Review, Photos, Press Release Stevie Nicks Opens Park Theater in Las Vegas

PARK THEATER AT MONTE CARLO OFFICIALLY OPENS

WITH UNFORGETTABLE OPENING NIGHT PERFORMANCE BY STEVIE NICKS AND THE PRETENDERS SATURDAY, DEC. 17

PR Newswire – LAS VEGAS (DECEMBER 18, 2016) – Last night, MGM Resorts International celebrated the milestone grand opening of its newest live entertainment venue on the Las Vegas Strip – Park Theater at Monte Carlo Resort and Casino. The dazzling theater came to life with inaugural performances by legendary singer-songwriter Stevie Nicks and renowned rock group The Pretenders.

The evening began with an unforgettable performance by The Pretenders, wowing guests with rousing renditions of their most beloved songs including “I’ll Stand By You” and “Back On the Chain Gang.” Then, prior to taking the stage, Nicks was presented with an honorary key to the theater and commemorated the unveiling of the venue by autographing a backstage wall, starting a tradition for all Park Theater performers to come.

Receiving a huge ovation upon her entrance, Nicks greeted the sold-out crowd, welcoming guests to the new theater.  Nicks’ performance featured a variety of hits from her multi-decade career, including “Edge of Seventeen” and “Wild Heart,” while showcasing the venue’s industry-leading technology with stunning, immersive visual graphics throughout her set. The opening night crowd was treated to a surprise duet performance of “Stop Draggin’ My Heart Around” by Nicks and The Pretenders frontwoman, Chrissie Hynde.

The remarkable performance concluded with a powerful encore of “Landslide,” dedicated to MGM Resorts International executives Bill Hornbuckle and Richard Sturm for inviting Nicks to be a “part of history” as the first headliner to perform at Park Theater.

The premiere of Park Theater serves as the first step in the reimagination of Monte Carlo. The transformation, taking place over the next two years, will include two distinct hotel experiences – a Las Vegas version of Sydell Group’s famed NoMad Hotel and the launch of a new luxury hotel named Park MGM. Each will feature fully redesigned guest rooms and innovative food & beverage offerings, highlighted by Eataly, a vibrant Italian marketplace with cafes, to-go counters and full-service restaurants interspersed with high-quality products from sustainable Italian and local producers.

Stevie Nicks and The Pretenders are the first of many renowned artists who will take the stage at Park Theater. This New Year’s Weekend (December 30 and 31), the venue will welcome musical genius Bruno Mars for the launch of an extended engagement. In 2017, the one and only Cher will begin performances of her new show, “Classic Cher,” followed by international pop sensation Ricky Martin, slated to make his residency debut in April. Park Theater also will host comedians including Katt Williams, international music sensations such as Fish Leong and Il Volo and many others. Beyond live music, Park Theater will serve as a new home for MMA and boxing, among other sporting events still to be announced.

Park Theater will play a key role in MGM Resorts’ strategy to further evolve the entertainment landscape in Las Vegas, providing intimate exposure to some of the most celebrated artists and athletes. Featuring unparalleled audio and visual technology, luxurious décor and much more, the 5,200-seat venue will provide artists an exclusive space to create productions unique to the venue. Built with the audience in mind, the intimate seating allows guests to feel up close and personal for any and all events.

For more tickets or more information, please visit ParkTheaterLV.com.

Legendary Singer-Songwriter Stevie Nicks Autographs Wall Backstage at Grand Opening of Park Theater at Monte Carlo in Las Vegas - Sat., Dec. 17, 2016 - All above photos by Al Powers for Park Theater

Stevie Nicks, Pretenders shimmer at new Park Theater

by Jason Bracelin
Las Vegas Review Journal

The venue was christened with a double take, an old pro regaled by the new.

“Look, it’s us,” The Pretenders frontwoman Chrissie Hynde marvelled as she gazed at 20-foot-tall versions of herself and her bandmates, her voice a mix of awe and amusement as she gawked at the video screens bookending the stage and doubling as massive mirrors as they played.

Continue to the full review

Stevie Nicks Live in Las Vegas December 17, 2016
Grand Opening of Park Theater at Monte Carlos Resort and Casino

Photos by Ethan Miller
View Gallery

Chicago Review Stevie Nicks Live with The Pretenders December 3, 2016

Stevie Nicks reaches into her ‘dark gothic trunk of magical, mysterious things’
By Laura Pearson
Chicagoreader.com
Photos: Bobby Talamine

Photo Gallery (Number 1)  (Number 2)

We take for granted certain inevitabilities in life: the sun rises in the morning and sets in the evening, the world keeps on turning, and Stevie Nicks, clad in black platform boots and a billowy black dress, twirls along with it. The 68-year-old, flaxen-haired icon spun into the United Center Saturday night on her 24 Karat Gold Tour. Variously layered with song-specific shawls and capes (gold fringe for "Gold Dust Woman," crepe-like silk for "Bella Donna"), she assured a similarly dressed crowd—lots of middle-aged women draped in shawls and beads to channel the Fleetwood Mac front woman—that amid life's unpredictability, her bewitching brand remains unchanged. 

For Nicks, however, this concert would be a bit of a departure. She informed the audience at the top of the show that rather than do "the exact same songs over and over again from every other tour," she would be reaching into a "dark gothic trunk of magical, mysterious things" and perform some material she's never toured with. "It's gonna be a party," she promised. Among those lesser-heard gems were "Gold and Braid," one of several killer demos dusted off for her 2014 album 24 Karat Gold: Songs from the Vault; "New Orleans," a love letter to the city written in the wake of Hurricane Katrina; and "Moonlight (A Vampire's Dream)," inspired by the Twilight movies and necessitating an outfit change into a luxurious coat of faux fur. "Belle Fleur," also from 24 Karat Gold, about the difficulties of holding onto a relationship while living a rock 'n' roll life on the road, surfaced too, as did "Crying in the Night" from the 1973 album Buckingham Nicks, made before Lindsey and Stevie joined Fleetwood Mac. 

Scattered among the never-before-played material, however, were plenty of fan favorites: "Stop Draggin' My Heart Around," featuring the ageless Chrissie Hynde of the Pretenders (the night's opening act) in the Tom Petty part, "Gypsy," "Gold Dust Woman," "Stand Back" (which Nicks revealed was inspired by Prince's "Little Red Corvette"), and an encore of "Rhiannon" and "Landslide." So the magical gothic trunk, the crowd discovered, is not exclusively home to obscure fare. Nostalgia, in fact, is a familiar presence at Fleetwood Mac shows and an undeniable part of Nicks's oeuvre. On Saturday, it was literally part of the backdrop. While the singer relayed anecdotes of various songs' origins (for example, going over to Petty's house with a can of Hershey's chocolate powder and a guitar "which I never played because of my nails," to write "Starlight") and tales about her former collaborators, animated images of said people would occasionally pop up on a screen behind her. During "Enchanted," the backdrop flashed with vintage photos of Nicks from early on in her solo career. As "Edge of Seventeen" galloped along, images of Prince appeared like apparitions while Nicks followed the song's "Just like the white-winged dove" refrain with lines from "When Doves Cry." 

There were also familiar faces: Accompanying Nicks on guitar was her longtime musical director and collaborator, the frizzy-haired, bespectacled Waddy Wachtel, who looks like Larry David if he were in Spinal Tap. There were familiar fabrics too: Out came the same cape from a photo shoot for Bella Donna, Nicks's debut solo album recorded 35 years ago, when she was 33. It's so well-preserved, she explained, because she chose the perfect material: "If you're gonna invest in the stock market, my money is on silk chiffon." 

After catching Fleetwood Mac twice on recent back-to-back world tours, and hearing the singer dish to the audience about love affairs from decades ago as if they happened yesterday, I've often wondered if such nostalgia is always at the forefront of her personality—"an attitude of romantic readiness," to quote F. Scott Fitzgerald—or if it's trotted out for performative purposes: the sign of a savvy entertainer who knows how to connect with fans. I suspect it's a bit of both. There's no way she could sing "Landslide" thousands of times and approach the same earnestness (if not the exact same notes—Nicks's powerful contralto voice has declined in range since the 90s) without being a deeply sensitive person but especially without the keen understanding that fans really, really want to hear it. One gets the sense that Nicks is most at home onstage and on tour, whether reinterpreting old demos or obligingly singing the hits. 

Time makes you bolder, children get older, but onward she twirls, encircling arenas in songs and stories like a great glittering cape. 

Tom Petty with Special Guest Stevie Nicks in London July 9, 2017

TOM PETTY & THE HEARTBREAKERS

with VERY SPECIAL GUEST

STEVIE NICKS 

AT BST HYDE PARK

July 9, 2017

Tickets on sale now

'The Defiant Ones' Doc features Stevie Nicks - HBO 2017

HBO has announced it will be airing a four-part documentary on Dr. Dre and Jimmy Iovine, which chronicles their divergent roots and their unlikely partnership as well as addresses the moguls' influence and impact on pop culture. Directed by Allen Hughes (Menace II Society), The Defiant Ones features in-depth interviews with Dre and Iovine along with many diverse artists including Stevie Nicks.

Documentary to air on HBO at some point in 2017.

Rollingstone

Review Stevie Nicks Live in Vancouver Dec 9, 2016

How Stevie Nicks Blinded You With Nostalgia
by KRIS MCDERMOTT
Vancouver Weekly

Two years ago Stevie Nicks released her eighth solo album 24 Karat Gold: Songs From The Vault, to critical and commercial success. Online music database All Music dubbed the re-recorded set of demo songs ‘the best sounding record she (Nicks) has made since 1983’s The Wild At Heart’.

Fast forward to October of this year, where Nicks alongside her band and talented friends Waddy Wachtel (whom she met in the pre-Fleetwood Mac days of 1973) and backup singers Sharon Celani and Lori Perry (backup singer for Nicks since 1981) embarked on a 27 date 24 Karat Gold Tour in support of the album by the same name.

Now in the final stretch of the 24 Karat Gold Tour, Nicks found herself in Vancouver’s very own Roger’s Arena. Entering the converted hockey arena wearing a flowing but subdued black dress, Nicks let her accessory scarves do the flashy work for her on round one of her ever-shifting stage attire. The 68 years young Nicks has had no problem maintaining a legion of fans since her Fleetwood Mac debut 41 years ago alongside then partner Lindsey Buckingham, and this latest stop-off in Vancouver was no different.

As with all of her prior 24 Karat Gold Tour stop offs, Nicks’ opened the night with “Gold & Braid”, “If Anyone Falls”, and “Stop Draggin’ My Heart Around”, respectively.  

The tambourine-wielding Nicks was joined on stage by The Pretenders front-person Chrissie Hinde for “Stop Draggin’ My Heart Around”, as she has nightly this tour.Whatever nostalgia felt by the crowd for having witnessed Hinde open the night with The Pretenders followed by Nicks headlining the very same stage was trumped by the sight of the two powerhouses of rock sharing the spotlight at the same time.  It can be argued that the career of the 1998 Rock n’ Roll Hall of Fame inductee Nicks has nothing left to prove. Though looking at Friday’s show as a snapshot, ignoring the over 40 top 50 hits, or the 140 million records sold Nicks was at times underwhelming.

The same fans that would sell Friday’s Stevie Nicks show as being ‘timeless’ or ‘flawless’ were among the many frequently checking their watches and peering about disinterested.

Though social media has largely dusted golden praise over the ‘reigning queen of rock ‘n roll’, what has widely gone underreported was the audio quality at Roger’s Arena Friday night. Early in the performance, the unaddressed concern about an audio mix saw long-time friend, touring guitarist, and backup singer Waddy Wachtel’s vocals overpower the conventionally (thought of as) powerful voice of Nicks. Tough to ignore for some, perhaps due to nostalgia many fans in the building seemingly did just that. However, it was not just a poor mix in the building responsible for a repetitive vocal tone that one wouldn’t quickly attribute to the legend had they not been there to see Nicks live.

Was fan-nostalgia to blame for the level of absurdity that came with the overjoyed cheering Nicks received simply for twirling in a circle? A move the artist has no doubt mastered since she could only pronounce her own name as ‘Tee Dee’, the origin of how Stephanie became ‘Stevie’ Nicks. Does this same overjoyed audience react with similar vigour when their three-year-old spins in the living room?

At the age of 68 and nearing the successful completion of an impressive tour, Nicks should be afforded some grace. The twirl move that was once saved for the crescendo of “Rhiannon” was in the defence of Nicks, resurrected due in part to her role as the White Witch on FX Network’s American Horror Story: Coven. Moreover, the move was often emulated by fan favourite character Misty Day, who played by Lily Rabe was infatuated with Nicks in the show.

After all, the public perception of Nicks has always been the rumoured witch’s most powerful spell. Numerous adulterous relationships, marrying her recently deceased best friend’s husband, multiple addictions and interband dramas have been the catalyst(s) to many an artist’s demise professionally; at least a dissolve in public opinion; not so, however for Stevie Nicks.

As evidenced Friday night, Nicks can twirl into the environmentally superconscious city of Vancouver wearing a fur jacket from head to toe, and not a peep of recreational outrage is heard out of the usually aghast (at such behaviour) Lotus Land.

The verbose and often erroneous explanations resulting in very little new information that took place between songs would be considered by any other artist to be the ramblings of a musician seeking relevance in the twilight of their career. With Stevie Nicks such long-winded loquacious tails were merely regarded as charming anecdotes.  

What can never be taken away, however, is the ability of Nicks to write masterpieces both lyrically and musically in her songs. The pursuit for relevance need not extend beyond the innate ability Nicks has to write beautifully accessible music. With the sensitivity of Nicks to capture emotion even decades after having originally penned (the piece), the integrity of her song writing was never once lost Friday Night in Vancouver.

Whether the Reigning Queen of Rock n Roll continues to go her own way post 24 Karat Gold Tour, or she picks up the pieces to go home; the landscape of music will forever be changed for the better thanks to the enigmatic sorcery of Stevie Nicks.

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