Fleetwood Mac’s “Dreams” makes UK chart history this week, soaring 66-18 (18,849 sales) on the Official Singles Chart — its highest position ever in the UK and its first-ever appearance inside the Top 20. The Stevie Nicks-penned classic originally peaked at No. 24 in August 1977, meaning it has taken nearly 49 years for the Rumours single to eclipse its original chart peak.
The new No. 18 peak is another remarkable chapter in the song’s long afterlife. Once a modest UK hit compared to its U.S. No. 1 success, “Dreams” has become one of Fleetwood Mac’s defining streaming-era staples — a track that continues to find new audiences decades after release, powered by catalog listening, viral rediscovery and the enduring pull of Rumours.
Two more singles are sitting within the Top 50 on the UK Official Single Chart. "Everywhere" leaps forward from No. 81 to No. 24 (16,241 sales) while "Landslide" is currently at No. 50.
On the Top 100 Albums Chart "50 Years - Don't Stop" moves up to No. 6 on sales of 9,095 units while "Rumous" is currently No. 23.
Eight Classic Music Films to Be Re-Released in 2026 in High Definition
Studio City, CA – Lightyear Entertainment announces that it has embarked on a major project to remaster and future-proof its classic music films. Shot and edited on videotape in the 80’s, there was no way to go back to 35mm film materials. But using modern technology, the company has successfully remastered eight of them in High Definition for the first time.
Lightyear CEO Arnie Holland said: “These films are some of the best music films ever, starring some of the biggest artists ever. Some are concerts, some are documentaries, and one is a unique feature film. All were in Standard Definition. It was sad for me to watch them become so fuzzy and outdated, when these beloved artists’ music is still vibrant and relevant. Technology had pushed these classic films aside, but now technology has made them great again. Yes, we used AI programs to accomplish this. While I am as worried about the future of AI as most other people, right now it’s a great tool. And ignoring the possibilities of what it can do doesn’t make sense. We owed it to these major artists to use every tool we could find in order to preserve and future-proof these films.”
All of the eight films were produced in the 80’s before Lightyear’s 1987 management buyout of RCA Video Productions, Inc.
The first film to be newly released was Elvis ’56 Remastered, on February 20. For that one a BluRay was released for the first time along with a release to Digital platforms in TVOD, SVOD, AVOD and YVOD.
On June 5, the following films will be released to Digital platforms in TVOD, SVOD, AVOD and YVOD:
Eurythmics: Sweet Dreams (the Video Album) Remastered
Jefferson Starship: The Definitive Concert Remastered
Stevie Nicks: Live at Red Rocks Remastered
On August 21, the following films will be released to Digital platforms in TVOD, SVOD, AVOD and YVOD:
A Night with Lou Reed Remastered
Rick Springfield: The Beat of the Live Drum Remastered
Waylon Jennings: America Remastered
Return to Waterloo (a film by Ray Davies of the Kinks) Remastered
Waylon Jennings America was released on DVD in 1986. It has never been offered to Digital platforms before. The film includes scenes with Robert Duvall, Hank Williams, Jr. and Johnny Cash.
Return to Waterloo is a 60-minute feature film (released theatrically by New Line Cinema), and, instead of dialog by the actors, the story is told almost exclusively by the lyrics of original songs penned by storyteller extraordinaire Ray Davies.
Elvis ’56 was originally seen on Cinemax after debuting at Sundance; Stevie Nicks Live at Red Rocks on HBO, Rick Springfield’s The Beat of the Live Drum (directed by David Fincher) on HBO, Eurythmics Sweet Dreams on MTV, A Night With Lou Reed on MTV.
All of the film remastering was produced in-house by David Lawrence, Lightyear’s Director of Film Acquisition. Sound mastering adjustments were done by Sky Spooner, Lightyear’s Executive Vice President.
After decades of influencing fashion from concert stages around the world, Stevie Nicks finally made her long-awaited debut at the Met Gala on May 4 — and in true Nicks fashion, the moment felt nothing short of magical.
The legendary Fleetwood Mac frontwoman arrived at fashion’s biggest night in a breathtaking custom gown created by celebrated designer John Galliano for Zara, marking the singer’s first-ever appearance on the famed Met steps at age 77.
This year’s gala theme, “Fashion is Art,” celebrated the Metropolitan Museum of Art’s spring 2026 exhibition “Costume Art,” making Nicks’ cinematic, romantic look a fitting addition to the night’s artistic spectacle.
The ensemble was completed with a silk taffeta and velvet jacket that shimmered beneath the gala lights, along with one of Nicks’ signature accessories — a towering black top hat accented with feathers. The piece was created in collaboration with famed milliner Stephen Jones, further elevating the gothic glamour of the look.
While Nicks is famously associated with flowing shawls, moon necklaces, and layered bohemian jewelry, she opted for a more refined approach for her Met Gala debut. She wore her signature blonde curls loose over the velvet textures of the gown and accessorized with opal and diamond jewelry from Tiffany & Co.’s Blue Book collection, including a pendant necklace, earrings, and rings.
The appearance served as a reminder of just how influential Nicks has been as a fashion icon throughout her career. From velvet capes and platform boots to lace gloves and top hats, her aesthetic helped define the visual identity of 1970s and 1980s rock culture and continues to inspire generations of musicians and designers alike.
Later in the evening, the night transformed from fashion event to unforgettable musical moment when Sabrina Carpenter joined Nicks for a surprise duet performance of Landslide in the Metropolitan Museum of Art’s Egyptian wing.
After Carpenter opened the evening with performances of “House Tour,” “Espresso,” and “Please Please Please,” Nicks took the stage as the event’s headlining performer. Together, the pair performed “Landslide” before Carpenter assisted Nicks on “Don’t Stop Thinking About Tomorrow.” Nicks also delivered performances of Gypsy and Edge of Seventeen, bringing the evening to a dramatic and emotional close.
For an artist whose image has long existed at the intersection of rock and couture, Stevie Nicks’ Met Gala debut felt less like a first appearance — and more like the arrival of fashion royalty.
Photos: Kevin Mazur, Michael Loccisano, John Shearer
Time has cast a spell over Fleetwood Mac’s infamous 1997 performance of “Silver Springs,” a live recording that forced Lindsey Buckingham into the unenviable position of playing lead guitar on a dis track written about himself by his ex Stevie Nicks, who sang about how he’ll “never get away from the sound of the woman that loves you.” It’s an icy face-off, steeped in decades of complex romantic entanglements, that often feels too intimate to watch — so much so that Nicks once admitted she chose her steely demeanor to “leave behind for posterity, just in case Fleetwood Mac never did another thing.” Now, Buckingham is doing his best to insist this particular “Silver Springs” hasn’t lingered in his memory at all. In a recent social-media video, Buckingham was asked by his daughter about how the performance is, essentially, the female version of thinking about the Roman Empire. “This night? What was the buzz?” he responded. “The one where Stevie was staring at me? Well, you know, people are going to look for things to read into, right?” Yes, we sure do, and it doesn’t help that the duo are teasing some sort of reunion in the near future. (watch the video until the end)
More than 250 music insiders and six New York Times critics weighed in on who defines the new American songbook. Here, in an unranked list, are the artists they chose.
She has never stopped chasing that initial Nashville impulse — a four-ish-minute distillation of the biggest feelings imaginable, threaded through a melody that won’t leave you alone. Sometimes she brings country phrasings to electro-pop, or pop rigor to indie rock; she might let her rhymes and verses go shaggy or bring a bridge back like a chorus. Such are the perks of having mastered the form early, while amassing the cultural capital to remake pop in her image.
Pop stars are not supposed to last this long or create this much. The Beatles’ entire creative output happened, essentially, in eight years. But Swift’s durability — 12 studio albums and hundreds of songs over two decades — has given us an unprecedented combination of musical auteurism and commercial success.
Her later work often explores the tension between the two. She has a campy kiss-off register for tart bon mots — “Lights, camera, bitch, smile / Even when you wanna die,” she chirps on the fake-bubbly “I Can Do It With a Broken Heart.” But on the dream-pop opus “Mirrorball,” it’s all earnest reflection from the top of the mountain: “I can change everything about me to fit in.”
Swift’s latest run of dominance, the stretch that has given her two more Grammys for album of the year (and four in total, a record), began with that surprise pandemic one-two flutter of “Folklore” and its sister album “Evermore.” Simultaneously, Swift was painstakingly recreating four of her earlier albums to own them outright. Collective fervor around the “Taylor’s Version” albums sent a 10-minute director’s cut rendition of a nearly decade-old breakup ballad, “All Too Well,” to No. 1 on the Billboard chart in 2021, simply because so many listeners wanted to hear even more of a track that made them feel bruised, abandoned and devastated.
Swift has done as much as anyone in modern popular music history to advance the idea of the song — its construction and impact, its tensions and limitations — as an important art form. But she has also done it while foregrounding the agency and emotional lives of young women, and as a result has become probably the most pored-over writer — or at least up there with J.K. Rowling and the pope — of the 21st century in any medium.
— Joe Coscarelli
Stevie Nicks on Taylor Swift
You ask about her brilliance I can only say ~ If only I had — written it … For me, this song will always live ~ In my heart “You’re on your own kid — You always have been … ”
I feel that her song is generational. I think it’s all of her relationships written into one song — a little bit of this, a little bit of that — and dropped into my lap. Over time, I have dropped in my own great loves to stand in her story, and it makes me cry for both of us — what we lost, what we learned and how we survived. That is how a great songwriter reaches into people’s hearts and connects with them. All that beauty and tragedy and life’s lessons have led her down this path of unstoppable creativity; she just doesn’t stop, and that is what has turned her into this beautiful young woman who makes magic with everything she touches.
P.S. Yes, this is the song that reconnected Taylor and I. The title of the song is something Christine would have said to me after she passed away — and I felt it came through Taylor. It helped me a lot to let her go ~
And brought me a new friend. …
— Stevie Nicks is a singer and songwriter. Interview by Jenn Pelly. Text has been edited and condensed.
In the mathematics of Jazz Fest, Stevie Nicks + Tyler Childers + Saturday = a huge crowd.
That equation was evident to anyone stuck in the blocks-long line that snaked down Fortin Street outside of the Fair Grounds on Saturday.
And it was evident to anyone who hoped to show up at the last minute to see Nicks close out the main Festival Stage.
She drew one of the largest crowds in 2022, and she played Saturday to the biggest crowd so far at the 2026 Jazz Fest. It was one of those Jazz Fest crowds that takes on a presence and personality of its own. It created gridlock on the walking path coming from the food area and overflowed onto the dirt track. A sightline to glimpse a distant video screen was the best late arrivals could hope for.
Nicks demonstrated that she is not ready to go gently. She and her polished, sturdy band didn’t just play the hits. They played with the hits, adding extra flourishes and roughing them up a bit across the last hour of her set.
At Jazz Fest in 2022, she dedicated “Landslide” to the Foo Fighters’ recently deceased drummer, her pal Taylor Hawkins. This time, she dedicated it to her vast audience. Waddy Wachtel, a collaborator with Nicks and many other rock stars going back to the 1970s, accompanied her on acoustic guitar. She stretched out and held the final “snow” in the “snow-covered hills” line, her voice as perfectly burnished as ever.
She ducked out of view for a moment to “go get another cape.” The musicians welcomed her back for “Gold Dust Woman.” The sprinkle that was dusting the rear of the Festival Stage crowd — the crowd was so big, it’s entirely possible it wasn’t raining up front — started falling in bigger drops. The band extended passages of “Gold Dust Woman,” rocking it up with big thumps on the drums, cymbal splashes and jagged electric guitars.
Nicks has evolved into an onstage storyteller in recent years, prefacing many songs with charming anecdotes. On Saturday, she recalled how poor she and then-paramour Lindsey Buckingham were when they first moved to Los Angeles. She waitressed and cleaned houses to help make ends meet.
After they joined Fleetwood Mac, their fortunes changed — and her mom informed her that she needed to start paying taxes. Which was a roundabout way of getting to “Gypsy.”
She disappeared for another cape change, giving Wachtel and company an opportunity to lock into a long, grungy intro to “Edge of Seventeen.”
“We might see you again today,” she said as the band exited, which was her Stevie way of indicating an encore was forthcoming. That encore opened with “New Orleans,” a lesser-known composition of hers that she dusts off for local shows.
The next song, she said, “has lots of hope.” It was one she hadn’t sung in a while.
It was “Don’t Stop,” from Fleetwood Mac’s 1977 opus “Rumours.” Written by the late Christine McVie and originally sung by McVie and Buckingham, “Don’t Stop” lofted out over the Fair Grounds as a rainbow appeared overhead. She played a tambourine for the first time since she broke her shoulder a year ago.
Earlier, Nicks shared that “I often think, at times like these, what a great job I have.”
Upcoming Stevie Nicks album is 'glorious,' says pal Vanessa Carlton
Stevie Nicks and "A Thousand Miles" singer Vanessa Carlton are pals; in fact, Stevie officiated her wedding. So maybe it's not surprising to hear that Vanessa has heard the new album that Stevie said she was working on a year ago.
Speaking with People, Vanessa confirmed that she's heard the album, which Stevie first mentioned during the Pollstar Awards in April 2025. She told the audienceduring the event, "I'm actually making a record right now." She added that she'd written seven songs that were "autobiographical, real stories where I’m not pulling any punches for probably the first time in my life.”
While Vanessa said that she'd heard it, she added, "I cannot say a word more. The world should get ready. That's all I'll say. Stevie's coming. Let's put it that way."
4 Page Album by Album spread in the latest issue of Classic Pop (Duran Duran on the cover)
STEVIE NICKS
Renowned for her shimmering vibrato, soap opera personal life and sorceress image, the singer-songwriter helped propel Fleetwood Mac into the pantheon of all-time greats before launching a sporadic solo career which consistently mined pop gold.
May 2026 Classic Pop issue... Look for it wherever you buy magazines.
Police Arrest Woman Accused of Stalking Fleetwood Mac Guitarist
The guitarist, Lindsey Buckingham, had obtained a restraining order against the woman two years ago, but the police said she continued to follow him in March.
A woman accused of stalking the former Fleetwood Mac guitarist Lindsey Buckingham and dousing him with an unknown substance was arrested over the weekend in Indiana, the authorities said.
The woman, Michelle Dick, 55, followed Mr. Buckingham to an appointment in Santa Monica, Calif., on March 25, where she threw the substance on him and also damaged his car, the police in Fort Wayne, Ind., said in a statement on Saturday.
After the encounter, Ms. Dick had fled California and traveled about 2,000 miles to Fort Wayne, the police said. It was not clear where Ms. Dick lives, as officers who went to an address associated with her in San Leandro, Calif., were told by another resident that she had left in November 2025.
A lawyer for her was not yet listed, and she has requested a public defender. Ms. Dick will face stalking charges in Los Angeles.
Sgt. Jonathan Cutler of the Fort Wayne Police Department said another law enforcement agency contacted local officers with information about Ms. Dick’s possible whereabouts in a hotel on the city’s northwest side, where she was arrested on Saturday.
On Monday, she made an initial appearance in Allen County Superior Court. She will be in custody as part of hearings for her pending extradition to California.
Mr. Buckingham, 76, who lives in Los Angeles, was not injured in the encounter. He obtained a restraining order against Ms. Dick in 2024, accusing her of stalking him and his family since at least 2021, according to documents contained in the order. She is barred from being closer than 100 yards to Mr. Buckingham. His representative did not respond to a request for comment.
In his restraining order application to a judge, Mr. Buckingham accused Ms. Dick of trying to trespass at venues where he was set to perform, leaving threatening voice mail messages to himself and family members, claiming to be his daughter and demanding money from him.
Ms. Dick also called the police to Mr. Buckingham’s home in November 2025, reporting that she had heard gunshots. The call was false, according to evidence provided by an officer in the application, but nonetheless resulted in Mr. Buckingham being handcuffed while police searched his home.
Mr. Buckingham is best known as a prolific songwriter and guitarist for the British American rock band Fleetwood Mac, whose relationship with his bandmate Stevie Nicks is said to have inspired a number of the group’s hits, including “Go Your Own Way.”
The Los Angeles Police Department declined to provide more information about the nature of the stalking claims.
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