20th Century Lindsey Buckingham Out Now!

The "20th Century Lindsey" Box Set by Lindsey Buckingham, comprises his first trio of solo albums in the 20th century along with eight exclusive bonus tracks is out now! 

FORMATS AVAILABLE

Available June 14th as a deluxe 4-LP vinyl collection (and on digital formats). The vinyl is ONLY available from Rhino and is limited to 3,000.

The 4-CD edition is set to release on August 16, 2024. The boxed set includes:

1. "Law and Order" (1981)

2. "Go Insane" (1984)

3. "Out of the Cradle" (1992)

4. "20th Century Rarities" (Compilation of rare tracks)

All three studio albums have undergone remastering in 2017, ensuring optimal sound quality from the original master tapes. The "20th Century Rarities" LP comprises eight coveted bonus tracks.

"Law and Order" (1981): Buckingham's inaugural solo venture showcases his distinctive songwriting and production prowess, with him assuming nearly all instrumental duties. Notable tracks include the top 10 hit "Trouble," featuring Mick Fleetwood on drums, alongside gems like "Mary Lee Jones" and "It Was I."

"Go Insane" (1984): Embracing experimentation, this album features standout tracks such as the titular "Go Insane" and the poignant "Slow Dancing." The title track soared to No. 23 on the Billboard Hot 100, while "I Want You" captivates with its intricate harmonies and innovative production.

"Out of the Cradle" (1992): Regarded as one of Buckingham's finest works, his third solo effort dazzles with tracks like "Countdown," "Soul Drifter," and "Wrong." Praised for its intricate guitar compositions and groundbreaking production, the album garnered widespread critical acclaim.

"20th Century Rarities": This compilation of eight rare tracks is a treasure trove for enthusiasts, featuring elusive mixes and contributions to soundtracks such as:

• “Holiday Road” (National Lampoon's Vacation 1983)
• “Dancin’ Across The USA” (National Lampoon's Vacation 1983)
• “Go Insane” – Extended Remix
• “Slow Dancing” – Extended Version
•  “Time Bomb Town”  (Back to the Future, 1985)
• “Soul Drifter” – Radio Remix
• “On The Wrong Side” (With Honors, 1994)
• “Twisted” – Stevie Nicks & Lindsey Buckingham (Twister, 1996)

Notably, the extended version of "Slow Dancing" makes its digital debut nearly four decades after its initial release as a 12" single in Europe. Showcasing Buckingham's mastery of layered production and infectious melodies, it stands as a testament to his enduring creativity.

Explore the "20th Century Lindsey" Box Set to delve into Buckingham's distinct songwriting, intricate guitar craftsmanship, and trailblazing production across a plethora of tracks. This collection shines a well-deserved spotlight on his solo oeuvre, often overshadowed by his contributions to Fleetwood Mac, celebrating its fusion of daring experimentation, memorable hooks, and raw emotional depth.

20th Century Lindsey Bundle (4LP)

Visit the Lindsey Buckingham store at Rhino to order

Bundle includes:

• 20th Century Lindsey (4LP) + Litho 

Rhino: Order from Rhino

The 20th Century Lindsey (4CD) boxed set does not include a litho bundle.

Rhino: Pre-Order, released on: 08/16/2024

The 4CD version is showing up on Amazon in the UK, US and Germany along with HMV in the UK. 

Amazon UK (4CD) | Amazon US (4CD) | Amazon Canada | Amazon (Germany) | HMV (UK)

THE RHINO REPORT

We’re taking you inside the new Lindsey Buckingham collection of his solo music created between 1981 and 1992, including rarities and soundtrack songs! Featuring hits including TROUBLE, GO INSANE and of course, The National Lampoon’s VACATION classic, HOLIDAY ROAD, it’s all things Buckingham on the latest episode.

Tracklist

Law and Order

LP One

Side One

1. “Bwana”

2. “Trouble”

3. “Mary Lee Jones”

4. “I’ll Tell You Now”

5. “It Was I”

 

Side Two

1. “September Song”

2. “Shadow Of The West”

3. “That’s How We Do It In L.A.”

4. “Johnny Stew”

5. “Love From Here, Love From There”

6. “A Satisfied Mind”

 

Go Insane

LP One

Side One

1. “I Want You”

2. “Go Insane”

3. “Slow Dancing”

4. “I Must Go”

5. “Play In The Rain”

 

Side Two

1. “Play In The Rain (Continued)”

2. “Loving Cup”

3. “Bang The Drum”

4. “D.W. Suite”

 

Out of the Cradle

LP One

Side One

1. “Instrumental Introduction To

2. “Don’t Look Down”

3. “Wrong”

4. “Countdown”

5. “All My Sorrows”

6. “Soul Drifter”

7. Instrumental Introduction To

8. “This Is The Time”

9. “You Do Or You Don’t”

 

Side Two

1. “Street of Dreams”

2. Spoken Word Introduction To

3. “Surrender The Rain”

4. “Doing What I Can”

5. “Turn It On”

6. “This Nearly Was Mine”

7. “Say We’ll Meet Again”

 

20th Century Rarities

LP One

Side One

1. “Holiday Road”

2. “Dancin’ Across The USA”

3. “Go Insane” – Extended Remix

4. “Slow Dancing” – Extended Version

 

Side Two

1. “Time Bomb Town”

2. “Soul Drifter” – Radio Remix

3. “On The Wrong Side”

4. “Twisted” – Stevie Nicks & Lindsey Buckingham 

LINDSEY BUCKINGHAM ALBUM CHARTS

Lindsey Buckingham released his self titled new album September 17th and it's a great album if you haven't checked it out. How did the album do in it's first week on the Album charts around the world? Here's what I've found.

DEBUT POSITION	COUNTRY
#6	SCOTLAND
#8	UK (Top 40 Vinyl Albums Chart)
#25	UK
#37	GERMANY
#39	GERMANY (albums download chart)
#60	SWITZERLAND
#65	IRELAND
#99 debut #57 Week 2	BELGIUM (Flanders)
#173 debut #180 Week 2	BELGIUM (Wallonië)

UNITED STATES	VARIOUS ALBUM CHART	CHART EXPLANATION
#6	Tastemaker Albums Chart	Albums ranked based on "an influential panel of indie stores and small regional chains
#13	Top Album Sales Chart	A pure album sales chart.
#12	Top Current Album Sales Chart	The same chart as Top Album Sales, with catalog titles removed
#37	Top Rock Albums Chart	Most popular rock albums of the week, compiled by Nielsen Music. Based on multi-metric consumption (blending traditional album sales, track equivalent albums, and streaming equivalent albums)

PEAK POSITION ON iTUNES ALBUMS CHARTS

#7   - CANADA (itunes)

#9   - USA (itunes)

#10 - UK 9 (itunes)

#23 - AUSTRALIA (itunes)

#33 - GERMANY (itunes)

REVIEWS "LINDSEY BUCKINGHAM" May well make Fleetwood Mac think again.

Fleetwood Mac’s former guitarist goes his own way, but treads old ground

The Sydney Morning Herald

by Barry Divola

⭐⭐1/2

Sometimes the soap opera threatens to obscure the music. Case in point: Fleetwood Mac. The drugs, the affairs, the infighting, the walkouts and the reconciliations have become part of the band narrative, most recently in 2018 when, after increasing tensions in the group, Lindsey Buckingham was fired and replaced with Neil Finn and Mike Campbell for live shows. He’s taken his ball, gone home and made his first solo album in a decade.

Buckingham was always the weirdly shaped peg in the Mac machine while they helped create the ’70s US West Coast FM-rock universe. When he was given free rein on the band’s 1979 opus Tusk, the world discovered he was more enamoured with the left-field experimentation of Brian Wilson or Todd Rundgren: mercurial musicians and maverick producers with highly individual visions of how songs should sound.

This self-titled disc softly treads the same ground he has been covering for a while now – close-miked guitar played in his distinctive finger-picked style, lead vocals in his high, breathy register, layers of gossamer harmonies and beats that twitch and fidget. Case in point is first single I Don’t Mind, a sparkly wisp of a thing that rhymes willow with pillow and broken arrow with straight and narrow, while you’re left wondering how it might sound with Mick Fleetwood providing a big beat and Stevie Nicks cutting through with her white-winged dove vocals.

Remember, this is a man whose best-known solo hit, 1981’s Trouble, was a Vaseline-lensed soft-rock song he introduced with a repeated “two, a-three, a-four” count-in as if he was imitating Cookie Monster. Buckingham shoots for The Everly Brothers on the echo-laden Blind Love and constructs an aural Venn diagram where Paul Simon and Roy Orbison intersect on Time, but there’s a compressed and boxy aura around the production, while Swan Song threatens motion sickness with the strobe-like effect of fluttering Spanish guitars rubbing up against a beat with a case of the jitters.

The solo in On the Wrong Side proves he can still pull off the licks with ease, even if the song’s thin sound doesn’t match his virtuosity. Is it wrong to wish Buckingham would let it hang out again and build on the legacy of Go Your Own Way, a song that rocked and shimmered so majestically? Maybe that’s a place he no longer wishes to revisit, but these songs suggest yet another Mac reconciliation could be in order.

Lindsey Buckingham’s latest solo venture is a statement of intent

By Elizabeth Aubrey

Independent UK

September 16, 2016

Lindsey Buckingham – Lindsey Buckingham
⭐⭐⭐/5

It’s been a tumultuous few years for Lindsey Buckingham. After being fired from Fleetwood Mac in 2018, he had to undergo life-saving, open-heart surgery in 2019 and then the pandemic hit. Buckingham called it “a trifecta of events that were completely off the charts” – which is, perhaps, putting it mildly. Despite his troubles, Buckingham’s seventh studio album is far from a dour, downbeat affair. In fact, it’s quite the opposite.

Take early album track, “On The Wrong Side”. While it seems to address his acrimonious break-up with the band –“I’m outta pity,”he repeatedly croons – it’s an upbeat, stripped-back pop song which culminates in one of Buckingham’s signature, stomping electric guitar solos – and shows Fleetwood Mac just what they’re missing.

Drum machine led “Swan Song” is the album’s most inventive and surprising song, proving that the creator of “Tusk” has still got his knack for innovation and creating a daring pop hook.

While the weakest tracks here tend to veer into self-pity – the reflective, gentle and Searchers-like “Time” is a good example when Buckingham sings, “Some folks treat me mean”, these moments are usually short-lived. Buckingham is better when looking ahead, with purpose, as on the harmonious “Power Down”.

The self-title here feels like a statement of intent and with a strong solo offering like this, it may well make Fleetwood Mac think again.

Lindsey Buckingham’s latest album is a pop sensibility of precision

The ex-Fleetwood Mac star opines about his tumultuous relationship with former bandmates, but the music is poised and vibrant.

Ludovic Hunter-Tilney 

The Financial Times

⭐⭐⭐/5

Fleetwood Mac haven’t released new music since 2013. They have become a behemoth of the nostalgia circuit, trading lucratively on past glories. But although the songs have dried up, the quarrels continue. 

The latest outbreak of arguing in their long and disputatious history has been triggered by the arrival of the new solo album from Lindsey Buckingham, who was fired from the Mac’s ranks in 2018. He is still bristling at being expelled from the band that he helped turn into superstars in the 1970s. His feelings of hurt are chiefly directed at his former creative foil and ex-romantic partner, Stevie Nicks.

“Has the queen lost her sight?” he sings in “Swan Song”, one of Lindsey Buckingham’s 10 tracks. The apparent jibe at Nicks’s poor eyesight since childhood is compounded by verses evoking bitterness at being cast into limbo while the band toured in 2018 and 2019, which was rumoured beforehand to be a farewell. “Is it right to keep me waiting in the shadow of our swan song?” he choruses. His breathy voice belies a needling tone of self-pity. 

Buckingham blames Nicks for kicking him out of Fleetwood Mac. In recent interviews, the 71-year-old has compared her to Donald Trump and speculated that she was jealous about his starting a family in his late 40s while she remained childless. Nicks riposted with a statement denying that she had him fired and repudiating the bitter suggestion of ill-feeling at his becoming a father. 

There is a toxic quality to Buckingham’s resentment — especially in light of allegations that he behaved abusively towards Nicks when they were a couple, as claimed in Stephen Davis’s 2017 biography of Nicks, Gold Dust Woman. But whatever the shortcomings of its maker, and despite a troubled gestation, Lindsey Buckingham is not itself a poisonous experience. 

Recorded in 2018, the album’s release was delayed by the fallout from Buckingham’s Fleetwood Mac ousting and then a heart attack in 2019. Lyrics about the ups and downs in a relationship have acquired an unfortunate significance after he and his wife Kristen Messner separated earlier this year. Yet Buckingham’s gifts as a songwriter and performer cut through the surrounding noise.

The music was recorded at his home studio in Los Angeles, with Buckingham playing all the instruments. It has been crafted with customary attention to detail and ear for melody, a pop sensibility of precision, concision and escapism. The result is a set of four-minute songs that try to find the sweet spot between simplicity and complexity, and often succeed in doing so. 

Opening track “Scream” is a nocturnal erotic reverie set to a thrumming guitar rhythm, pounding drums and chanted choruses, a pocket-sized version of arena rock, at once curtailed and expansive. “On the Wrong Side” is based on a contrast between a tightly metronomic beat and exuberant synths and guitar solos. Layers of vocalisations and instrumentation are arranged with an acute sense of space and action. 

Buckingham’s smoothly hoarse voice glides through these often fast-paced songs at a cruise-control tempo. Although the recordings were made before he sustained vocal damage during open-heart surgery in 2019, they betray the effects of time on his singing. Exertion is rationed. Lyrics are a mixture of cliché (“The future’s looking bright”) and cynicism (“Business and murder, they go hand in hand”). With the mawkish exception of “Dancing”, the music is poised and vibrant. It keeps afloat amid the wreckage of Buckingham’s Fleetwood Mac career. 

LINDSEY BUCKINGHAM Takes Us Behind The Music

Lindsey Buckingham breaks down 10 of his best guitar riffs

The man who's always gone his own way takes us behind the music.

By Maureen Lee Lenker 

Entertainment Weekly

Lindsey Buckingham has had a tumultuous few years, from his firing from Fleetwood Mac to undergoing emergency open heart surgery to his wife's recent filing for divorce. But the veteran rocker's new solo album, out Friday, probes quieter moments, engaging with the relationship questions that have always made his work soar. And it sings with Buckingham's distinctive California pop-rock, fingerpicking style.

In honor of the album's release, Buckingham, widely considered one of the greatest guitarists of all time, goes back again to give us the stories behind his most memorable songs and epic guitar riffs.

Buckingham originally wrote this hard-rock song, atypical of Fleetwood Mac's style at the time, for his album with then-girlfriend and creative partner, Stevie Nicks. "We'd been in LA only for like a year and a half," he explains. "Things happened pretty fast. The album came out, and it didn't really connect and we were working material for a second album."

All of Buckingham and Nicks' songs that ended up on their first collaboration with Fleetwood Mac were demoed before they ever joined the band. "It made the process of cutting that first album much easier than it would've otherwise been, working with people we'd never worked with before," he notes.

Buckingham based "Afraid" off musical themes he'd heard in church music, singing in a boys' choir at the age of 10 or 11. "It was an exploration into two things. One, into the use of a guitar as a very orchestral thing with a triad of melody going on. And then, the unleashing of the solo at the end, which grew into epic proportions over the years on stage.... It also addressed the yin-yang of having confidence and having faith that you have something to offer in a somewhat tenuous environment that is the entertainment industry, And yet, there's always a fear underneath that."

REVIEW Lindsey Buckingham is an upbeat, frequently delightful album 8/10

Lindsey Buckingham tips his hat to ’60s pop on solo album

By Sam Richards

RIFF Magazine

8/10

After what nearly amounted to a Fleetwood Mac reunion album with 2017’s Lindsey Buckingham/Christine McVie, the first solo album from Lindsey Buckingham in a decade sounds as if it could have been the second disc of the fine 2011 solo release Seeds We Sow.

That isn’t a bad thing at all; far from it. The new self-titled album is full of songs that meld pop hooks ranging from pleasant to glorious with instrumentation—layers of acoustic guitars, in particular—that give the songs a subtle edge while maintaining, even magnifying, their sweetness.

Where Lindsey Buckingham/Christine McVie seemed to be striving for the sound of the late 1970s and mid-1980s glory years of Fleetwood Mac, the new solo album turns back inward. Lindsey Buckingham, like most of Seeds We Sow, is a true solo effort, with the guitarist playing all the instruments and doing all the singing. And if there’s a lack of the immediacy of his classics like “Go Your Own Way,”  “Monday Morning” or “Big Love,” there’s a depth of musicality that hits just as fast, if not quite as hard.

REVIEW Lindsey Buckingham Fresh Songs with a Classic Mac Sound

Lindsey Buckingham album review: Fresh songs with a classic Mac sound
If we ever get bored of those greatest hits, this will be a handy addition to the canon

By David Smyth

Evening Standard UK

⭐⭐⭐⭐/5

Over four decades since the release of their biggest album, the world seems hungrier than ever for the music of Fleetwood Mac. The turbulent band’s greatest hits collection, 50 Years – Don’t Stop, has been in the UK top 20 all year, while that giant album, Rumours, is at 22 today – its 905th week on the chart. Possible explanatory factors include the death of founding member Peter Green last year, and the band’s song Dreams appearing in a viral TikTok video, but more likely it’s just that these sounds of the Seventies don’t appear to lose any appeal across the generations. Queen, Elton John and the newly recording ABBA are also in the top 20 this week, so it can’t just be your mum playing them for the 905th time.

Fresh music is thinner on the ground, however. The closest we’ve come to a new Fleetwood Mac album since 2003 was a 2017 recording that featured four main members, but not Stevie Nicks, and ended up being called Lindsey Buckingham Christine McVie. Nicks was also responsible for the ousting of Buckingham from the band before their last tour, across 2018 and 2019, in what was reportedly an “either he goes or I do” situation.

As Rumours proved, the friction between these former lovers often makes for the best music. However, there’s not much on his seventh solo album to suggest that Buckingham is still taking inspiration from that particular battle. I Don’t Mind, with lines such as: “Where there’s joy there must be sorrow/Never far apart,” is more likely about Kristen Messner, who filed for divorce from him after two decades of marriage this summer. In any case he sounds magnanimous in the song, which easily replicates his classic sound with its bright plucked acoustic melody and breathy female backing vocals.

As long as they’re not taking sides, Mac fans will find lots to love here, including the bucking guitar solo on the racing On the Wrong Side and the sweet, easygoing chorus of Santa Rosa. There’s not much evidence of ageing in the 71-year-old’s weightless voice. There are a few missteps – the restless electronic beats of Swan Song might be intended to keep up with modern times but in fact make it sound more dated, and the closing ballad, Dancing, is a dreary finale. But if there’s ever a chance that people tire of those greatest hits, this is an appealing minor addition to the canon. 

REVIEW Lindsey Buckingham bustles with defiant spirit while leaning heavily on deeply catchy songwriting

Fleetwood Mac visionary’s stellar return

The artist's first solo album in a decade sticks to the world-beating path he’s mastered, drawing on love and lost relationships along the way.

⭐⭐⭐⭐/5

By Rhys Buchanan

NME

Recent world events have proved deeply frustrating for musicians of all levels – even those once central to one of the ​​best-selling groups of all time. The long dark tunnel stretches further back for Lindsey Buckingham though; after being fired from Fleetwood Mac in 2018, the visionary then faced life-saving emergency open-heart surgery in 2019 before the pandemic even hit.

He described the three life-changing punches as “a trifecta of events that were completely off the charts.” It’s no wonder then, that Buckingham finds himself picking through the rubble as well as seeking light on his seventh solo studio album ‘Lindsey Buckingham’. On his first solo studio effort post-Mac, he’s intent on staying grounded musically and emotionally.

The buoyant opener ‘Scream’ feels a fitting way to kick things off – the swift and sweet track gleefully casts those difficult and stormy days away. A sense of abandon cuts through the driving acoustic melody with innocent simplicity through the lyricism: “Lost in the language of your touch / Just like you’re wakin’ from the dream / Oh, I love you when you scream.”

One of the record’s most enchanting moments comes early on with ‘I Don’t Mind’. A figure who has been embroiled in drama and heartache throughout his career, it’s no secret that Buckingham can pen an impacting love song. The track floats with masterful melodies as the lyricism elegantly picks apart the struggles and compromise of a long-term relationship.

He’s just as effective when dealing with the more notable long-term relationship that came crashing to an acrimonious end. The rhythmic anthem of ‘On The Wrong Side’ deals with the feelings of his split with Fleetwood Mac: “I’m outta pity / I’m outta time / Another city, another crime / I’m on the wrong side”, he sings before cutting loose with a soaring emotionally charged guitar solo. There’s definitely some healing going on here.

Even the most casual Fleetwood Mac fans won’t have to look hard to uncover the band’s classic hallmarks, which are dotted all over the listen. ‘Swan Song’ packs the deep velvety guitar textures once heard during the ‘Tango In The Night’ era; elsewhere ‘Power Down’ showcases the effortless grandeur of the timeless finger-picking behind their biggest hits.

The album bustles with defiant spirit while leaning heavily on deeply catchy songwriting and production. And with Mick Fleetwood having reconciled with Buckingham back in March, it’s exactly the kind of triumphant return that could give his old band food for thought.

LINDSEY BUCKINGHAM NEW ALBUM OUT SEPT 17, NEW SINGLE "I DON'T MIND" OUT NOW

Today, Lindsey Buckingham has announced his forthcoming self-titled LP due out September 17, 2021 on Reprise, alongside the first single, “I Don’t Mind.” Lindsey Buckingham is his first solo release since 2011’s Seeds We Sow and follows his departure from Fleetwood Mac. As with the seven studio and three live albums he has released as a solo artist beginning with 1981’s Law and Order, the new project showcases Buckingham’s instinct for melody and his singular fingerpicking guitar style, reaffirming his status as one of the most inventive and electrifying musicians of his generation. Written, produced and recorded by Buckingham at his home studio in Los Angeles, CA, the album will be released via vinyl, CD and on all digital and streaming services. A limited-edition blue vinyl version is also available for pre-order via www.lindseybuckingham.com.

Pre-order Lindsey Buckingham HERE. Listen to “I Don’t Mind” HERE.

Says Buckingham of the meaning of the single, “‘I Don’t Mind,’ like many of the songs on my new album, is about the challenges couples face in long-term relationships.” He continues, “Over time, two people inevitably find the need to augment their initial dynamic with one of flexibility, an acceptance of each others’ flaws and a willingness to continually work on issues; it is the essence of a good long term relationship. This song celebrates that spirit and discipline.”

The new album is a welcome display of Buckingham’s instantly recognizable guitar work and vocal layering, particularly on songs such as “Power Down,” “Scream” and “Swan Song.” Elsewhere, Buckingham pays homage to ‘60s folk group the Pozo-Seco Singers’ hit single “Time,” a song he’s admired since he was a teenager and has long intended to cover. “I wanted to make a pop album, but I also wanted to make stops along the way with songs that resemble art more than pop,” he says. “As you age, hopefully you keep getting a little more grounded in the craft of what you’re doing. For me, getting older has probably helped to reinforce the innocence and the idealism that hopefully was always there.”

Buckingham will be returning to the stage with a 30-city 2021 U.S. tour, marking his first in-person shows following a life-saving open-heart surgery in 2019. He’ll kick off the extensive run of shows at Milwaukee’s Pabst Theatre on September 1st, with stops at The Town Hall in NYC, The Theatre at Ace Hotel in LA and more. Tickets go on sale June 11th at 10:00AM local time. Visit www.lindseybuckingham.com for more info. 

Over the last four decades, Buckingham has developed a radical sense of experimentation and an unrivaled savvy as a producer. He first honed these skills as a singer, guitarist, songwriter, producer and the musical visionary of Fleetwood Mac, for which he wrote and produced several Top Ten hits, including “Go Your Own Way,” “Tusk” and “Big Love.” Under Buckingham’s direction, Fleetwood Mac became one of the best-selling and most beloved rock groups of all time. As a solo artist, Buckingham often plays nearly every instrument himself; his complex arrangements and inventive production choices make his solo work thrilling to experience. Earlier this year, he appeared on “Caution,” the newest single from the Killers. He remains a highly sought-after collaborator, a maverick and a visionary.

US TOUR DATES:

SEPTEMBER 2021

9/1/2021 The Pabst Theater – Milwaukee, WI 
9/3/2021 Mystic Lake – Mystic Showroom – Prior Lake, MN
9/4/2021 Four Winds Casino Resort / Silver Creek Event Center – New Buffalo, MI 
9/7/2021 Carnegie of Homestead Music Hall – Munhall, PA 
9/8/2021 Riviera Theatre – North Tonawanda, NY
9/9/2021 The Academy of Music – Northampton, MA 
9/11/2021 The Chevalier Theater – Medford, MA 
9/12/2021 The Music Hall – Portsmouth, NH 
9/14/2021 Warner Theatre – Washington, DC 
9/16/2021 The Town Hall – New York, NY 
9/18/2021 Tropicana Casino & Resort – Atlantic City, NJ 
9/19/2021 Santander Performing Arts Center – Reading, PA 
9/21/2021 Knight Theatre – Charlotte, NC 
9/22/2021 Woodruff Arts Center – Symphony Hall – Atlanta, GA 
9/24/2021 Bijou Theatre – Knoxville, TN 
9/26/2021 Ponte Vedra Concert Hall – Ponte Vedra Beach, FL 
9/27/2021 Ruth Eckerd Hall – Clearwater, FL 
9/29/2021 King Center for the Performing Arts – Melbourne, FL 
9/30/2021 Parker Playhouse – Fort Lauderdale, FL 

DECEMBER 2021

12/2/2021 The Theatre at Ace Hotel – Los Angeles, CA 
12/3/2021 Magnolia Performing Arts Center – El Cajon, CA 
12/5/2021 Fox Tucson Theatre – Tucson, AZ 
12/8/2021 The Paramount Theatre For the Performing arts – Austin, TX 
12/9/2021 Majestic Theatre – Dallas, TX 
12/11/2021 Smart Financial Centre – Sugar Land, TX 
12/13/2021 Von Braun Center – Mars Music Hall – Huntsville, AL 
12/15/2021 Uptown Theater – Kansas City, MO 
12/17/2021 The Criterion – Oklahoma City, OK 
12/18/2021 Orpheum Theatre – Wichita, KS 
12/20/2021 Boulder Theater – Boulder, CO

EUROPEAN TOUR DATES:

MAY 2022

5/17/2022 – The Helix, Dublin, Ireland

5/19/2022 – SEC Armadillo, Glasgow, UK

5/21/2022 – Philharmonic Hall, Liverpool, UK

5/22/2022 – The London Palladium, London UK

5/24/2022 – Capitole, Ghent, Belgium

5/25/2022 – La Cigale, Paris, France

5/26/2022 – TivoliVredenburg Grote Zaal, Utrecht, Netherlands

5/28/2022 – Theater am Potsdamer Platz, Berlin, Germany

5/30/2022 – Cirkus, Stockholm, Sweden

5/31/2022 – Folketeateret, Oslo, Norway

JUNE 2022

6/02/2022 – Heartland Festival, Kværndrup, Denmark

Lindsey Buckingham reinterprets his intricate solo masterpiece “Never Going Back Again”

Watch Lindsey Buckingham Perform New Version of “Never Going Back Again” In Fender’s New Re-Creation Series

Lindsey Buckingham reinterprets his intricate solo masterpiece “Never Going Back Again” using the newly released Fender Acoustasonic Jazzmaster in Fender’s Re-Creation video series.

The gorgeously filmed performance spends a lot of quality time focused on Lindsey’s left and right hand, giving guitarists a clear view of his alternate Travis picking technique. He adds a nice, improvised melodic interlude in the song’s middle section, using his classic ‘solo while holding down the rhythm’ style.

And the sounds! Let’s say this video, the first in Fender’s new series, may well win over anyone who wasn’t sure of the Acoustasonic’s acoustic tonal capabilities.

“Even though I’ve only been with this new Jazzmaster for a short time, I can see that it would have a lot of uses in the studio. I’m excited to give it more time to get to know it a little better.”

“Acoustic guitar has always been my soulmate and alter ego; it got me to a place where I guess I had my own style,” Buckingham said. “Anytime I can take that orchestral approach, I have. The American Acoustasonic Jazzmaster allows you to do just that.”

American Songwriter

MICK FLEETWOOD “I would love the elements that are not healed to be healed”

Mick Fleetwood Open to Reunion With Lindsey Buckingham, Imagines Fleetwood Mac Farewell Tour

“Fleetwood Mac is such a strange story,” says the drummer. “I would love the elements that are not healed to be healed”

By ANDY GREENE
Rollingstone

With the concert industry shut down for the foreseeable future and his bandmates spread to various spots around the planet, Mick Fleetwood truly doesn’t know what the future holds for Fleetwood Mac. But that hasn’t stopped the drummer from looking ahead and sketching out a possible farewell tour in his mind.

“I’m very aware that we’ve never played that card,” he tells Rolling Stone on the phone from his Hawaii home. “I think the vision for me, and I think it would be hugely appropriate, is that we actually say ‘this is goodbye’ and go out and actually do that. That has always been my vision and I’m a flatly confident that we can do that. We owe it to the fans.”

The comments appear to contradict Christine McVie’s recent statements to the BBC where she said that bassist John McVie was “a little bit frail” and no longer had “the heart for it.” She also said, “If we do it, it’ll be without John and without Stevie [Nicks], I think…I’m getting a bit old for it now. I don’t know if I can get myself back into it.”

McVie later walked back the comments, and Fleetwood says they shouldn’t be taken literally. “I think she got out of bed on the wrong side that day,” he says with a laugh. “She meant to say, ‘We’ve done so much. I don’t know whether or not we can keep going.’ Anything other than that, she can speak for herself. But I can assure you we are alive and well. And she has no regrets. She just got caught up in whatever she was saying and she also felt she had been misunderstood.”

Christine McVie also said that John McVie was focused largely on sailing the world on his boat, but Fleetwood says that’s never once stopped him from participating in band activities. “He’s always more interested in going sailing until you put it in front of his face,” he says. “He’s so not caught up in the drama of the workings of the band. That has always been my world. I’ve never not known John to answer the call and say, ‘Show me the gig and I’ll plug my bass in.'”

There hasn’t been any reason for McVie to plug his bass in since Fleetwood Mac ended their last world tour in November 2019. It was their first tour since parting ways with Lindsey Buckingham and bringing in Neil Finn of Crowded House and Mike Campbell of Tom Petty and the Heartbreakers to fill the void. “It was a massive, really lovely world tour that was beyond successful in every way,” says Fleetwood. “And a happy tour.”

They initially planned on booking about eight stadium shows with other big artists the following year, but the pandemic made that impossible. Last July, Fleetwood Mac founding guitarist Peter Green died just months after Fleetwood staged a massive tribute concert in his honor at London’s Palladium.

It was a devastating blow to Fleetwood, but it also caused him to get back in touch with Buckingham after two years of bitter estrangement. “I’ve really enjoyed being re-connected with Lindsey, which has been gracious and open,” says Fleetwood. “And both of us have been beautifully honest about who we are and how we got to where we were.”

The reconciliation leads to an obvious question: Might Buckingham come back into Fleetwood Mac for the farewell tour that Fleetwood is plotting out in his mind? “Strange things can happen,” says Fleetwood. “I look at Fleetwood Mac as a huge family. Everyone plays an important role in our history, even someone like [early Seventies] guitarist Bob Welch, who was huge and sometimes gets forgotten. Lindsey’s position in Fleetwood Mac will, for obvious reasons, never been forgotten, as it should never be forgotten.”

“My vision of things happening in the future is really far-reaching,” he continues. “Would I love to think that [reunion] could happen? Yeah. I’d love to think that all of us could be healed, and also respect the people who are in the band, Neil Finn and Michael Campbell.”

The major impediment to a reunion with Buckingham is his relationship with Stevie Nicks, which had been strained for decades and finally reached a breaking point in early 2018. No reunion tour can proceed without the two of them arriving at some sort of detente. “I can’t speak for the dynamic with Stevie and him,” says Fleetwood. “I don’t even need to protect it. It’s so known that they’re chalk and cheese in so many ways, and yet not.”

For now, Fleetwood is just happy he’s back on speaking terms with Buckingham. “I know for a fact that I intend to make music and play again with Lindsey,” he says. “I would love that. It doesn’t have to be in Fleetwood Mac. And Fleetwood Mac is such a strange story. All the players in the play are able to talk and speak for themselves. Somehow, I would love the elements that are not healed to be healed. I love the fantasy that we could cross that bridge and everyone could leave with creative, holistic energy, and everyone could be healed with grace and dignity.”

Lindsey Buckingham is raising money for UK stage crews affected by the pandemic

In aid of Stagehand's #ILoveLive campaign, Lindsey Buckingham is raising money for UK stage crew affected by the pandemic. Donate now at this link for a chance to win his rare Lane Moller guitar!

Deadline March 17th

"During my many years of touring, I long ago came to understand that the real heroes of rock shows are not the artists, but rather the crews. Everyone involved in putting together a show - tour management, technicians, sound, lighting, and drivers -are all hugely invested in doing their part to contribute to putting on the best possible presentation every night, and they perform their duties with consistency and integrity, all for the benefit of the artists. In fact, artists could not succeed without the spirit, the love, and the craft their road crews bring to a tour. This is why I’m pleased that I can contribute in a small way to helping those who have been adversely impacted in the last year, and am proud to be aligned with Stagehand, which is bringing the music community together to help offset the adversity experienced by so many in our ranks." - Lindsey Buckingham

LINDSEY BUCKINGHAM SELLS HIS SONG CATALOG TO HIPNOSIS

HIPGNOSIS FULLY ACQUIRES LINDSEY BUCKINGHAM SONG CATALOG, INCLUDING 100% WRITER AND PUBLISHER SHARE OF FLEETWOOD MAC HITS

Just one day after it announced the acquisition of Jimmy Iovine’s production royalties, the Merck Mercuriadis-led entity has confirmed yet another major rights buyout.

This time, Hipgnosis has acquired 100% of Lindsey Buckingham’s publishing rights, including both his publishing and writer’s share, across 161 songs.

Those songs include an array of hits that Buckingham wrote and/or co-wrote for Fleetwood Mac, including Go Your Own Way and The Chain.

Hipgnosis previously acquired a 25% stake in Buckingham’s song catalog via its buyout of a publishing portfolio from Kobalt for $323m in September (announced in November).

As part of its new agreement with Buckingham, announced today (January 5), Hipgnosis also acquires a 50% share of any unreleased compositions.

Today’s news means that the majority of publishing rights for songs penned by two of Fleetwood Mac’s biggest songwriters – Lindsey Buckingham and Stevie Nicks – are now owned by modern, highly acquisitive, rights management firms. (Nicks sold 80% of her publishing rights last year to Hipgnosis rival Primary Wave for around $80m.)

Merck Mercuriadis, founder of Hipgnosis Songs Fund Limited, said: “Lindsey Buckingham is one of the greatest guitarists, songwriters and producers of all time yet is still so underrated. His work with Fleetwood Mac has brought the world unparalleled joy over the last 45 years and he belongs in any discussion featuring Brian Wilson and Paul McCartney. It’s wonderful to welcome him and his iconic songs both as a solo artist and with Fleetwood Mac to the Hipgnosis family”.

Lindsey Buckingham said: “Prior to arriving at an agreement with Hipgnosis, I had wonderful long conversations with Merck Mercuriadis. I was pleased to find a kindred spirit, someone who’s a big fan of my work in Fleetwood Mac, and an even bigger fan of my solo efforts.

“I look forward to working with Merck and the whole Hipgnosis team going into the future, and am confident that my body of work will be curated with great heart and insight.”

Lindsey Buckingham was represented by managers Matt Sadie and Simon White at C3 Management, his attorney, David Altschul, of Altschul Olin & Vandergast LLP, and his business manager, Rick Mozenter of Gelfand, Rennert & Feldman.

Lindsey Buckingham released his debut album Buckingham Nicks in 1973 with his then partner, Stevie Nicks. The duo then joined Mick Fleetwood, John McVie and Christine McVie as Fleetwood Mac.

Buckingham’s second album with Fleetwood Mac, Rumours, was released in 1977 and has sold over 45 million copies worldwide, making it one of the nine bestselling albums of all time. It won Album of the Year at the 1978 Grammy Awards, containing Go Your Own Way, written by Buckingham, and The Chain, co-written by Buckingham. Buckingham also wrote Second Hand News and Never Going Back Again on Rumours.

Buckingham’s four songs from Rumours have collectively been streamed more than 1 billion times on Spotify alone.

In 1979, Fleetwood Mac released the multi-platinum album Tusk, whose title track was written by Buckingham. He also wrote the likes of What Makes You Think You’re The One, Save Me A Place, Walk A Thin Line, Not That Funny and I Know I’m Not Wrong on the record.

Buckingham released his first solo album Law and Order in 1981, which included the Top 10 single Trouble. He then returned to Fleetwood Mac to record the UK No.1 and multi-platinum album Mirage which sold over 4 million copies.

In 1987, Fleetwood Mac released Tango in the Night which sold over 15 million copies worldwide. The LP featured four US Top 20 hits including Big Love, which was written by Buckingham and reached the Top 10 in both the US and the UK.

In 2003, Buckingham and Fleetwood Mac released the album Say You Will which sold more than 2 million copies worldwide and featured the hit single Peacekeeper written by Buckingham.

As a member of Fleetwood Mac, Buckingham was inducted into the Rock and Roll Hall of Fame in 1998 and in 2011 was listed in Rolling Stone Magazine’s ‘100 Greatest Guitarists of All Time’.

In addition to his work with Fleetwood Mac, Buckingham has released five solo albums including Out of the Cradle, Under the Skin, Gift of Screws and Seeds We Sow.

In 2017, Buckingham and his Fleetwood Mac bandmate Christine McVie released the UK Top 5 and certified silver album Lindsey Buckingham Christine McVie.

UK-listed Hipgnosis Songs Fund owned (or owned cuts in) 57,836 songs in its portfolio as of the end of September 2020, when its market cap value stood at circa $1.7bn.

Music Business Worldwide

LINDSEY BUCKINGHAM LIVE AT HOME DEC 5TH (livestream)

AT HOME WITH LINDSEY BUCKINGHAM LIVESTREAM ON 12/5 ANNOUNCED

Lindsey Buckingham has announced an intimate livestream show. On Saturday, December 5th at 5:30PM PST / 8:30PM EST, Lindsey will deliver a completely live performance from his home studio in Los Angeles, featuring hits from across his iconic catalog. Fans from around the world will also have access to purchase Q&A VIP packages for the show, along with exclusive merchandise. Tickets are priced at $15 and go on sale on Friday, November 13th at 7am PST.

Not able to make this show? No problem, Lindsey’s performance will remain exclusively available to ticket purchasers for 48 hours post show.

GET TICKETS

MICK FLEETWOOD AND LINDSEY BUCKINGHAM RECONNECTED RECENTLY OVER PETER GREEN

Mick Fleetwood on viral video and whether Lindsey Buckingham will return 

By Nicki Gostin 

Page Six

Mick Fleetwood thinks it’s “cool” that his band’s classic tune “Dreams” is climbing the charts again.

Last month, Nathan Apodaca posted a TikTok video of himself skateboarding and chugging cranberry juice while lip-syncing to the Fleetwood Mac 1977 hit “Dreams.” The clip has been viewed over 30 million times, resulting in Apodaca being gifted a cranberry-hued truck from Ocean Spray and the Stevie Nicks penned song gaining over 8 million on-demand streams last week.

Fleetwood, 73, even made his own TikTok copying Apodaca and the two met up via a Zoom chat.

The British-born musician is humble about the video’s success chalking it up to a “moment of connectivity” that “just resonated.”

“It was a reach out with a smile,” he told Page Six from his home in Hawaii. “Here I am and here we go. It’s so what we need right now. And how cool is that?”

“It was sort of a huge accident. This is hugely gratifying and it’s fantastic,” he said.

Fleetwood Mac are as famous for their songs that defined the ’70s as much as their internecine squabbling, which has led to members leaving and returning.

The most recent was in 2018 when guitarist Lindsey Buckingham was fired.

Fleetwood, who says he spoke to Buckingham recently, “has no idea” if Buckingham will ever return.

He explained in a not very clear or succinct way: “I think the reality is without going into huge detail, one of the things I always say is that the disconnect happened and there were emotions that were somewhat not removable and there are personal things within the band and Lindsey’s world.

“All I can say is really openly is that Lindsey Buckingham and the work he has done with the band is never going to go away and we have a functioning band with the changes that we made. You know time heals and it was lovely to be able to talk with him.”

Fleetwood said the two spoke by phone after Fleetwood Mac founder Peter Green passed away age 73 in July.

“Lindsey said, ‘I know you’re really sad and of course, I was.’ And that’s what reconnected me and Lindsey. We had the greatest talk. It was like we’d just spoken five minutes ago.”

The drummer  is looking forward to a post-COVID time where he can perform again and “there has to be a positive outcome of stories to be told by all of us.”

 

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REVIEW Lindsey Buckingham Ann Arbor November 17, 2018

Lindsey Buckingham Goes His Own Way, Revisits Fleetwood Mac On Stage In Ann Arbor
by Jim Ryan
Forbes
Photo Philamonjaro Studio

2018 was a year featuring highs and lows for Lindsey Buckingham.

While word didn’t start to trickle out publicly until April, Buckingham was fired from Fleetwood Mac in January, making his performance with the group on January 26th at a MusiCares benefit his final one. It marks his second departure from the group he joined in 1975 following a sabbatical from 1987 to 1997.

On October 5th, Rhino released Buckingham’s first ever Solo Anthology, featuring material from all six of his solo studio albums, plus a pair of unreleased tracks and one cut from his 2017 album with Fleetwood Mac’s Christine McVie.

But not even a week removed from that release, it was reported Buckingham was suing his former band for breach of fiduciary duty, breach of oral contract and more.

One of the issues reportedly at the center of the acrimonious split was his desire to book solo shows on off nights of the Fleetwood Mac arena tour.

Buckingham brought that solo tour, what he’s often dubbed “the small machine,” to Ann Arbor at the Michigan Theatre, where he was backed by a four-piece band Saturday night.

“We are here for… a couple of reasons,” said Buckingham on stage Saturday, tongue-in-cheek, addressing the crowd with a pause for emphasis near the start of the show. “The important one is that Warner Brothers has put out an anthology of my solo work. The whole process of curating it was a catharsis. In celebrating this package, we get to celebrate some material that has never been performed on stage,” he said, before heading into “Surrender the Rain,” from his 1992 album Out of the Cradle.

From his 1981 solo debut, “Trouble” provided a terrific example of just how great Buckingham’s deliberate finger picking remains as he headed toward a full band take of “I Must Go,” featuring wonderful backing vocals from both his bassist and keyboard player.

Buckingham remains in terrific voice and “Street of Dreams” was an early highlight Saturday in Michigan as he moved to the acoustic-electric for a solo take on the track in the theater setting.

“We are making a new start,” said the guitarist in another general nod to his Fleetwood Mac departure, both a situation and band that, amidst litigation, he’d never directly reference. “It’s very important to have you here at the beginning of something new. We have lots more down the line,” he continued, addressing his future obliquely.

Those words acted as Buckingham’s introduction to a solo rendition of “Shut Us Down.” But “Oh you and I we sure can dream / of conversations that might have been,” are the lyrics that actually begin the song. For Buckingham, who claims he was never given a reason for his Fleetwood Mac firing by any of his bandmates, despite inquiries, the placement of that song, at that particular point in the set, following said introduction, was probably not coincidental.

It was a point further driven home with a solo take on Fleetwood Mac’s “Never Going Back Again” immediately following.

At that point, the show began to hit its stride. Buckingham’s band is tight but the best moments Saturday in Michigan were those which placed the greatest emphasis on his delicate playing and introspective lyrics in a far more intimate setting than Fleetwood Mac fans are generally accustomed.

While he may have never directly addressed his former band, he had no problem diving into that catalog, as the solo portion of the show continued with his stunning take on Fleetwood Mac’s “Big Love.”

From 1987’s Tango in the Night, the song’s glossy production on that record hasn’t aged well. But treated as the Buckingham solo spectacle that it often was during Fleetwood Mac tours, “Big Love” was every bit as engaging in a small theater as it was many nights in an arena, with Buckingham’s classical picking of the acoustic guitar stealing the show Saturday night in Ann Arbor.

As the band made its way back to the stage, Buckingham appeared not just energized but comfortable, interacting with his keyboard/acoustic guitar player during “Slow Dancing” and jovially messing around with his bassist.

But the biggest smiles were saved for a seasonally appropriate rendition of “Holiday Road,” the solo Buckingham cut most well-known for its placement in the 1983 Chevy Chase film National Lampoon’s Vacation and subsequent sequels. The guitarist laughed and kicked throughout, drawing the crowd to its feet, as the show headed for the close of the main set with rollicking takes on Fleetwood Mac classics like “Tusk” and “Go Your Own Way.”

“Thank you so much,” said Lindsey Buckingham Saturday in Michigan. “We’re making a new album next year and we’ll be back. We love you all so much for being a part of this so early on,” he continued, making the most of his unexpected new chapter.

Kenyan singer songwriter J.S. Ondara opened the show with a rousing, self-deprecating, solo acoustic set Saturday night.

“If I play something and you recognize it, just stop me,” he joked, referencing the upcoming February 1 release of his debut solo album Tales of America. “When the record comes out, I’m gonna come back and quiz you,” he continued.

Songs like “My Heart is Never on Time” and closer “Saying Goodbye” set the stage beautifully Saturday in Ann Arbor not just for a headlining set by Lindsey Buckingham but for Ondara’s new record as well.

“If you’re concerned that this next song is going to be sad, it’s ok because the next show is a rock show,” observed Ondara. “It’s a nice lyrical contrast.”

GO YOUR OWN WAY

I MUST GO

REVIEW Lindsey Buckingham Live in Ann Arbor November 17, 2018

Lindsey Buckingham displays big life after Fleetwood Mac in Ann Arbor
By Gary Graff
The Oakland Press

VIEW THE PHOTO GALLERY

ANN ARBOR -- One door closed on Lindsey Buckingham this year -- and hit him on the butt on the way out.

Now he's ready to open another one.

That was the message of the Rock and Roll Hall of Famer's concert Saturday night, Nov. 18, at the Michigan Theater. Fired by Fleetwood Mac earlier in the year, he's responded not only with a lawsuit against the band but a purposeful renewal of his solo career, including a compilation of what's come before, and promises of much more to come. "You are here at the beginning of something new," Buckingham told the Ann Arbor crowd mid-show. "We have lots more down the line...We're looking forward to having time to do all that."

Though he played some of the group's material, Buckingham did not mention the turmoil with Fleetwood Mac -- who he spent 42 off-and-on years of multi-platinum success with -- or even the band superficially during the nearly two-hour, 21-song show; The closest he came was while discussing the "Solo Anthology: The Best of Lindsey Buckingham," when he noted that he "likes looking ahead and not behind -- that's certainly served me well this year." But his song choices were clearly statements of purpose, including a solo acoustic pairing of "Shut Us Down" and Mac's "Never Going Back Again."

And he ended the night with the pointed and potent choice of his 2008 solo track "Treason," whose chorus declared, "Deep down there's freedom...We will rise from this treason."

Mostly, however, Buckingham and his tight four-piece band gave every reason to anticipate good things to come from his new path. Saturday's show offered an insightful and, to some, revelatory showcase for the creative inventiveness and even quirkiness that's made him one of the standout pop auteurs of the past four decades. For guitar fans in particular it was a festival of finger-picking dexterity as Buckingham -- in his trademark black jacket, black T-shirt and blue jeans -- simultaneously played leads and rhythms on both acoustic and electric, driving songs such as "Go Insane" and a solo acoustic "Big Love" into frenetic fury. Fleetwood Mac's "I'm So Afraid" was its usual epic discourse, with Buckingham slapping his guitar and mugging for ebullient fans who lined the front of the stage.

And the Mac's "Go Your Own Way" was a soaring, triumphant anthem with an extended solo at the end.

The show also let Buckingham dig deep into his solo catalog for songs he noted were seldom played, including shimmering gems such as "Surrender the Rain," "Not Too Late" and "Soul Drifter," the stomping angst of "Doing What I Can" and the gentle, bluesy "Street of Dreams" and the disco-flavored "Slow Dancing." "Holiday Road" from the "National Lampoon's Vacation" series was a roaring rockabilly set-up for a spirited romp through the Mac's "Tusk," while "Turn It Down" nodded to New Wavey pop.

During his comments Buckingham promised a new album and vowed to "see you again next year." And with Saturday's show he gave every reason to anxiously await both.

REVIEW Lindsey Buckingham Live in Birmingham, Alabama November 12, 2018

Is Lindsey Buckingham’s solo show a declaration of independence from Fleetwood Mac?
By Mary Colurso
Photos By Joe Songer - View Gallery (27 photos)
AL.com

Lindsey Buckingham has always been an intriguing artist, an exacting craftsman, a compelling performer … and a guy who likes to be in charge of his destiny.

Plays well with others? Sure, but not always. The history of his most famous band, Fleetwood Mac, is fraught with tensions — both personal and professional — that have been a creative spur for some enduring, and truly wonderful, pop-rock music.

Buckingham comes with baggage, in other words.

It’s interesting baggage, and it doesn’t prevent him from excelling on stage. But longtime fans have to wonder how Buckingham is feeling these days, after his ouster from Fleetwood Mac earlier this year and his exclusion from the band’s 2018-2019 tour. (It comes to Birmingham on Feb. 13.)

We know that Buckingham is suing Fleetwood Mac for breach of fiduciary duty, breach of oral contract and more. (An October story by Rolling Stone includes a copy of the legal complaint.) But is he hurt? Angry? Frustrated? Determinedly pushing past the rift to focus on his future?

About 750 people in Birmingham have an inkling, after seeing Buckingham perform with his solo band on Monday at the Lyric Theatre. The singer-guitarist, 69, was large and in charge at this sold-out show, delivering nearly two hours of music with passion and intensity.

Buckingham’s 9 p.m. setlist, 21 songs full, reached into the past, pulled from his hit list and offered listeners a mini-retrospective of his solo career. His work with Fleetwood Mac was part of the mix — ticketholders likely would rebel if Buckingham ignored that — but the primary emphasis was on his very own catalog.

Buckingham’s selections included “Trouble” (a standout on his first solo album, 1981’s “Law and Order”), “Go Insane” (the title track from his 1984 record and a top 40 single) and “Holiday Road” (featured in the 1983 movie “National Lampoon’s Vacation”). The artist also chose lesser-known but equally effective tunes such as “I Must Go,” “Doing What I Can,” “Don’t Look Down,” “Turn it On,” “Down on Rodeo” and “Treason.”

His skills as a guitarist were abundantly on display, via percussive picking and sinewy solos, and Buckingham displayed a certain amount of stage swagger. He became playful during at least one of his interactions with the band — was that a modified duckwalk? — and Buckingham’s voice, although not consistently strong, rang out with clarity and conviction throughout much of the show.

Buckingham’s confidence in front of a crowd is a given. His outsize talent is, too, and it served him well here in 2012, during a one-man show at the Alys Stephens Center. On that occasion, Buckingham came off as stellar but rather severe, keeping himself at a distance from the crowd. This time, though, he seemed to have something to prove: Buckingham tried harder, played longer, talked more, smiled often and made a concerted effort to show his appreciation for the audience.

Although you’d never call him emotionally vulnerable, Buckingham let his reserve melt and he opened up a bit, telling listeners that he was beginning a new chapter with this four-man band. He said it several times, in fact, mentioning an album that’s in the works as part of his “new start."

In this context, some of the songs on Buckingham’s agenda — “Shut Us Down,” “Go Your Own Way,” “Never Going Back Again” — could be interpreted as mission statements, declaring his final independence from Fleetwood Mac and his resolution to thrive on his own.

“I love all of you for being here,” Buckingham said. And it was easy to believe that he meant it.

The affection went both ways, of course. Birmingham’s love affair with Buckingham dates back to 1975, when he and Stevie Nicks performed at Municipal Auditorium (now called Boutwell Auditorium) to promote their self-titled debut album, “Buckingham Nicks.”

Thanks to airplay on a local radio station, the record was wholeheartedly embraced here, and Birmingham was one of a few cities where fans turned out in force for the duo. Buckingham and Nicks, who were shortly to join Fleetwood Mac, have said the Birmingham concert provided their first taste of stardom.

Buckingham made sure to acknowledge that connection during Monday’s appearance, reminiscing about the Buckingham Nicks show and paying gracious tribute to those long-ago ticketholders.

“There are people here who saw Stevie and me back then,” Buckingham said. “And it’s great. It’s so circular.”

At this point in his career, Buckingham certainly has no need to court an audience, but it was gratifying — and kind of refreshing — to see him do so at the Lyric. In a way, Buckingham was asking listeners to stick with him, Fleetwood Mac or no Fleetwood Mac.

With a standing ovation, shouts and cheers, Birmingham fans responded with a resounding yes.