(REVIEW) FLEETWOOD MAC BERLIN - KONZERTKRITIK

Fleetwood Mac at the O2 World

Always twisting your breaks again, but now they're back: Fleetwood Mac played in Berlin's O2 World - and feed on the successes of the past.

BERLIN --
H.P. Daniels
Der Tagesspiegel

At half past eight, it is in the duster vollbestuhlten, packed O2 World. Metallic crickets is washed over by a roaring surf rejoicing, for on the stage a couple of shadows: Fleetwood Mac scurry, perhaps with the Eagles, the largest American Main stream pop band for over thirty years. Even the wild jubilation, as can be seen in the darkness, the silhouettes of a couple: Stevie Nicks and Lindsay Buckingham, hand in hand. Once the two were a married couple, long time ago, before everything started to go under it and over it, both privately and in the band. As has been internal squabbles and excessive use of drugs for a long time for more exciting topic of the gossip press as the music of Fleetwood Mac, their fine, pleasing melodic pop songs, theme of those very difficult interpersonal relationships.

The couple splits to pieces, light goes on: "One-Two-Three-Four" roars Buckingham - jeans, pink T-shirt, leather jacket - and he sings the first of those old pop songs: "Monday Morning" from the year 1975. Lindsay stakelt on his spindly legs like a wounded stork, while Stevie beside him in schwarzgerüschten designer dress scarves and Schellenkranz vibrates and rotates on high platform boots like a mixture of blond and Rauschgoldengel bleiente on a music box. "Bööhlinn," she cries, and that could now start the party. Even more cheering, and two songs from "Rumors", one of the most commercially successful pop albums of all time. Fans jump out of their seats to run, before the stage, stretching his arms and camera phones, while the music so hinplätschert before him, with a sound that sounds like a tiled swimming pool. On the front edge of the stage, the American couple stands behind the two Englishmen, after which the group was originally named: the long 67-year-old Mick Fleetwood on drums, the drives properly. And John McVie, who backed a solid bass. Both had played in the '60s with John Mayall's Bluesbreakers, along with the gifted guitarist Peter Green, with whom she eventually founded the excellent blues band Fleetwood Mac.

Few other bands would have taken a blatant stylistic direction as Fleetwood Mac after leaving her severely injured LSD front man Peter Green in their history. The rhythm section with the former singer and keyboardist Christine McVie, wife of the bassist, moved 1974 of regengrauen England to sunny California, teamed up with Nicks and Buckingham, and was a rasping blues band to the lovely mainstream pop group. With the enormous worldwide success of which they consume today. Yes, they have brought in between and over again a couple of long pauses, says Buckingham, and now they are back again, without a new album, but with all the old songs. And only the old fans who want to be heard. " So they get what they want: Most of the pieces of the two best albums: "Fleetwood Mac" (1975) and Rumors (1977), the old hits, "Rhiannon," "Dreams," "Sara," "Go Your Own Way, "" Do not Stop "and so on. Since then, it does not matter that everything is a bit bumpy and reverberant sounds like Stevie Nicks' husky voice is still beautiful and more blecheimerig. Where it does well to not to try to meet the very high notes from the past, but holding it in a deeper interval, and let the rest of the three leather mice in the background doing, to act where even a keyboardist and an additional guitarist.

Buckingham's solo on his Rick Turner Model One Guitar contribute a bit unimaginative and klischeebeladen and his guitar player, poses a little too narcissistic. But no doubt he is the chief role of the evening. Nostalgically recalls one voice and guitar of the good old Peter Green, as attempts to Buckingham with heavily mannered in his hit song "Oh Well Pt. 1". The most beautiful are even the more delicate-Buckingham Nicks duets with economical acoustic guitar accompaniment. But for the fans today is the party as an event with sausage and beer more important than any musical nuances, dynamics and artistic expression. And so is the boundless joy long after two and a half hours and several encores, with drum solo and a lot Gegröle.

Original review