” and Christine McVie’s lush vocals, Fleetwood Mac looked ready to take on what Buckingham has called “their next chapter.”

Glenn Gamboa / New York News / Monday, October 6, 2014

Rocktober Day 3: Fleetwood Mac at the United Center – a concert for the (middle) ages

I can’t hold the the rope much longer in my epic tug-of-war with Denial, and the concerts I’ve attended recently are doing nothing to firm up my grip: Alanis Morissette at Caesar’s. A Go-Go’s romp at Ravinia. And last night: Fleetwood Mac. One look at my fellow concert-goers, and it is clear that it won’t be long, now, before I am pulled over the line, and must finally surrender to the truth: I am a middle-aged adult.

With tickets for last night’s show starting at over $100 for seats BEHIND THE STAGE, the crowd was certainly more yoga’d and designer eyeglasses’d than the plastic beer cup crowd at Alanis’ show at Caesar’s, last weekend. (You Live, You Learn, I guess) This was no low-dough show.

And nor should it be. Fleetwood Mac is a legendary rock band. This is their 35th year as a band, and they sold out the United Center. Twice. As a person whose last piece of writing was seen by 67 people, I have only mad respect for what this band has accomplished. (Stevie Nicks told a story about how, in 1969, she and Lindsay were in a band that opened for Janis….. Jimi…. So, yeah.)

For most concert-goers, the evening fell into one of two categories: either a fancy date night, or “GIRLS’ NIGHT OUT! WOOOOO!” The combined 401K wealth in the arena had to have been in the low billions. I would be willing to bet that Weight Watchers had made money off of at least 85% of the women in the room at some point in their lives: a meeting, or at the very, very least, a one month on-line susbscription. This was a crowd of women who knew their way around a point slide, myself included. That’s not a judgement call. It’s just a rite of passage.

For Fleetwood Mac, the night was about Christine McVie’s return after a sixteen year absence. It was something the band had long ago written off as a possibility. Stevie Nicks once said about Christine’s departure: She went to England and she has never been back since 1998, so it’s not really feasible, as much as we would all like to think that she’ll just change her mind one day. I don’t think it’ll happen. We love her, so we had to let her go. (Digital Spy, 12/6/12) And last night, she was back.

I noticed that in both the flashing LED band photo that covered the entire side of the United Center, then again on the stage, Christine McVie looked less like a rock star, and more like a nice breakfast waitress from Denny’s. She moved to the beat like a wallflower aunt at a wedding: step left, feet together. Step right, feet together. She delivered the best one-liner of the night. When introduced at the beginning of the night to a thunderous ovation, Stevie Nicks jokingly asked her, “So where’ve ya been?” And Christine said: “Long story.” She thanked the crowd and the band for having her back with a sincerity that filled the arena.

So what really happened last night? What did I see? Because I don’t believe that what happened up there was really, well, rock and roll. There was fine musicianship, sure. A string of hits that will forever be in rotation on Classic Rock stations, absolutely. But rock and roll? Mick Fleetwood’s drum set sounded like it was run through a Garage Band “arena drum kit” filter on an iMac. Lindsay Buckinham still wears skinny jeans like a rock star boss, I’ll give him that. But where once Stevie Nicks was a mad whirling dervish on stage, we now atta-girl clapped when she did four slowwww motion turns without falling. Watching a rock show in a venue as monstrous as the United Center is akin to watching, say, a foosball match in an operating room theater. If your car stereo sounded like what was coming out of the speakers, you would turn your radio off, take it to the shop, and ask them to fix your crappy speakers.

Nope. No new stories were built atop Fleetwood Mac’s legendary structure, Thursday night. That concert was about looking at the band, and at each other, and saying,

“We are all still here. And that’s awesome.”

The oeuvre of Fleetwood Mac emerged during our formative milestones: our first slow dances. The great heartbreak. Our first weddings. Some first divorces. Some second weddings. Many funerals.

But we are all still here, and that’s awesome. This idea seems especially poignant in the wake of the iconic losses of recents months. It’s getting serious, guys. We have reached the age when, frankly, life is no longer to be taken for granted. These are the days of second winds and now-or-nevers. Because we are still here. And that’s awesome.

Rock stars are the royal family of fantasy: what is more mystical, more mythical than a rock star? They are our collective projections of our greatest desires, set to music. So who better than the bonafide rock legends of Fleetwood Mac to play out one of the greatest fantasies of all time: that someone we love will someday come back to us.

(Now if I was a craptastic writer, then here at the bottom, I would write, “So Don’t Stop Thinking About Tomorrow!” But I won’t. You’re welcome.)

***

That’s my piece and that’s my peace. Thank you for taking the time to read my silly words. It means the world. Carry on…

JA / Chicago Now / Friday, October 3, 2014

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JA has called Chicago "home" since June 1, 1995. She relocated from Orlando after receiving a "message" to do so during the Winona Ryder/Susan Sarandon version of the film "Little Women." (She is fully aware it could have been the booze fumes talking, but those fumes were on to something if that's the case...) She sometimes works on her novel tentatively titled "The Branson Novel," but so what, right? Everyone is working on something. She wants you to know that she digs you. Like, kinda hard. if you have something to say, let it be heard at ol**********@***il.com She Twitts, sometimes, too: @oldsinglemom

Suddenly, Fleetwood Mac seems like it might be thinking about tomorrow again.

After touring since 1998 in various incomplete incarnations and with varying levels of comfort with each other, the onetime supergroup is now back to the full lineup of its late 1970s heyday, minus the bad habits and the romantic entanglements of that era.

And don’t think the crowd at United Center Thursday didn’t know and appreciate it. When prodigal keyboardist Christine McVie sang “sweet, wonderful you,” her first solo notes of the night, on “You Make Loving Fun,” exultant cheers came from the crowd.

“Our dream girl is back,” Stevie Nicks would say later, just after McVie had sat at a grand piano and delivered her simple, soulful “Songbird” to end the almost 2-1/2-hour show.

McVie, with the help of a therapist, has conquered a fear of flying and given up a life in the English countryside to rejoin the band, making the second stop on its reunion tour in Chicago (where it plays again Friday).

Except for a quick reference to her long-ago marriage to bassist John McVie — part of this band’s charm is its complicated past, often mythologized in song — she mostly left the talking to her bandmates. But with her songs back in the set and her calm, angular presence back on the stage, there was an undeniable feeling of rejuvenation.

“Making all of us complete,” drummer Mick Fleetwood said of McVie, “our songbird has returned.”

We’ve heard, in the tour buildup, that Fleetwood Mac is even writing and recording new material, news that holds no small promise considering how many enduring songs they’ve already made.

And now we’ve seen, in Chicago, that they’re playing like a group with an eye on the horizon, one that’s sharing the spotlight and taking every occasion to say kind things about one another. The show ended, not with a song, but with curious little speeches about unity and togetherness from Nicks and Fleetwood. (This is not recommended for groups with a lesser track record.)

So a tour showcasing new material may not be that far off. But what Mac delivered Thursday was 24 tunes from the heart of its catalog, classic rock live.

Christine McVie’s presence took some of the focus off of the Californians, Lindsey Buckingham and Stevie Nicks, whose 1974 addition to an existing British blues outfit kicked the band into the album-sales stratosphere, particularly with 1977’s “Rumours.”

Fleetwood and John McVie, on bass, reminded concert goers why the band is named for them. They still put a layer of muscle behind everything the band did, even the unapologetic soft rock of Christine’s “Little Lies.” Fleetwood pounded and then barked his way through a four-minute drum solo in “World Turning.”

But this band is about its songwriters. Christine McVie was almost regal, taking in more than she gave out, letting her silky love songs speak for her.

Buckingham, though, snarled his lyrics, jumped with the high notes on his guitar solos and generally belied what people might think they know about him from “Saturday Night Live’s” running parody. He may look like Art Garfunkel’s younger brother stuffed into skinny jeans, but this man is a vital musical presence, the soul of the band.

Ditto for the vitality of Nicks, its cauldron-stirring spirit. She didn’t twirl as fast or as often as she used to; a few spins, executed gingerly, were enough to draw fervent applause. The tempo on “Rhiannon,” one of her signature tunes, doesn’t blister as it once did.

But her voice quickly warmed up to put power and depth, if not range, behind her trademark rasp. Her showcase songs, “Landslide,” “Gold Dust Woman” and, especially, “Silver Springs,” were the night’s highlights.

As for stagecraft, give credit to Fleetwood Mac for keeping the microphones pointed in the right direction. The crowd was happily singing along most of the night, but never — never! — as lead vocalists. That is a rare thing in 2014, especially from a band who wouldn’t need to show any of the words on screen.

Less praiseworthy was the video screen behind the stage. It started promisingly, with just color, light, some nature scenes. But the video got more and more aggressive until on one tune it showed us footage of eyes, noses and facial pores. Somebody must have dragged that director away from the controls, because the final bits backed off, simply showing the band.

A couple of musicians backed the core group on guitar and keyboards, but Buckingham was ferocious and tireless as lead guitarist. (His “Big Love” beatdown of an acoustic guitar recalled Richard Thompson.) There were two backup singers, too, also in shadow, ready to fill in on the high notes, but, really, the trio of Buckingham-Nicks-C. McVie had nothing to apologize for as lead vocalists.

That trio is now hovering around 70 years of age. But even as young pups they were writing songs that contemplated the march of time. Now, with McVie’s unexpected return and the potential for new material, those lyrics about yesterday being gone and time making you bolder seemed to hold a special resonance.

United Center, Chicago, 10/2/14 set list

1. The Chain
2. You Make Loving Fun
3. Dreams
4. Second Hand News
5. Rhiannon
6. Everywhere
7. I Know I’m Not Wrong
8. Tusk
9. Sisters of the Moon
10. Say You Love Me
11. Seven Wonders
12. Big Love
13. Landslide
14. Never Going Back Again
15. Over My Head
16. Gypsy
17. Little Lies
18. Gold Dust Woman
19. I’m So Afraid
20. Go Your Own Way
21. World Turning (First encore)
22. Don’t Stop
23. Silver Springs
24. Songbird (Second Encore)

Copyright © 2014, Chicago Tribune

Steve Johnson / Chicago Tribune / Friday, October 3, 2014

Steve Johnson 

COLUMNIST | TRIBUNE REPORTER 

Steve Johnson covers arts and entertainment for the Chicago Tribune. In more than 25 years at the paper, he has written columns, reviews, news stories and features on topics from politics to television. He lives in Oak Park with his wife and two teenage sons. 

sajohnson​@tribune.com

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Though Stevie Nicks and the band are older, they opened their first reunited show in 16 years with the hallmark brilliance for playing off each others’ strengths

* * * * (4 out of 5 stars)

The key selling point for Fleetwood Mac’s On With The Show tour, which opened on Tuesday at Minneapolis’s Target Center, is that it’s the first in 16 years to include keyboardist and singer-songwriter Christine McVie, lately relieved of her fear of flying and sprung from her doggy English countryside redoubt.

All of the band’s members except taciturn bassist John McVie, Christine’s ex-husband, paid vocal tribute to her over the course of a spirited two-and-half-hour set. “Our songbird has returned,” said drummer Mick Fleetwood during an extended encore.

McVie’s comeback restores the enduring and protean group’s flagship configuration, whose mid- to late-70s albums entered roughly as many homes as the products of, let’s say, General Electric. The band is currently at work on its first studio album since the 80s, and, you know, it might be pretty good.

They opened with The Chain, a collaboratively composed document of the group’s internecine romantic alliances and disunions that doubles as a unity anthem.

Lindsey Buckingham, wearing heroically tight Levi’s, led the song and established early on that he’d be the evening’s dynamo. As on Side Two of Rumours, “You Make Loving Fun” followed, with McVie drawing loud applause when she purred the opening lines, “Sweeeet wonderful you.”

Sixteen mostly retired years is a long time to get rusty, but the 71-year-old McVie was in excellent form, her keyboard playing gently rumbling or subtly expressive, her singing graceful. Unlike her two front-of-stage colleagues, McVie isn’t an apparent eccentric or egoist, but rather an understated craftsperson of plaintive easy listening and English soul. The group worked in many of her signature songs, including “Over My Head,” “Little Lies,” “Say You Love Me” and a moving closing number, on which more later.

With McVie’s keyboard resettled next to Stevie Nicks’s scarf-draped mic stand, Fleetwood Mac can once more pass the Bechdel test. The group’s gender parity wasn’t unprecedented, but their music was and is unusually dialogic – women and men trading perspectives on lust and longing, volleying tributes to old Welsh witches and beleaguered Beach Boys. It was great, and crucial, to have her back.

Nicks, the group’s most distinctive vocalist and most famous personality, took a while to reach maybe 85%. Even children get older, Nicks once reminded us, and her sandpaper contralto isn’t as reliable as it once was.

Owing either to first-night caution or diminished range, Nicks – on “Gypsy,” “Dreams,” and her traditional showstopper, “Rhiannon” – backed away from vocal climaxes and generally refashioned her melodies toward compression. Sometimes this led to some interesting jazzy or Dylanesque variations; other times the songs sounded bleary and depleted. She did find her feet, though, giving a sensitive reading of the invincible “Landslide,” and offering a cool vocal improv and a mystical interpretive dance for “Gold Dust Woman.”

There’s no reason to doubt that Fleetwood Mac’s sobriety is secure across the board, but Buckingham was certainly hopped up, stomping and whopping and prowling the stage, letting front-row disciples touch the neck of his guitar, breaking into a maniacal laugh to jump-start “Tusk,” the titular hit from the double album on which his genius act was at its most fastidious and convincing. “Tusk” was menacing and spot-on, notwithstanding piped-in horns from the USC Trojans (as if the University of Minnesota’s perfectly capable marching band had another commitment!).

Like Nicks, Buckingham’s a pro at shading the lines between idiosyncratic brilliance and loopy kitsch, and certain passages of intensely breathy emoting or orgasmic lead guitar moved definitively into the latter territory. Mostly, though, he was seriously impressive: his dexterous finger-picking, his fine-toned leads, his impassioned singing, his cool Garfunkel hair. And though he never soft-sold his own songs, he was smartly supportive when McVie or Nicks were in charge.

The group was augmented by a shadow quintet composed of a percussionist, two utility player-harmonists, and two 20-feet-from-stardom singers. High harmonies were in place, then, even if the principals couldn’t access them, and the sound was lush throughout. As usual with the band, there were also stripped-down sections with Buckingham working alone or with one other member, and at one point Fleetwood left his main drum kit (about the size of a Buick LeSabre) for a more modestly scaled kit set up in front.

The finest of these quieter interludes was saved for last, when, following a tender run through Nicks’s “Silver Springs,” the crew wheeled out a baby grand. McVie sat down for an expressive version of “Songbird” with Buckingham providing a spare solo. Those philistines who trotted out during McVie’s pounding “Don’t Stop” solo may have escaped the parking ramps a half hour before the rest of us; but their lives are exponentially poorer for it.

There were two closing speeches in tribute to McVie and the band’s new wholeness: one from Nicks, who said she would have bet every cent that McVie would never come back, and a final one from Fleetwood, who urged kindness in a troubled world, then stepped to the mic for one last, bellowed message: “And remember for sure, the Mac is back!”

Dylan Hicks / The Guardian (UK) / Wednesday, October 1, 2014

After a 16-year hiatus, Christine McVie was back playing keyboards for Fleetwood Mac as they opened their tour at Target Center on Tuesday, Sept. 30, 2014.

Fleetwood Mac’s sold-out show Tuesday at the Target Center proved one thing that everyone already knew: There has been a Christine McVie-size hole in the band for the past 16 years. Not anymore, though, as Tuesday’s concert kicked off the first Mac tour to feature the entire “Rumours”-era lineup since 1998. Now 71, McVie has emerged from retirement looking and sounding like she hasn’t aged a day.

Drummer Mick Fleetwood said it best, with 17,000 fans cheering him on: “Our songbird is back!”

McVie’s return to the fold not only allowed the group to reintroduce “You Make Loving Fun,” “Everywhere” and “Little Lies” back into the set, her presence brought fresh energy and excitement to the entire proceedings. The band, sans McVie, played St. Paul’s Xcel Energy Center in April 2013, but Tuesday night in Minneapolis, they felt like a different band altogether.

Early on, the set crackled with a certain nervous energy from the stage, especially during the rockers “The Chain” and “Second Hand News.” It was charming to see a bunch of old pros actually sweat a little bit while missing the occasional note or chugging ahead a little too fast. Soon after, though, the band locked into a groove together, with McVie’s vocals and keyboards adding an extra dimension throughout the show, which fell just short of 2 1/2 hours.

Each band member seemed to be operating at full speed, including rock-steady bassist John McVie, fresh from battling cancer last fall.

The oft-grumpy Lindsey Buckingham took the opportunity to focus on his blazing guitar work. “I’m So Afraid” ended with a solo that had middle-aged guys literally rushing up to the lip of the stage to cheer him on. Stevie Nicks turned in some of her finest Mac vocals in ages. She also took the opportunity to thank the cable drama “American Horror Story” after she wrapped “Seven Wonders.” (That song, and Nicks herself, played a key role in the show’s last season.

An acoustic set midway through the set offered a trio of songs that had the audience swooning, and occasionally tearing up: “Big Love,” “Landslide” and “Never Going Back Again.” The vibes were so good, it was even easy to forgive Professor Buckingham for telling us he now sees “Big Love” as “a meditation on the power and importance of change.”

The ageless McVie thanked the band and the crowd, cooing: “It’s a dream come true, a chance you don’t often get in life.” Everyone on stage shared that jovial mood, with Nicks, Buckingham and Fleetwood each taking time out to praise her, with wide grins that suggested they were serious.

Fleetwood Mac has already started work on a new album, which means this probably won’t be a one-off reunion.

As Buckingham himself said from the stage: “This is a band that continues to evolve through good times and adversity. This is just, I guess, the latest chapter. It’s a beautiful, profound, poetic new chapter now that this lady is back with us. And it’s a chapter that is going to go on for a while, a chapter that is going to yield much fruit. We are very, very excited.”

By Ross Raihala / Pioneer Press / Tuesday, September 30, 2014

The classic 1975 lineup of Fleetwood Mac — consisting of Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie, and Stevie Nicks — reunited on Tuesday night at the Target Center in Minneapolis for their first full-length concert in 17 years, kicking off the legendary band’s latest world tour. Fans welcomed the return of keyboardist and singer-songwriter Christine McVie, who left the band in 1998, with roars of approval, as she performed alongside her longtime musical partners. Also returning to the show were many of Fleetwood Mac’s most popular songs, which McVie wrote, such as “Say You Love Me,” “You Make Loving Fun,” “Little Lies,” and the piano ballad “Songbird,” which closed the show. See the collection of fan-shot videos of the concert below.

Fleetwood Mac’s North American leg of the tour runs through December 20. After a month’s break, the band will do a second tour through the U.S., starting in January. Plans to extend the tour to Australia, New Zealand, and Europe are still tentative.

Set List

1. The Chain
2. You Make Loving Fun
3. Dreams
4. Second Hand News
5. Rhiannon
6. Everywhere
7. I Know I’m Not Wrong
8. Tusk
9. Sisters of the Moon
10. Say You Love Me
11. Seven Wonders
12. Big Love
13. Landslide
14. Never Going Back Again
15. Over My Head
16. Gypsy
17. Little Lies
18. Gold Dust Woman
19. I’m So Afraid
20. Go Your Own Way
21. World Turning (encore 1)
22. Don’t Stop (encore 2)
23. Silver Springs (encore 3)
24. Songbird (encore 4)

DOWNLOAD THE ENTIRE SHOW NOW! (Via MediaFire | MP4 | 2GB)

Videos

The Chain / You Make Loving Fun (courtesy of DIMEBAGDARYL79)

https://www.youtube.com/watch?v=VcGH4npYZvU

The Chain (partial) (courtesy of N840md)

https://www.youtube.com/watch?v=MQLfIJ4vTDE

Dreams (courtesy of DIMEBAGDARYL79)

“Welcome, Minneapolis! I guess we should say at the same time, welcome back, Chris! Well, as you know, this is our first show of this tour. It’s 40 shows, so far. And then, first shows, even when you don’t have somebody that you love that’s been gone a long time who’s just returned come back, even any first shows are always a little crazy, a little nuts, a little like, you’re like, “Wow, what’s going on?” But at the same time, there’s never another show like tonight. This will never happen again. So hold onto your horses, and let’s get this party started!”

https://www.youtube.com/watch?v=5fkgM4TVyCs

Second Hand News (courtesy of eotday)

Rhiannon (courtesy of Brandon O)

Rhiannon / Everywhere courtesy of DIMEBAGDARYL79)

https://www.youtube.com/watch?v=gH4TREOxXns

Everywhere (courtesy of Ragweed2007)

“I’d just like to say a couple of words. First of all, thanks everybody, for being here tonight. Also, I’d like to thank John, Mick, Stevie, and Lindsey for giving me this chance to be treading on this stage with these guys again after all these years. It’s a dream come true, and it’s a chance you don’t get often in life. So, I think that’s enough. Mick…”

I Know I’m Not Wrong / Tusk (courtesy of DIMEBAGDARYL79)

“Well, we are indeed, indeed very pleased to be back here with you tonight. This is a band that continues to evolve through good times and adversity. This is just, I guess, the latest chapter. It’s a beautiful, profound, poetic new chapter now that this lady is back with us. And it’s a chapter that is going to go on for a while. It is a chapter that is going to yield much fruit. And we are very, very excited. I know I’m not wrong!”

https://www.youtube.com/watch?v=H8DMapySHYQ

Tusk (courtesy of Brandon O)

Sisters of the Moon (courtesy of DIMEBAGDARYL79)

https://www.youtube.com/watch?v=mIkT8BoTUoE

Say You Love Me (courtesy of Brandon O)

Seven Wonders / Big Love (courtesy of DIMEBAGDARYL79)

https://www.youtube.com/watch?v=DXEYKVQpi18

Big Love (courtesy of amp111379)

“Well, this next song was the first single from the album Tango in the Night, and that was quite a while ago now. Time kind of flies by. But when I wrote that song, the lyric pretty accurately described the person that I was at that time, which wasn’t so great, really. But with the passage of time, happily, that description really has just become an echo. And I think at this point in time, at this juncture, for all of our lives up here, especially the new element that is now in a very beautiful and circular way rejoined, I think that the lyric of this takes on a completely different meaning for me now, whereas before it was a kind of contemplation on alienation, it is now, especially now, become a meditation on the power and the importance of change.”

Landslide (courtesy of DIMEBAGDARYL79)

“This is our first show that is where you get to know exactly what you’re getting into for the next three months. It’s a good time for thought, and looking out at all of you and realizing what this really is. It’s big, and it’s a lot. So I’d like to dedicate this next song to you for being here with us tonight. In your own very wise way, teaching us and helping us. So thank you. This is ‘Landslide.’”

https://www.youtube.com/watch?v=VTQBnamLQGc

Landslide (courtesy of Chris Cavanagh)

Landslide (courtesy of Kathy Williams)

Over My Head / Gypsy (courtesy of DIMEBAGDARYL79) 

Stevie dedicated “Gypsy” to her “first and only husband” Kim Anderson, who was in the Minneapolis audience.

https://www.youtube.com/watch?v=Er_pRwWmKSk

Over My Head (courtesy of amp111379)

“This song, I wrote back in the day when John and I were sharing a funky little flat in Malibu. Remember that, John?”

Gypsy (courtesy of amp111379)

Little Lies (courtesy of cheappd)

Little Lies / Gold Dust Woman (courtesy of DIMEBAGDARYL79) 

https://www.youtube.com/watch?v=r0I5YKgAUeM

Gold Dust Woman (courtesy of amp111379)

I’m So Afraid (courtesy of DIMEBAGDARYL79) 

https://www.youtube.com/watch?v=PNUcdnaWCE0

Go Your Own Way (courtesy of DIMEBAGDARYL79)

https://www.youtube.com/watch?v=nRPF6x8Fy9A

World Turning (courtesy of eotday)

Don’t Stop (courtesy of Jeffrey DeMars)

“Our songbird has returned, Christine McVie!”

Silver Springs (courtesy of amp111379)

Songbird (courtesy of Sara Anderson)