Stevie Nicks has gone solo for the 24 Karat Gold tour playing more than two dozen arena dates in North America before the end of the year. Production designer Paul Guthrie of Toss Film & Design in Minneapolis chose 88 ClayPaky Mythos fixtures for the lighting rig.
He previously deployed Mythos on tours for Miranda Lambert and Macklemore. Nicks’ latest tour, in support of her album, 24 Karat Gold – Songs from the Vault, launched in Phoenix and will wrap in Los Angeles. While the iconic singer/songwriter appears as a solo artist, she tapped the Pretenders to open for her – delivering a powerhouse show for ticket holders.
A veteran of Nicks’ tours, Guthrie endeavoured to: “create something new and a bit more modern” for her new show. “Stevie enjoys using video content so the tour features a lot of video on an LED videowall backdrop and L-shaped scenic pieces,” he explained. “Our overwhelming lighting edict is always no smoke. So we defer to lighting the band and adding in layers of light to create new looks.” The versatility of Mythos offers myriad options to Guthrie. “It’s fun to have one light that can produce a multitude of different effects in the same head,” he said. “Mythos is basically the workhorse light in the rig.” He notes that the tour’s complement of 100-120 moving lights is now considered a medium- size rig for an arena tour adding: “It used to be that 16 were considered to be a lot! We’ve come a long way.” PRG’s Las Vegas office supplied the fixtures.
Eighty Mythos are mounted in the overhead lighting trusses where they form solid lines of fixtures. Guthrie reported: “On the downstage and mid-stage trusses they provide stage wash and beam effects. Those on the most upstage of the trusses, upstage of the videowall, create layers to add depth.” Eight more Mythos are positioned on the floor upstage of the band to illuminate their dynamic performance.
Tom Wagstaff, the lighting director for the Pretenders deploys about 60 Mythos, on the downstage and mid-stage trusses, and repositions the complement on the floor, says Guthrie. For the 24 Karat Gold Tour Thomas Mayer is the lighting crew chief and Cecil Nelson, Matt Schiller and Scott Naef are the lighting crew. A.C.T Lighting is the exclusive North American distributor for Clay Paky. Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “Mr. Guthrie always does great work and is trusted to work with great artists. It’s always a please to collaborate with him.”
Stevie Nicks: “Bella Donna”/”The Wild Heart” (Atco/Modern/Rhino) -- The albums that established the charismatic Fleetwood Mac singer as a solo star get expanded nicely. “Bella Donna” gets supplemented with nine outtakes (including four worthy songs that didn’t make the album) and a 1981 concert. “The Wild Heart,” her solid, if overly synthy, 1983 follow-up, meanwhile has nine outtakes. Insightful liner notes help illuminate Nicks’ life and career during this period. -- Ratings: “Bella Donna” -- 4 stars; “The Wild Heart” -- 3 ½ stars
Fleetwood Mac: “Mirage” (Warner Bros.) -- Following the artistically bold, but commercially disappointing “Tusk,” Fleetwood Mac retreated to safer pop territory on “Mirage.” This reissue adds 20 outtakes to the finely crafted original album, including a pair of strong unreleased Stevie Nicks songs, “If You Were My Love” and “Smile at You.” -- Rating: 3 ½ stars
FIVE THOUGHTS ABOUT STEVIE NICKS WITH THE PRETENDERS AT PARK THEATER (DECEMBER 17)
by Spencer Patterson Las Vegas Weekly
1. For the record, the first song performed publicly at the Las Vegas Strip’s newest music venue—attached to the Monte Carlo resort (soon to be rebranded with the same Park name as the theater and adjacent outdoor plaza)—was “Alone,” the title track from the Pretenders’ latest studio album. The first hit, 1981’s “Message of Love,” arrived two numbers later.
The sound inside Park Theater ranged from fairly muddled for the Pretenders’ first half-dozen songs (turn up Chrissie Hynde’s vocals!; and is that slide guitarist actually playing, ’cause we can’t hear him at all) to somewhat improved midway through that opening set (Hynde sounds great, but there’s still no slide in here) to pretty pristine for Stevie Nicks’ headlining performance (which bodes well for the future).
3. The venue lays out roughly like the Colosseum at Caesars Palace or the Axis at Planet Hollywood, though it’s less ornate than the former and less comfy than the latter. The lobby’s chandeliers and the second floor’s circular patio deck are memorable touches, and two giant side-stage screens provided close views of the musicians, but the theater itself felt a bit generic for Las Vegas’ most modern concert hall.
Sight lines seemed clear across the venue—unless you were seated on the flat floor and someone stood up in directly in front of you. The primo seats appear to be those in sections 201 through 205, and then working back.
A few logistical quibbles: Armrest drink holders render armrests virtually useless (there’s a reason most venues build their drink holders into the backs of the seats in front of you). Concession lines looked lengthy all night, probably because there aren’t many areas set up to sell food and drinks at this point. And upstairs bathrooms are quite small, so time your visits wisely.
4. The Pretenders are one of those, “Oh, I know that song!” bands. Serious fans aside, I doubt most attendees knew they’d recognize so many tunes on Saturday—“Back on the Chain Gang,” “I’ll Stand by You,” “My City Was Gone,” “Middle of the Road” and “Brass in Pocket” among them—and the band still left some of its classic cuts (like “Talk of the Town” and “Show Me”) unplayed during a healthy 15-song set.
At age 65, Hynde remains a strong singer and a magnetic presence, bringing an Elvis T-shirt and good grand-opening awareness to the stage: “Elvis played on this stage … in spirit. We’re the first band to play this stage.” She also marveled that Las Vegas will soon have hockey, and delivered this zinger during her intro of 65-year-old founding drummer Martin Chambers: “We couldn’t get Buddy Rich, because he’s dead.”
5. Nicks explained that she designed her latest solo tour to excavate deeper cuts from her catalog, and she did just that Saturday night, at one point reeling off six-consecutive non-charting songs between Fleetwood Mac classic “Gypsy” and synthy solo favorite “Stand Back.” That unorthodox approach largely succeeded, on the strength of Nicks’ still-powerful pipes (her voice sits in a lower octave these days but retains its singular, spine-tingling quality), her crack eight-piece backing band (Hynde also joined in for “Stop Draggin’ My Heart Around") and her folksy between-song storytelling. The 68-year-old singer occasionally got off track as she related the origins of songs like Buckingham-Nicks oldie “Crying in the Night” or newer solo composition “New Orleans,” but the loose approach brought a cozy, living-room vibe to the sold-out, 5,300-capacity room.
Of course, the crowd cheered loudest for the night’s closing quartet of all-timers—“Gold Dust Woman” and “Edge of Seventeen,” and then “Rhiannon” and “Landslide” in the encore—and whenever Nicks twirled in place, proving that even in shiny new buildings on just-enlivened stretches of the Las Vegas Strip, some things never change.
Review Stevie Nicks opens a 'gothic trunk' of lost songs at the Forum
by Mikael Wood
Pop Music Critic LA Times
Stevie Nicks brought her usual assortment of accessories to the Forum on Sunday night, including a tambourine festooned with glittering streamers and a dark-blue garment she described as “the original ‘Bella Donna’ cape.’”
Unchanged since she started wearing it around the time of her debut solo album in 1981, the cape cost $2,000, she said, and was made of silk chiffon — the same material used to create ships’ sails, according to Nicks.
“It’ll never fall apart,” she added.
Yet the 68-year-old singer also had one item she doesn’t normally bring on the road, and that was her “dark Gothic trunk of mystical, magical lost songs.”
Two years ago, Nicks reached into the vault for “24 Karat Gold,” an album collecting new recordings of orphaned tunes she’d written as long ago as 1969, well before she and Lindsey Buckingham joined Fleetwood Mac and quickly became pop superstars.
Now, with Fleetwood Mac on a break following last year’s reunion tour with Christine McVie, Nicks is touring behind the record, performing those lost songs for adoring audiences happy to hear them (provided she also sings “Gypsy” and “Stand Back,” of course).
Implicit in any such project is the determination to set a story straight — to show it was the world, not the artist, that kept this music from achieving its full potential.
On Sunday, for instance, Nicks told a story about recording “Starshine” decades ago at Tom Petty’s place in the Valley. Then she suggested the crisp, hard-driving rock cut would’ve been a huge hit if only she or Petty had been putting together an album at the time.
Because they weren’t, she said, “it ended up in the trunk.”
Instead of bitterness, though, Nicks found warmth in her recollections, helped along perhaps by the concert’s location — not merely in her hometown but at one of the arenas where Fleetwood Mac helped invent arena-rock.
“Ah, the Forum,” she said at one point, and you could sense the fond memories swimming in her head.
Indeed, as strong as Nicks’ singing was, she was even better company between songs as she told funny, detailed stories about where the music had come from.
“Belle Fleur,” she said, had been inspired by all the times she’d happily left behind a boyfriend at the beginning of a Fleetwood Mac tour; “If You Were My Love” was about … well, she couldn’t place the name exactly.
She provided entertaining background on more familiar tunes too, including “Stop Draggin’ My Heart Around,” her early-’80s duet with Petty that she said represented her attempt to worm her way into the Heartbreakers. (Here she shared the tune with Chrissie Hynde of the Pretenders, who opened Sunday’s show with an assured set of punchy, no-frills rock.)
Nicks also did an extended homage to Prince, dedicating her recent piano ballad “Moonlight” to him and explaining that she’d written “Stand Back” after hearing his “Little Red Corvette” while in the car driving to Santa Barbara for her honeymoon.
Later, images of the late pop icon flickered across a video screen as Nicks, her voice wavering with emotion, appended a bit of “When Doves Cry” to “Edge of Seventeen.”
In Prince, she no doubt recognized a fellow traveler, someone as devoted to image as to sound. But what gratified about this straight-talking performance was Nicks’ willingness — her eagerness, really — to chip away at her outsize persona.
Like that $2,000 cape, it’s sturdy enough to withstand some wear.
Stevie Nicks and Chrissie Hynde are timeless in Forum show
While 2016 has seen more than its fair share of loss in the music world (David Bowie, Glenn Frey, Prince, Merle Haggard, Sharon Jones, Sir George Martin and Leonard Cohen for starters), two of classic rock’s most celebrated women showcased their distinguished legacies in a sold-out concert at the Forum in Inglewood on Sunday.
On the final night of their two-month 24 Karat Gold tour, Stevie Nicks and the Chrissie Hynde-led Pretenders seemed energized by the large and enthusiastic crowd, and the two icons were frequently able to acknowledge each other and the bond each has with her fans.
Over the course of more than two hours, headliner Nicks and her backing ensemble (six musicians and two female backing singers) showcased both Fleetwood Mac classics and solo hits. However, it seemed the Phoenix native was equally revitalized by material not well known, acknowledging some songs had not made it on her records despite the strength of the initial demo recordings.The 68-year-old songstress was in an especially introspective and reflective mood, often providing details on the genesis of her songs and celebrating the life of her late friend Prince.
Among the hidden gems performed was “If Anyone Falls,” a beautiful song enhanced by colorful and moody visuals projected on a large screen, including two ghostly ballet dancers. But Nicks could turn things around quickly; for the third selection she jump started the mood in the Forum when Hynde joined her on stage for the playful duet “Stop Draggin' My Heart Around” (originally recorded with Tom Petty). Other audience favorites included “Gypsy” with Nick’s seasoned soprano enticing while artful black & white images of rain and old city views appeared in the background, the propulsive rocker “Enchanted,” and a powerful song written in the wake of Hurricane Katrina (“New Orleans”) among other standouts in the first half of the night.
The last half of her run included the shimmering “Starshine,” driving “Stand Back” (when Nicks twirled during an instrumental break, the crowd cheered), a luxurious “Crying in the Night” (one of the oldest songs she performed, a track from 1973’s “Buckingham Nicks” album), the piano-anchored “Edge of Seventeen,” and sweeping encore featuring two of her most beloved Fleetwood Mac classics, “Rhiannon” and “Landslide.”
Chrissie Hynde’s hour-long set leading the Pretenders may have drawn the most cheers when radio hits were played, but there is little doubt the Ohio native is equally concerned with the here-and-now. The Pretenders’ 15-song outing featured a number of songs from her wonderful 2016 album “Alone,” one of the best discs of 2016. In fact, the Pretenders kicked off their set with the title track from the Dan Auerbach-produced effort, with lead guitarist James Walbourne unleashing some blistering guitar work, and the 65-year-young Hynde showcasing her distinctive vocals with the power of her early ’80s performances.
She also positioned her new album prominently with “Gotta Wait,” another guitar-anchored new track that immediately entices. Listening to the Pretenders (whose lineup includes original drummer Martin Chambers) was to be firmly reminded that Hynde’s songs never sound dated. If “Message of Love,” “Back on the Chain Gang,” “Mystery Achievement,” “I'll Stand By You” and “Middle of the Road” were released today, this writer’s guess they would still find favor with discerning modern-rock audiences.
Fans are likely divided on her position, but Hynde’s clear-cut admonitions to fans positioned near the stage to “stop taking pictures” and to “stop using your phones” was cheered by many in the crowd. A rocker at heart, Hynde still believes in the power of live music to sweep fans into another realm sans distractions that take the focus away from a powerful performance.
Indeed, this is one long-time fan who has seen many fans experience too much of their concert-going experiences through the distractions of their smart phone while missing out on the singular power of a great rock show.
Stevie Nicks And The Pretenders Perform At The Forum Decembe 18, 2016
Photos: Kevin Winter View Gallery
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.
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
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.
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.
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