Fleetwood Mac performed at the Pinnacle Bank Arena in Lincoln, Nebraska, on Saturday night, the second show of the ON WITH THE SHOW TOUR, Leg 2. Things were going well until drummer Fleetwood suddenly became ill in the middle of the planned 2 1/2 hour show. After conferring with the other band members, Stevie announced, “So we’re having this talk because we just found out that Mick is really sick, and we don’t know what’s the matter with him.” A few moments later, Stevie apologized to the crowd and reassured that they would be getting a full show later. “We will come back, and you will get one and a half full-on shows.”
The band decided to perform just two more songs, “Go Your Own Way” and “Songbird,” with the band’s drum technician Steve Croes filling in on the drum kit for Mick during “Go Your Own Way.” The band ended up performing 16 songs of the 24-song set list.
Fleetwood Mac stirs up old emotions for strong Van Andel Arena show…
REVIEW: 3 out of 4 stars What: Fleetwood Mac When and where: Jan. 20, 2015, Van Andel Arena Highlight: Lindsay Buckingham’s fiery solo performance of “Big Love” – a terrific display of his showy finger-picked guitar work – transitioned to Stevie Nicks’ heartfelt version of “Landslide,” which concluded with her and Buckingham holding hands in a moment of genuine affection. Length: 150 minutes Attendance: 11,038 (sold out)
GRAND RAPIDS, MI – The anguished interpersonal drama in Fleetwood Mac is long dead, but something that informed the songs and still defines the band. Judging from its performance at Van Andel Arena Tuesday night, the group’s driving force is now something resembling joy.
Playing in front of a sold-out crowd, a happy and reflective Fleetwood Mac were joined by keyboardist and singer Christine McVie, who’s participating in the group’s latest tour after an absence dating back to 1998. So consider the reunion of the band’s five core members another lingering dysfunction conquered, and celebrated early in the show. Opening number “The Chain” showcased the strong vocal harmonies of singer Stevie Nicks, guitarist Lindsay Buckingham and McVie, who was then spotlighted for “You Make Loving Fun.” It was a grand re-introduction for McVie.
Taking the microphone later in the show, Buckingham discussed how Fleetwood Mac’s notorious ups and downs are key to its essence; he referred to a time when the band was swayed by the false idea that a certain lifestyle was necessary to create rock ‘n’ roll – a thinly veiled reference to his long-disintegrated relationship with Nicks, and the band’s past drug use. His subsequent solo rendering of “Big Love” swayed any accusations of insincerity, featuring an impassioned vocal and intricate, aggressive finger-picked guitar work.
The number was immediately followed by sentimental classic song “Landslide,” featuring only Nicks – gorgeous of voice – and Buckingham. As she sustained a note near the conclusion, she stretched her hand out to Buckingham’s and smiled with sad eyes. They then played “Never Going Back Again,” and as the song ended, she stood with her back to the audience as the guitarist hugged her sweetly.
Sure, maybe such drama can be a little corny in light of the infamous Fleetwood Mac soap opera, but it seemed warm, genuine and inclusive, the audience understanding the group’s complex dynamic.
Of course, that’s smack in the realm of expectation for a Fleetwood Mac live performance this deep into the 21st century. Same goes for the set list – 24 songs, you know all of them – and the production, which featured a towering high-definition screen.
Despite her mystical aura having faded over the decades, Nicks was still in vintage form – silk scarves and a tambourine, fringe for days, high heels you can see from the moon. And her voice was still as husky as it is sweet, slow like smoldering honey during “Dreams,” “Gypsy” and “Silver Springs.” During “Gold Dust Woman,” she held her head in her hands and shuffled from one end of the stage to another, as if possessed by the musical psychedelia behind her, then curtsied deeply at song’s conclusion.
Where Nicks’ voice and Buckingham’s guitar gave the group its flamboyance and star power, McVie’s strong vocal work, along with drummer Mick Fleetwood and bassist John McVie, were its musical foundation. “World Turning” featured Fleetwood playing a pointless drum solo, too long by half; at least he showed no signs of the stomach flu that derailed the band’s Saturday concert in Lincoln, Nebraska.
Last September, another boomer favorite, the Eagles, played on the same stage to the same generation of audience (both of whom can swallow an expensive ticket – Fleetwood seats topped out at $180, and that’s before the ripoff secondary market jacks up the prices). Where the Eagles were nearly perfect in performance but ultimately antiseptic, Fleetwood Mac was occasionally rough around the edges – a sloppy run through “Go Your Own Way” closed the main set – and mixed loud and a little distorted, a reminder that this is a rock ‘n’ roll band still capable of stirring up a little drama on stage.
John Serba is film critic and entertainment reporter for MLive and The Grand Rapids Press. Email him at js****@***ve.com or follow him on Twitter or Facebook.
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John Serba / MLive / Wednesday, 21st January, 2015
Flying back from Omaha, Nebraska after catching Fleetwood Mac at the Pinnacle Peak Arena in Lincoln Saturday night, my iPhone in airplane mode and the playlist is set only to Fleetwood Mac (wash, rinse, and repeat). For a girl from the desert Southwest, Omaha, in the middle of January, may not seem like the most logical place to catch The Mac; however, this is not an ordinary band and these were not ordinary seats. For me, a true fan, to experience a super-group like Fleetwood Mac up close and personal was the event of a lifetime. Fleetwood Mac hasn’t lost their passion in the 40 years they’ve been pounding out drum beats, singing heartfelt lyrics, playing brilliant guitar licks, and embracing perfect harmonies. If anything, the closeness and comradery between the band members seems deeper and stronger today than any time before.
The lights dimmed after a stage hand placed Stevie Nicks’s microphone, adorned with scarves and beads, center stage and the crowd (myself included) went wild when the ominous strands of The Chain began to echo through the arena. My head is still reverberating with the music of the Mac 48 hours later, and my entire body is rebelling from the amount of dancing and jumping their music inspired. I can tell you unequivocally that the 40’s are NOT the new 20’s, but that shouldn’t stop anyone from taking an unforgettable walk down memory lane with Fleetwood Mac. I almost feel like a different person after seeing this show, somehow older, and wiser overnight. I jokingly said this concert was the equivalent of attending church, and after seeing the spiritual connection Stevie Nicks makes with the crowd and the music, that description is not far off.
Fleetwood Mac’s music spans generations and touches people of all ages. My connection to Fleetwood Mac started in the 70’s. During the summer of 1977, the “Rumors” album played continuously in my world. For most of my childhood, and continuing through my adult life – the ethereal, genius guitar work of Lindsey Buckingham, the beautiful, heartfelt, and oftentimes poignant lyrics of Stevie Nicks and the pounding heartbeat of Mick Fleetwood’s drum kit sound tracked my life. Every song, every note, every lyric, every guitar riff elicits a memory of a person, a feeling, or a time period. Although I needed no extra help, this particular show solidified my love and adoration for Fleetwood Mac, even though they had to cut it short due to Mic Fleetwood’s bout with the flu. Their drum tech, Steve Croes [sic], picked up the sticks and gave us a rousing rendition of “Go Your Own Way” that transitioned into Christine McVie’s closing the show with a beautiful rendition of “Songbird,” so Mick could literally get on the road to recovery.
This Fleetwood Mac show is the best concert I have ever seen, and I’m no slouch in the concert department. Nothing can, or will compare to seeing the Mac take the stage in Lincoln, NE. I’m not sure anyone else had the same experience I had, but for me, this was almost like receiving a spiritual communion with an iconic group of musicians. Do NOT miss this show if you are lucky enough to grab tickets. Thank you Fleetwood Mac for performing and giving the fans a night to remember. We here at Onstage Magazine hope you love the fabulous shots we were able to capture of this performance. You are beautiful – every last one of you. xoxox
Fleetwood Mac had to cut a Nebraska concert about an hour short Saturday night after drummer Mick Fleetwood became ill.
Stevie Nicks told the crowd of roughly 14,000 at Lincoln’s Pinnacle Bank Arena that Fleetwood was throwing up backstage before the end of the 90-minute show.
A drum technician played “Go Your Own Way” for Fleetwood. Then Christine McVie played piano and sang “Songbird” with guitarist Lindsey Buckingham before the band ended the show.
Fleetwood Mac said Sunday in a statement online that it plans to perform its next scheduled show in Grand Rapids, Michigan, on Tuesday: “Last night’s Fleetwood Mac show in Lincoln, Nebraska ended a few songs early when the band’s founder and drummer Mick Fleetwood became ill with the stomach flu. At this time, the band is still scheduled to perform in Grand Rapids, MI on Tuesday.”
Fleetwood Mac had played in the Twin Cities on Friday for a second time in four months.
Midway through Fleetwood Mac’s Pinnacle Bank Arena concert Saturday night, drummer Mick Fleetwood suddenly became ill.
(Photo: Francis Gardler)
“Mick is really sick,” Stevie Nicks told the crowd, adding that Fleetwood was backstage throwing up. “We feel terrible, but we can’t really make him play. Give us a minute, and we’ll figure out what to do.”
That turned out to be playing two more songs.
(Photo: Francis Gardler)
A drum tech named Steve took over Fleetwood’s kit for “Go Your Own Way,” which is usually the song the band plays before two encores.
Then, after a short break, Christine McVie returned to the stage at a grand piano, playing and singing “Songbird” accompanied by guitarist Lindsey Buckingham.
(Photo: Francis Gardler)
“Poor old Mick is really sick,” McVie said. “I sing this for him and for all of you.”
“Songbird” has been the final song on the band’s “On With the Show” tour, usually capping a 2½ hour show. Saturday’s truncated set ran just over 90 minutes.
(Photo: Francis Gardler)
“In all of our 40 years, this has never happened,” Nicks said.
Prior to the abrupt ending, Fleetwood Mac had pumped out 14 songs, all familiar to the 14,000-plus that packed the arena Saturday — and sounded and looked good doing it.
(Photo: Francis Gardler)
Saturday’s show was the second of 2015 for Fleetwood Mac and the 41st of 80 total dates on the “On With the Show” tour. That meant a fresh Mac, but one already tightened by 41 previous shows. And it is a complete band, thanks to the return of McVie, who came back to the group last year after a 16-year absence.
Her songs, “You Make Loving Fun,” “Everywhere” and “Say You Love Me” were highlights simply because they hadn’t been heard live for years.
(Photo: Francis Gardler)
And she can still sing — as can Nicks and Buckingham. Some of the songs have been dropped in key. But that didn’t change the fact that the Mac — now in their mid-60s to early 70s — remains a fine band.
Perhaps evidence of how quickly Fleetwood’s illness hit him, I twice noted his solid drumming in my notes and the tightness of his work with bassist John McVie.
(Photo: Francis Gardler)
The show began with “The Chain,” “You Make Loving Fun” and “Dreams,” the song of the night that features Nicks, the biggest star in the Mac constellation. She, of course, connected with “Rhiannon,” doing one of her shawl dances while effectively delivering the witchy lyrics with her rough, seductive vocals.
The University of Nebraska marching band didn’t turn up for “Tusk.” But Fleetwood Mac still rumbled and roared with Christine McVie strapping on an accordion to add to the crowd-pleasing stomp.
(Photo: Francis Gardler)
“Tusk” and its follow-up, “Sisters of the Moon,” were among the loudest songs of a show that, while far from ear-splitting, was louder than I anticipated — a good thing.
A good percentage of Saturday’s crowd would have been little kids or, in Buckingham’s words “not even born yet” during Fleetwood Mac’s mid-’70s heyday.
“We’re pulling in all ages. I love it. We must have done something right,” Buckingham said before doing “Big Love” solo, demonstrating he’s a wicked guitarist on a hollow-body electric.
(Photo: Francis Gardler)
He then switched to acoustic and was joined by Nicks for a touching version of “Landslide” that she dedicated to one of her best friends, Lisa, who she said is from “this amazing city” and must be hurting. “Lisa, all the people in this room are sending you love, every one of them,” she said at the song”s end.
Buckingham then did a solo version of “Never Going Back Again” using the acoustic. Then came Nicks’ announcement of Fleetwood’s illness.
(Photo: Francis Gardler)
During her announcement, she said that Fleetwood Mac would return and do a show and a half, but that is unlikely, as are refunds for the shortened concert.
Reach the writer at 402-473-7244 or kw********@*********ar.com. On Twitter @LJSWolgamott.
Review: Fleetwood Mac reprises familiar flair at Xcel Energy Center. Stevie Nicks and Lindsey Buckingham injected their usual emotional energy at Xcel Energy Center in opening the second leg of the band’s reunion tour.
Stevie Nicks, left, and Lindsey Buckingham performed Friday night with Fleetwood Mac at Xcel Energy Center in St. Paul. (Photo: Courtney Perry)
Fleetwood Mac
Xcel Energy Center
Saint Paul, Minnesota
Friday, January 16, 2015
Pink did it. So did Bruno Mars.
Last year, they both came back to the Twin Cities for the second time on the same tour and they were noticeably better the second time around.
Fleetwood Mac returned to the Twin Cities on Friday for a second time in four months and they didn’t do it. They weren’t better. But they were noticeably different even though they played the exact same set list at the Xcel Energy Center as they had at Target Center in September.
(Photo: Courtney Perry)
The Minneapolis show was all about the return of singer/keyboardist Christine McVie after a 16-year retirement. That concert, the first on the On with the Show Tour, was about giddy excitement, a rush of adrenaline and a warm, fuzzy feeling that this fractured family was somehow whole again. It was an evening of the democratic, polite, respectful Fleetwood Mac.
Since then, the Rock Hall of Fame fivesome played 39 more concerts, took a four-week break for the holidays and chose St. Paul as the kick-off for the second leg of the tour. But Friday’s performance had a changed vibe. This wasn’t about the joy of having McVie back on board. Or as Stevie Nicks put it early in the evening: on the last leg, she would say that Fleetwood Mac welcomed McVie back and now it’s simply “she’s back.”
(Photo: Courtney Perry)
This gig felt like “we’re getting back to work.” Sure, McVie’s contributions were significant, apparent from the opening notes of the first song, “The Chain,” with her high vocal harmonies ringing through clearly. There were several songs, including “You Make Lovin’ Fun” and the closing “Songbird,” that have returned to the repertoire after a long absence to the delight of fans. But McVie wasn’t the spark plug on Friday.
No, that duty fell once again to singer/guitarist Lindsey Buckingham, who frankly has carried this band by force of personality (and will) and an obsessive attention to detail, pretty much ever since he and Nicks joined in 1975.
(Photo: Courtney Perry)
With the sell-out crowd of nearly 16,000 not acting as amped as the Target Center crowd, the band kind of cruised along Friday, sounding good but never great. A good hour into the 2½-hour set, Buckingham took over for a solo version of “Big Love” and the intensity and momentum began building.
Next Nicks joined him for “Landslide,” which she dedicated to her old pal Prince even though he wasn’t in attendance, and the couple who’d turned around Fleetwood Mac in the mid-’70s turned around this show midway. Their romantic tension that has fueled the band propelled the song, which ended with her hitting a high note, then glancing at him for approval, him rolling his eyes playfully and them grasping hands as the lights faded.
(Photo: Courtney Perry)
Then came arguably the night’s highlight, “Never Going Back Again,” with Buckingham on lead vocals, Nicks on harmonies and their blend sounding like a male-female Everly Brothers. Buckingham was so overjoyed with their performance that he walked over to Nicks afterward in the darkness and gave her a hug that screamed “hot damn.”
(Photo: Courtney Perry)
For the rest of the night, this band of geezers, ages 65 to 71, was as good as they’re likely to get at this stage of their lives and career (drummer Mick Fleetwood started this band in 1967 in England). “Over My Head” was appealingly countrified. “Gypsy” found Nicks in all her Stevie Nicksness, with a mystical story to introduce it and trippy dancing to elevate it. Buckingham, an underrated guitarist who seizes solo opportunities aggressively, went insane on “So Afraid.” “Go Your Own Way” was the perfect combination of emotion and release.
(Photo: Courtney Perry)
If Frank Sinatra sings that love is lovelier the second time around, then someone could conclude that Fleetwood Mac made loving more fun the second half of the second time around.
Twitter: @JonBream • 612-673-1719
Jon Bream / Star Tribune / Saturday, January 17, 2015
More than any other Fleetwood Mac album, Tusk is born of a particular time and place — it could only have been created in the aftermath of Rumours, which shattered sales records, which in turn gave the group a blank check for its next album. But if they were falling apart during the making of Rumours, they were officially broken and shattered during the making of Tusk, and that disconnect between bandmembers resulted in a sprawling, incoherent, and utterly brilliant 20-track double album.
At the time of its release, it was a flop, never reaching the top of the charts and never spawning a true hit single, despite two well-received Top Ten hits. Coming after the monumental Rumours, this was a huge disappointment, but the truth of the matter is that Fleetwood Mac couldn’t top that success no matter how hard they tried, so it was better for them to indulge themselves and come up with something as unique as Tusk.
Lindsey Buckingham directed both Fleetwood Mac and Rumours, but he dominates here, composing nearly half the album, and giving Christine McVie’s and Stevie Nicks’ songs an ethereal, floating quality that turns them into welcome respites from the seriously twisted immersions into Buckingham’s id.
This is the ultimate cocaine album — it’s mellow for long stretches, and then bursts wide open in manic, frantic explosions, such as the mounting tension on “The Ledge” or the rampaging “That’s Enough for Me,” or the marching band-driven paranoia of the title track, all of which are relieved by smooth, reflective work from all three songwriters. While McVie and Nicks contribute some excellent songs, Buckingham owns this record with his nervous energy and obsessive production, winding up with a fussily detailed yet wildly messy record unlike any other.
This is mainstream madness, crazier than Buckingham’s idol Brian Wilson and weirder than any number of cult classics. Of course, that’s why it bombed upon its original release, but Tusk is a bracing, weirdly affecting work that may not be as universal or immediate as Rumours, but is every bit as classic. As a piece of pop art, it’s peerless.
Fleetwood Mac was better than ever at BB&T Center on December 19, 2014
Fleetwood Mac BB&T Center, Sunrise Friday, December 19, 2014
Better than: Anyone had the right to expect.
(Photo: Sayre Berman)
All those who packed into the BB&T Center at the penultimate show of the much-heralded Fleetwood Mac reunion tour truly felt they were attending a landmark event.
After some 48 years of slinging hugely successful albums and holding down a reputation as rock’s most notorious traveling soap opera, the sold out performance was testimony to Fleetwood’s longevity and durability. But the fact that the band still sounds remarkable — some might say better than ever — ensured its three hour, awe-inspiring show was one for the ages.
And much was made of the fact that Christine McVie’s return to the fold after an absence of 15 years was a remarkable feat in itself.
“She’s back!” Stevie Nicks noted at the outset. It was a feeling of euphoria that Lindsey Buckingham and Mick Fleetwood echoed at various points throughout the 24-song set, packed with hits, fan favorites, and even the occasional rarity. Indeed, it was well worth noting that at age 71, McVie looks at least twenty years younger, and her rich, riveting vocals showed no sign of diminishing whatsoever.
(Photo: Sayre Berman)
In truth, the same could be said of each member of this tireless ensemble. Nicks retained her trademark quiver, her top hat, granny dresses, and a mystic fairy queen sensibility — not to mention the ability to literally spin in circles whenever the occasion called.
Buckingham, at age 65, showed the dexterity of someone half his age, whether he was goose-stepping across the stage, adopting a reliable rock star posture, or proving, yet again, that despite the competition from predecessors like Peter Green or Jeremy Spencer, he remains one of the most nimble guitarists Mac has ever fronted.
Fleetwood himself is far from a figure head, a remarkable time keeper whose tasteful flourishes, commanding rhythms and role as the band’s eternal cheerleader often puts him center stage. He offered a semi-unplugged interlude, a breathless drum solo, and heartfelt and humbling remarks as the concert came to a close.
As for that other individual name-checked in the band’s handle, suffice it to say he played the role of the stoic bass player to a tee, yet his apparent lack of an onstage persona and reticence to join the others in sharing the kudos and commentary offered the impression he was basically along for the ride.
It’s a remarkable thing that even now, the group’s voices and harmonies are as vibrant as they were back in the beginning.
(Photo: Sayre Berman)
While many veteran bands need an army of support players to effectively convey their classic melodies, the Mac brings along a relatively sparse support team consisting of two extra musicians on guitar, occasional keyboards, and three subtle backing singers to, at times, flesh out the vocals. That leaves the main players to do the heavy lifting, a task they accomplish exceedingly well.
Buckingham’s fretwork, as previously mentioned, is nothing short of astonishing, and on songs such as “World Turning,” “Never Going Back,” and the lovely “Landslide” — one of the concert’s most fragile interludes and one of its best — he demonstrated a remarkable dexterity that deserves all the kudos the critics have given. As Fleetwood noted during the band introductions, Buckingham is the one member of the group who literally never leaves the stage.
As for the songs themselves, it’s the big band numbers that elicit the most enthusiastic response, and rightfully so. Opening number “The Chain,” perhaps an unintended homage to the group’s continuing trajectory, was greeted with a rapturous response, as was the well-heeled, more familiar fare like “Second Hand News,” “Rhiannon,” “Say You Love Me,” and natch, the irrepressible “Go Your Own Way.”
It’s obvious that those who refer to them as the quintessential soft rock band are way off the mark. This group rocks hard, with a drive and determination that rivals any of its venerable contemporaries.
Add to that already impressive presentation an amazing array of back projected images — ranging from magnified views of the band to scenes that look as if they were lifted from The Hobbit, to spectacular hallucinatory light displays — and the show was a total sensory experience.
Still, it was another element that made it so special. There was the fact that the individual members — bassist McVie excluded — took time to expound on the band’s contentious history and complicated interpersonal relationships. Likewise, the band’s affection for the audience was clear.
Noting a sign that said its holder had just had a stroke and that being at the concert was on his bucket list, Nicks not only dedicated a song to him but repeatedly assured him that he would be just fine. It was a kind gesture indeed. So too, Nicks’ and Fleetwood’s concluding homage to the fans and expressions of appreciation for their devotion throughout the years made that final send-off especially touching. While the song “Don’t Stop” implores its listeners, “Don’t you look back,” it’s all but impossible not to feel the love that makes that exhortation all but impossible to abide by.
Critic’s Notebook
Personal Bias: It was the first time I’d ever seen the Mac, and it was as fulfilling as it might have been back in the day. One of the best concerts this critic has ever seen. The Crowd: Totally enthused, wholly adoring, frequently standing, and smitten entirely. By the Way: With a band now well into its 60s and in Christine McVie’s case her 70s, there is definitive proof that age is all but meaningless as far as making music is concerned.
Set List
The Chain
You Make Loving Fun
Dreams
Second Hand News
Rhiannon
Everywhere
I Know I’m Not Wrong
Tusk
Sisters of the Moon
Say You Love Me
Seven Wonders
Big Love
Landslide
Never Going Back Again
Over My Head
Gypsy
Little Lies
Gold Dust Woman
I’m So Afraid
Go Your Own Way
Fleetwood Mac wrapped up Leg 1 of the “On with the Show” Tour on Saturday night, performing at Amalie Arena in Tampa, Florida. The band logged 40 shows on the first leg of the massively successful tour, which saw sold-out arenas throughout the U.S. and Canada.
Stevie dedicated “Landslide” to the Fleetwood Mac stage and production crew.
Leg 2 of the tour begins on Friday, January 16, in Saint Paul, Minnesota.
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Videos
Special thanks to Celia Berru, Mark Bursik, Johnny Unicorn, LadyBonnieHeather Gibson, Kevin, Greehey, Susan Powers Hoffman, Kacey Mingus, Pamela B, Eileen Sallee, 27flyers27, and vankristlabs for sharing these videos!
COMPILATION: The Chain / You Make Loving Fun / Dreams / Second Hand News / Rhiannon / Landslide / Gold Dust Woman / I’m So Afraid / Go Your Own Way / Don’t Stop / World Turning / Songbird / Closing remarks (courtesy of vankristlabs)
https://www.youtube.com/watch?v=1XTRyewk3JQ
The Chain (courtesy of Celia Berru)
The Chain (courtesy of Kacey Mingus)
The Chain (courtesy of Kevin Greehey)
You Make Loving Fun (courtesy of Eileen Sallee)
Dreams (courtesy of Kevin Greehey)
Dreams (courtesy of Johnny Unicorn)
Second Hand News (courtesy of 27flyers27)
Rhiannon (courtesy of LadyBonnieHeather Gibson)
Everywhere (courtesy of Kevin Greehey)
I Know I’m Not Wrong (courtesy of Eileen Sallee)
Tusk (courtesy of Kacey Mingus)
Sisters of the Moon (courtesy LadyBonnieHeather Gibson)
Say You Love Me (courtesy of Kevin Greehey)
Seven Wonders (courtesy of 27flyers27)
Big Love (courtesy of Kacey Mingus)
Landslide with dedication (courtesy of Kacey Mingus)
Landslide – sepia effect (courtesy of 27flyers27)
Landslide (courtesy of Johnny Unicorn)
Gypsy story (courtesy of Susan Powers Hoffman)
https://www.youtube.com/watch?v=LXzr6W4fZcY
With Christine McVie, Fleetwood Mac sound refreshed, revitalized at Tampa’s Amalie Arena.
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What does one member mean to a band?
Depends on the band and the member, but if we’re talking Fleetwood Mac and Christine McVie, it’s worth breaking out some stats.
A sold-out crowd of 17,620 packed Tampa’s Amalie Arena Saturday night to catch the Mac on their first tour with the songwriter, pianist and occasional lead singer since 1998. That’s up from 14,071 who came to see them last summer, up from 10,008 in 2009.
Why does McVie hold that kind of sway over the Fleetwood Mac faithful, when the band is better known for its other singers, perpetually linked ex-lovers Stevie Nicks and Lindsey Buckingham, who sing their most massive hits?
Just as there are folks who call George their favorite Beatle, many say McVie is Fleetwood Mac’s strongest songsmith, and any version of the band that doesn’t include her just isn’t the same. A reunion with McVie was Fleetwood Mac’s ultimate trump card in their quest for continued relevance in this, their 47th year – a regrouping of their classic Rumours-era lineup, and a reopening of their songbook to classic tracks they haven’t played in years.
On Saturday, Tampa got ‘em all – Say You Love Me, You Make Loving Fun, Little Lies, Everywhere, plus a McVie-led Don’t Stop and Songbird as parting gifts. It was the band’s 40th and final North American concert of 2014, and they must be hitting their stride, because they haven’t sounded this vital and copacetic in years.
“They say what doesn’t kill you makes you stronger,” said Buckingham. “On this particular tour, and this particular moment now, with the return of the beautiful Christine, with her return, I believe that we begin a profound, a poetic and a prolific new chapter in the history of this band.”
Indeed, with McVie back in the fold, Saturday’s show felt more inspired than either of Fleetwood Mac’s previous two trips to Tampa. There was a little less focus on the occasionally melodramatic interplay between Nicks and Buckingham, and a little more focus on the lively, mood-lightening material the pianist penned for the band.
It wasn’t just McVie’s long-dormant ‘70s sing-alongs – 1987’s Tango in the Night, the band’s poppy and peppy final classic-lineup album, also got a welcome workout, with McVie handling lead vocals on the slick confections Everywhere and Little Lies; and Nicks propelling the equally upbeat Seven Wonders.
The lightness and sweetness that McVie brought to the table counterbalanced – perhaps even enhanced – the rest of Fleetwood Mac’s hit-loaded set. Her presence brings out the best in all-world guitarist Buckingham, who got his six-string rocks off on the frenetically fingerpicked Big Love, punkish rave-up I Know I’m Not Wrong and epically barn-burning I’m So Afraid. And as is her wont, Nicks wailed and convulsed like a banshee during the cauldron-boiling Gold Dust Woman and drifted into her inimitable twirl on Gypsy.
Buckingham and Nicks would pair off here and there for stripped-down numbers – Landslide, Never Going Back Again – but the night felt more complete, more celebratory, when all five members were out there together, rocking along like the last 16 years never happened.
Take Tusk: You had Mick Fleetwood rumbling away on his drum kit; Nicks crooning backup and sashaying across the stage; McVie pumping an accordion and coercing her ex-husband, stoic bassist John McVie, into a little soft-shoe shuffle; and Buckingham snarling into a mic, “Don’t say that you love me! Just tell me that you want me!”
As Buckingham kicked and shredded his way back and forth across the stage on Go Your Own Way, lingering for an extra half-measure by the grinning, bobbing McVie, it was clear that her return meant more to Fleetwood Mac than just a few thousand extra tickets sold. In a way, it meant new life.
