Lacquers Cut from the Original Analog Masters by Matthew Lutthans at The Mastering Lab! Pressed on 180g Premium-Quality Vinyl at Fidelity Record Pressing!
Future Games is the fifth studio album by British-American rock band Fleetwood Mac. It was recorded in the summer of 1971 at Advision Studios in London and was the band's first album to feature Christine McVie as a full member and Bob Welch on guitar and vocals. Future Games was Fleetwood Mac's bold leap into dreamy psychedelia and introspective rock....a turning point in sound, and a glimpse into the band's evolving magic.
This album has been cut from the original analog masters by Matthew Lutthans at The Mastering Lab and is pressed on 180-gram premium-quality vinyl at Fidelity Record Pressing as part of the Rhino Reserve line.
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Rhino Start Your Ear Off Right 2026 Indie Exclusive
Rhino Reserve Audiophile Series
180g Premium-Quality Vinyl
Vinyl LP
Lacquers Cut from Original Analog Masters by Matthew Lutthans at The Mastering Lab
Stevie Nicks review – rock legend dazzles Brooklyn with anecdotes and classic hits
Barclays Center, New York City 4/5 Stars
A rescheduled date, after an accident earlier this year, sees the 77-year-old take on sparkling form, regaling fans with tales and fan favourite anthems
Stevie Nicks would like to get the matter of her possible near-death experience out of the way as soon as possible. A few months ago, the Fleetwood Mac singer and rock legend suffered an accident that forced her to postpone a string of tour dates, including this show in Brooklyn which was rescheduled from August to November. “I was airborne,” she recalls of the incident around five minutes after hitting the stage tonight. “I thought: ‘Is it over?’” A voice at the back of the arena lets out an animalistic yell. “No!!!!”
It’s a safe bet that everyone in the 17,000-capacity Barclays Center arena shares the sentiment. Tonight, a noticeably varied audience of fans has shown out for Nicks’s rescheduled date, ranging from witchcore-styled teens to longtime fans who retain a love for the 70s’ bohemian style as well as the decade’s social consciousness: the venue is sold out of veggie burgers.
While Nicks hasn’t released a studio album of new material since 2011’s In Your Dreams, she hasn’t strayed too far from the center of pop culture since. In recent years, she’s regularly performed with Harry Styles, helped inspire a song on Taylor Swift’s zillion-selling The Tortured Poets Department, and had two Barbie dolls created in her honour. In 2019, she became the first woman to be inducted into the Rock and Roll Hall of Fame twice, in an overdue corrective to initially sluggish critical recognition of her solo work. (She holds the record for the most Grammy nominations for female rock vocal performance without a win.)
After limbering up with some ballet moves and roaring that it’s time to get the party started, Nicks launches into a setlist spanning Fleetwood Mac classics and choice cuts from her stellar 80s albums Bella Donna and The Wild Heart. On If Anyone Falls, she’s fired up as her muscular voice rises to a shout, while the storming centerpiece Stand Back comes alive with a throbbing motorik intro, synthy power-chords, and analog bits of kit that light up like a spaceship’s control room.
The show is part musical performance, part An Evening With Stevie Nicks, with extended and sometimes self-deprecating anecdotes forming the evening’s tapestry. Before launching into a performance of the less-memorable recent single The Lighthouse, Nicks describes being invited to perform the song on Saturday Night Live. “Which I hadn’t been on since, I dunno” – she pretends to think about the year – “nineteen … hundred.” At other times, she’ll tell stories about her capes, regularly disappearing offstage to switch out one embroidered garment for another and rightly pausing to invite a little commotion for the look.
There’s a similar looseness to Nicks’s commitment to building her songs into three-dimensional theatre. In a new version of her Rumours clapback to groupies, Gold Dust Woman becomes a brilliant 13-minute cacophony during which Nicks seems to play both the song’s narrator and the flirty hanger-on: during an extended guitar solo, she dances trance-like as if crafting a love potion, before bellowing a command for the witchy intruder to get out. With her lowered register, it would be pushing it to say that Nicks had never sounded better, but she’s majestically assured on Dreams, with her deepened register adding to the song’s ache.
Missing tonight are Nicks’s former live staples like Leather and Lace, Enchanted, and Sara, as well as well-streamed minor singles like Talk To Me and Rooms On Fire. It’s hard to exactly begrudge Nicks for focusing on the material she knows works as she makes her return to the stage, but a few deeper cuts would have been welcomed by diehards as well as freshened the setlist, which is essentially a curtailed version of her 24 Karat Gold Tour.
Her sense of passion and play still burns bright. “Dance all night long,” Nicks tells the audience as parting words, after a stripped-down Landslide has brought the arena to a hush. “That’s probably what has gotten me to 77 years old. Dance on your way to the kitchen; dance on your way to watching TV; most of all, dance for me.” Her words are warm, whimsical and utterly sincere. She has more than earned her victory lap.
Stevie Nicks brings down Barclays Center with sold-out makeup performance
It’s hard to imagine a performer like Stevie Nicks ever gets nervous, even playing to roughly 20,000 faces.
But the “Gypsy” singer openly admitted as much a couple times during her Wednesday performance at Brooklyn’s Barclays Center, once after she started an anecdote about “Stop Draggin’ My Heart Around,” the Tom Petty duet she wasn’t actually meant to queue up until a little farther into the setlist.
Nerves are somewhat understandable though. Nicks, 77, was playing a makeup performance after a fractured shoulder this summer forced her to postpone several dates of her tour, including her New York City stop, and it was clear she wanted to ensure she was worth the wait. And she was.
While Nicks acknowledged her shoulder still hurt her, she twirled — albeit a bit slower, more carefully — as she showed off her signature capes and captivated the audience with 100 minutes of solo hits and a few favorites she penned during her tumultuous career with Fleetwood Mac.
Though she stuck mainly to her hits of the past, Nicks was excited to perform “The Lighthouse,” a newer song she penned as a protest anthem for women’s reproductive rights and first performed on “SNL” in 2024.
She seemed buoyed by the spirits of friends who are no longer with us, though a couple times their spiritual presence seemed to overwhelm her. An emotional performance of “Free Fallin'” by frequent collaborator Tom Petty appeared to choke her up, as did her finale, “Landslide.”
During the latter, a collage of Nicks with late Fleetwood Mac bandmate Christine McVie played on the screen behind her. Nicks has ended her shows like this at almost every date she’s played since McVie died in 2022, never looking back at the screen lest the emotions overcome her.
At Scotiabank Arena on Saturday, Stevie Nicks told stories, conjured Tom Petty, twirled her shawled self and generally bewitched a full building. The 77-year-old rock goddess and patron saint of the swinging SoCal soft-rock scene of the 1970s sang Fleetwood Mac classics (Dreams, Gypsy, Rhiannon and more) alongside solo hits (Stand Back, Edge of Seventeen).
Through her tales and groovy photo-collage backdrops, Nicks basked in her storied history. Images of past lovers Don Henley and producer Jimmy Iovine mingled with shots of Prince, Joni Mitchell and Janis Joplin. Unless I missed it, there was no reference to Lindsey Buckingham, her one-time, long-time musical and romantic partner. As their relationship is legendary (and stormy and complicated), Buckingham’s omission must be considered a snub.
Rock on, gold dust woman.
The concert’s first song, a Buddy Holly cover, seemed to be an oddball choice − Nicks rocking to a hambone beat?
By the end of the concert, it made perfect sense. It was a gesture of defiance and victory, from an artist who had survived and succeeded in a male-dominated industry. She’s still here, not going anywhere just yet: “Well, love is love, and not fade away.”
The last time I saw Nicks in the same arena was in 2018. She was with a version of Fleetwood Mac that included Neil Finn from Crowded House and Heartbreakers guitarist Mike Campbell, but not Buckingham. He had been fired from the band.
Sitting side stage, I watched Nicks and drummer Mick Fleetwood carefully escorted to their dressing room (or maybe the tour bus) swaddled in towels and robes. These were precious, money-making people being protected, like valuable pieces of art being transported.
But there’s only so much one can do. This summer, Nicks called off a number of concerts (including the Toronto show) when she fractured her shoulder. Saturday’s concert was a make-up date for the singer.
Introducing Stop Draggin’ My Heart Around, Nicks told the story of how the hit duet with Petty made it onto her debut solo LP, 1981’s Bella Donna. The album’s producer, Iovine, was also working for Tom Petty and the Heartbreakers at time. Iovine, nothing if not enterprising and feeling the Bella Donna album lacked a single, brought the song to Nicks.
Hot-shot session guitarist Waddy Wachtel, who played on Bella Donna, is still in Nicks’s band. He handled Petty’s vocal parts on Stop Draggin’ My Heart Around. Nicks’s own dusky voice was fine. Rounding down the notes she made no effort to reach was a graceful concession to her years.
On July 9, 2017, Nicks performed Stop Draggin’ My Heart Around with Petty and the Heartbreakers at Hyde Park in London for the last time together. Petty died three months later, at age 66, of an accidental drug overdose. At Scotiabank, Nicks referred to him as an angel on her shoulder and covered his 1989 solo hit Free Fallin. She even arrived on stage to a tape of Petty’s Runnin’ Down a Dream.
Casual fans of Nicks might have wondered why Prince was included on a montage in the background. It was his Little Red Corvette that directly inspired Nicks’s synth-driven Stand Back. The late Purple One played on the track and was given half the publishing rights too.
The night’s highlights included The Lighthouse, an anthem for women’s rights written after Roe v. Wade was overturned in 2022. The version of Fleetwood Mac’s Gold Dust Woman by Nicks and her eight-piece band was epic.
As for her wardrobe, the singer twirled in a blue Bella Donna-era cape and showed off a Stand Back shawl she said had been mended often over the years. The mending could be seen as a metaphor − for a fixed-up Nicks, for broken hearts, for anything in life that requires maintenance. All are themes to her work.
Nicks closed with the poignant, acoustic Landslide, performed as a tribute to fellow Fleetwood Mac singer Christine McVie, who died in 2022 at age 79.
No one can accuse Stevie Nicks — now 77 years old — of fading away.
So it should come as no surprise that the formidable Fleetwood Mac frontwoman with a unique style all her own began her solo show on Saturday night at Scotiabank Arena with a cover of Buddy Holly’s Not Fade Away.
Backed by an eight-piece band including seasoned guitarist Waddy Wachtel — whose licks stood out on such highlights as Stop Draggin’ My Heart Around, Stand Back and Edge of Seventeen — Nicks has lost the high heels on her signature black suede boots and the black top hat but otherwise remains quintessentially Stevie.
Head to toe black velvet top and chiffon skirt, check. Long shawls, check. Long blond hair in curls, check. Endearing commentary between songs, check. And that beautiful voice and those classic songs, check.
After the Buddy Holly cover, Nicks ventured into solo territory on If Anyone Falls and Outside The Rain before getting to the night’s first big moment with Fleetwood Mac’s Dreams.
The next crowd-pleaser was Stop Dragging My Heart Around with Wachtel filling in on Tom Petty’s vocal parts.
Nicks explained she’d made no secret of wanting to join Petty’s band on more than one occasion and later performed his hit, Free Fallin’, while photos of them in concert together were displayed on a huge screen behind the stage.
She also paid tribute to her fallen Fleetwood Mac bandmate, Christine McVie, during the emotional show-ending Landslide which followed the Fleetwood Mac chesnut, Rhiannon, during the encore as photos of them on stage and off were shown.
Nicks explained early on in the evening that the Toronto performance was a make-up show for a previously scheduled Aug. 15 date which had to be postponed, along with other concerts, after she fractured her shoulder, which required her to lie in bed for a month.
THE TWIRL STILL THRILLS
Still walking gingerly around the stage during the one hour and 40 minute set, Nicks briefly performed her signature twirl a few times which caused the audience to roar.
And whenever she brought a new shawl out to wear — at last count three including a gold one for Fleetwood Mac’s Gold Dust Woman — it was like she had brought antiquities on stage for everyone to marvel over. (She explained they were originals from the time she recorded the songs.)
Such is Nicks’ exquisitely designed myth-making.
She also explained that Fleetwood Mac’s Gypsy, which she also performed, was written while she and former love and guitarist Lindsey Buckingham were in the early stages of their careers with the requisite highs and lows. (They were Buckingham-Nicks before joining Fleetwood Mac in 1975, breaking up in 1976 and greatly contributing to the band’s juggernaut release, Rumours, in 1977.)
Nicks told us to make herself stay grounded during those early days she used to pull their mattress off its bedspring and put it on the floor with a beautiful cover she’d found and sit on it and say over and over: “I’m still Stevie.”
All these years later, she certainly is, and we wouldn’t want it any other way.
SET LIST
Not Fade Away
If Anyone Falls
Outside the Rain
Dreams
Stop Draggin’ My Heart Around
The Lighthouse
Wild Heart / Bella Donna
Stand Back
Free Fallin’
Gypsy
Gold Dust Woman
Edge of Seventeen
ENCORE
Rhiannon
Landslide
With whimsy and chatter, Stevie Nicks brings a steady, cautious stream of hits to Toronto
The legendary Fleetwood Mac vocalist was fanciful and steady across a compact, career-spanning set.
For as long as she’s been draping ribboned scarves over her microphone stand, Stevie Nicks has trafficked in verbs, not attributes. Actions, not texts. She rasps, she enchants, she twirls and she mystifies.
Even at 77, she manages to harness the serene blend of gentle lilt and witchy wonder that has made her one of the most revered performers of the last half-century.
Still, her 14-song Saturday night jaunt at Scotiabank Arena — the rescheduled seventh-to-last stop on her North American tour — was a mixed bag, blending solo highlights with somewhat underwhelming renditions of all-time classics.
“Yes, me and my barely-coming-back-together shoulder are here to see you tonight,” she said, alluding to the reason for having to postpone the gig in the first place.
Going back to her days as an angelic California rock heroine, Nicks’ vocals have oscillated carefully between two distinct shades: girlishly tender and huskily gravelly. She could be as light as Joni or as gritty as Joplin, embodying each tonal chassis with ease and comfort depending on the mood.
Now, all that remains is the thin version of the latter, which works well on some reworked classics (“Gypsy,” “Stand Back”), but falls flat on others (“Bella Donna,” “If Anyone Falls”), giving her limited set list a bit of an uneven feel.
Fleetwood Mac fans, luckily, were well-served by the breadth of nostalgic material, even if the quality of those arrangements was subpar when compared to their full-band contemporaries. “Gold Dust Woman” shimmered with sorcery despite its attempted rework into a thumping, glitzy arena rocker, while “Rhiannon” and “Dreams” remain the classics they always were. As a tear-jerking closer, “Landslide” is as pertinent as ever, with Nicks’ more mature, almost owlish delivery elevating what was already a lyrical triumph to an eternal opus.
But there’s an almost intangible magnetism missing from them when performed outside the charged, visceral confines of a Fleetwood Mac performance. Her band, captained by longtime lead guitarist and musical director Waddy Wachtel (James Taylor, Warren Zevon) and garnished by vocal deputy Sharon Celani, do a fine job backing up Nicks’ vocals, but they’re a far cry from the chemistry, rawness and subtle finesse of Nicks’ erstwhile Mac bandmates.
Some of her solo cuts, though, still sound great. “Edge of Seventeen” is ever the showstopper, especially in its extended form, while “Outside the Rain” glistens with her trademark marvellous poise. She even threw in a cover of Tom Petty’s “Free Fallin’” for good measure, complete with a wistful slide show of pictures of the two from tours and songwriting sessions past.
As she’ll likely be the first to tell you, Nicks does little in the way of stage antics or quirks, perhaps in part due to her recent injury; she’ll sway, do a spin or two and mimic an electric guitar during a crunchy riff, but nothing that compares to her majestic stagecraft of old.
But she partially mitigated her lack of mobility (and available, famed duet partners) with charming, albeit wordy stories of her globe-trotting past, lending an underlying grace to her presence. Whether she’s waltzing through poetic stanzas or wrapping herself in coloured capes, she is, unmistakably, still Stevie Nicks.
“Keep dancing,” she encouraged, before shifting to a decidedly goofier anecdote in her closing message. “In the middle of the night, when I get up and go to the kitchen, I dance all the way there and all the way back, and I love it!”
She doesn’t move mountains like she used to, but for the misty mass of flowy skirt-and-shawl-wearing acolytes of all ages, Nicks is still kicking, with a childlike attitude and the same delicate get-up to boot. And with a career this rich and filled with gauzy mythology, that’s enough.
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