Fleetwood Mac's "Say You Love Me" from the 1975 white album was certified Silver which signifies 200K units sold in the UK. Also, "Go Your Own Way" from Rumours reached another milestone 4x Platinum or 2.4 million in units sold. Streaming contributes to units sold along with digital downloads.
If Billy Joel and Stevie Nicks seem like an odd combination, well they are. He’s a steely, populist New Yorker, while she’s a dramatic hippie witch from Phoenix. And yet, the pair delivered a delightful and nostalgic evening Friday at U.S. Bank Stadium in Minneapolis, even if they took two quite different approaches.
Nicks amped up the moody atmosphere for her set, a blend of her solo hits and some of the songs she wrote for Fleetwood Mac, and wore a series of her famous shawls. Early on, she told the crowd one of her backup singers tested positive for COVID that morning and Nicks’ vocal coach was filling in. Nicks said it would sound a little different and it did, particularly during “Edge of Seventeen” and “Landslide.” A bit distracting, but not enough to be a game changer.
As for Nicks, she sounded terrific. Now 75, she twirls slower than she used to, but she can still sing. Whether she was belting out “Stand Back” or bringing the audience in with “Dreams,” Nicks nailed it.
Her longtime guitarist Waddy Wachtel — a session musician who has worked with everyone from Linda Ronstadt to Dolly Parton — also shined. He extended the instrumental breaks in several numbers, most notably “Gold Dust Woman,” an already dramatic song he transformed into a true epic.
Nicks also covered two very distinctive songs — Buffalo Springfield’s “For What It’s Worth” and Tom Petty and the Heartbreakers’ “Free Fallin” — and somehow made them her own. True magic.
Four songs into her set, Nicks played her debut solo single “Stop Draggin’ My Heart Around,” with Joel popping out to sing Petty’s part. He did a decent job and later in his own set offered a surprisingly awesome Mick Jagger impersonation (both singing- and dancing-wise) during a snippet of the Rolling Stones’ “Start Me Up.”
Joel takes an old-fashioned and showbizzy approach to performing live, complete with massive hooks and canned comic lines he’s used hundreds of times. For example, he took the stage to the end score from the 1984 Robert Redford sports film “The Natural,” written by Randy Newman channeling Aaron Copland.
The 75-year-old wasn’t afraid to pump up his old hits like “Only the Good Die Young” and “New York State of Mind” into true stadium rockers. Crucially, though, he didn’t significantly alter any arrangements, he just made them bigger and bolder.
As such, the set list was packed with Joel’s many hits, the ones he’s been playing for decades now. The crowd greeted each one like an old friend, from “My Life” and “Movin’ Out (Anthony’s Song)” to “Scenes from an Italian Restaurant” and “Piano Man.” (Joel retired from recording pop/rock albums with 1993’s “River of Dreams.”)
The furthest Joel strayed was a pair of album cuts early in his set, “Summer, Highland Falls” and “Zanzibar.” Of the latter, Joel noted it “gets played on TikTok, whatever the hell that is.” Joel sure knows how to put on a show.
Review: Billy Joel and Stevie Nicks team up to thrill classic rock fans of all ages
Despite no new music for decades, the Rock Hall of Famers packed U.S. Bank Stadium in Minneapolis.
Billy Joel stands close to alone. Fifty years to the week after he released the album "Piano Man" — featuring that sing-along ode to loneliness — he was ambitiously playing at U.S. Bank Stadium even though he hasn't released an album of new songs in 30 years. What other solo artist would attempt that?
Stevie Nicks stands close to alone, too. One year to the month after the death of her bestie Christine McVie, she was playing at U.S. Bank Stadium, opening for Joel, as essentially the last singer standing from Fleetwood Mac. (Remember the band unceremoniously dismissed Lindsey Buckingham in 2018, and he's scaled back to performing in theaters.)
Joel and Nicks seem like an odd pairing — the pugnacious New Yorker and the mystical California hippie. Yet, the Rock & Roll Hall of Famers have joined forces this year for the eight-city Two Icons, One Night Tour, which falls between their separate arena gigs.
The New York/California ticket got the overwhelming approval Friday night of maybe 50,000 multi-generational voters at the packed Vikings stadium (according to our applause poll).
With living-in-the-past Joel, the fans indicated that "we love you just the way you were." Of the 25 or so selections his group offered, all but two were from 1982 or earlier. And not all were hits, as he included deep tracks "Summer Highland Falls" for "all you manic depressives" and "Zanzibar" with its snazzy jazzy Carl Fischer trumpet solo.
Joel was, as always, full of shtick, attitude and, now, dad jokes. He did his dad-dance impression of Mick Jagger by doing a taste of the Rolling Stones' "Start Me Up," and he had his guitarist Mike DelGuidice detour into a gratuitous slab of Led Zeppelin's "Whole Lotta Love" as well as Puccini's aria "Nessun Dorma." Like Joel's catalog, his two-hour set was a remarkable rangy musical melting pot.
Joel remembered playing at the Marigold Ballroom "in the boondocks" (actually it was downtown Minneapolis, where the Hyatt Regency stands), and he asked for prayers so he could still hit his high notes on "An Innocent Man" (he did).
Yes, he was in good voice at age 74, save for control issues on a couple of tunes. He turned "The Longest Time" and the doo-wop styled "River of Dreams" into wonderful group vocal showcases. The piano man gave each of his fun-loving musicians time in the spotlight, which doesn't typically happen at stadium shows. Moreover, the sound for Joel's highly musical set was better than usual at the football palace. Too bad his crew couldn't get the live video cameras to work on the opening "My Life."
Nicks, who in 2016 toured with Chrissie Hynde and the Pretenders (same era, different vibe), delivered a greatest-hits set this time, unlike her arena trek seven years ago that featured plenty of deep tracks. As the first act to hit the stage Friday, Nicks knew how to get the party started segueing into "Dreams," the Fleetwood Mac song that got resurrected via TikTok in 2020, for her second number.
She pulled out her trump card on the fourth selection, "Stop Draggin' My Heart Around," as Joel sauntered out to sing the part originally done by Tom Petty on Nicks' debut solo single in 1981.
The duet may not have been as spirited as when Nicks pulled it off with Hynde in St. Paul seven years ago, but it certainly invigorated the late-arriving Minneapolis crowd. Afterward, Nicks explained that she's done the song live with Petty, Harry Styles and others, but Joel "scares me every time." It was a little unclear if she meant that in a good way.
There was no question that Nicks, 75, was in terrific voice, that seductive husky siren of hers, though it was hard to fully appreciate her 90-minute performance in the echo chamber that is the Vikings stadium. Moreover, the live video — that was essential in the massive coliseum with a petite performer who eschewed her usual signature dizzying dancing — was marred by all kinds of tacky patterns (colorful dots, gold bubbles, etc.) over her image.
Waddy Wachtel's guitar consistently cut through, whether the mysterious and ultimately noisy slashing on "Gold Dust Woman," one of Nicks' highlights, or the edgy riffing on "Edge of Seventeen" (which also featured a funky organ passage by the Twin Cities' own Ricky Peterson).
Nicks did not mention Prince even though she played their funky 1983 collaboration "Stand Back." As she always does in the Twin Cities, she gave a shout out to "my one and only husband," Kim Anderson, her ex- who was in the audience and to whom she dedicated "Wild Heart."
Despite a few glitches, Joel and Nicks reinforced what the music business long ago learned: Classic rock knows no expiration date.
“There’s just something that’s so rock and roll about Detroit City,” said Stevie Nicks at the top of her headlining show at Little Caesars Arena Tuesday night.
She is certainly right about that statement, and rock and roll she did deliver. As the first woman to ever be inducted twice into the Rock and Roll Hall of Fame (once with Fleetwood Mac and again as a solo artist), she lived up to her title as Queen of Rock and Roll.
Dressed in all black and her signature shawls, Nicks tore through her back catalogue of hits, which included Fleetwood Mac hits (”Dreams,” “Gypsy,” “Gold Dust Woman”) as well as songs from her solo career.
The best part was that she introduced almost every song with a little story or anecdote, and man were they entertaining. She told stories of her time before joining Fleetwood Mac, how she and Lindsey Buckingham were dirt poor until they joined the band and her friendship with the late Tom Petty.
She even encouraged the audience to get out and vote (it was election day, after all), and how she didn’t actually vote in election until recently, and to not be dumb and stupid like she has been all her life with not voting. For the amount of young people in the crowd last night (all dressed as her, of course), it was a needed message.
I’ve seen Nicks a few other times while she was on tour with Fleetwood Mac, and she never talked this much when she was with the band. That’s probably because Fleetwood Mac has so many songs to get through in their setlist, so it was kinda great that she could be a bit more intimate, even while playing at a packed arena.
But it was all about the performance for Nicks. At 75-years-old, she still sounds amazing. The highlights, of course, was when she performed Fleetwood Mac hits. “Dreams” and “Gypsy” were ethereal, while “Rhiannon” during her encore was as witchy as ever. It was like she cast a spell over the entire audience.
She also added some covers to her setlist. “For What It’s Worth” by Buffalo Springfield was a welcome surprise (also her story before she played the song was delightful as ever), and a cover of “Free Fallin’” by Tom Petty and the Heartbreakers was a beautiful tribute to her late friend.
Speaking of tributes, she closed out the show with her most famous song, “Landslide,” and dedicated it to Christine McVie, her best friend and Fleetwood Mac bandmate who died almost a year ago. Images of Nicks and McVie played on the screens in the arena while Nicks warmly sang the lyrics “Children get older, I’m getting older, too.” As a lifelong Fleetwood Mac fan, I couldn’t help but get emotional.
Nicks told the audience right before the show ended how this tour has helped her deal with the immense grief of losing McVie, and it was the perfect note to end a wonderful night of music on.
“Join the peace train,” she said at one point during the show, and it was a perfect reminder for what’s going on in today’s world. Long live rock and roll, and long live Stevie Nicks.
Stevie Nicks (Live) 4K - Opening Songs - 11/7/23
Stevie Nicks in Detroit: Storyteller, showstopper singing Fleetwood Mac and solo hits
DETROIT - She has one of those voices you have to hear in person to get the full appreciation for. Stevie Nicks performed both Fleetwood Mac hits and songs from her solo catalog at Little Caesars Arena in Detroit on Tuesday, November 7.
She took the stage at 8:25 p.m. to a loud applause, performing “Outside The Rain,” a deep cut, before smoothly mashing into “Dreams,” performing it just the way fans remember the song when it was released in 1977. After hearing the 75-year old’s strong, signature vocals on this Fleetwood Mac classic, fans knew they were in for a special evening.
Nicks didn’t just perform, she was a storyteller, giving fans some history behind many of the songs she performed. Like how she didn’t have a lead single for her “Bella Donna” album until Tom Petty offered her “Stop Draggin’ My Heart Around” to record. And she says she had the choice to do it with or without him. You know how that turned out.
Nicks also performed a cover of “For What It’s Worth,” a song written by Stephen Stills and made famous by Buffalo Springfield. Nicks told the crowd she said when she was younger that she would record it when she became a rock star. She put it on her 2010 album, “In Your Dreams.” She says she always had thought the song was political, but says it is actually about the Sunset Strip curfew riots.
Nicks also paid tribute to the late Petty with a strong rendition of “Free Fallin,’” showing pictures of the two together throughout the years.
Nicks had two showstopping moments in the evening with extended versions of Fleetwood Mac’s “Gold Dust Woman” and one of her solo hits “Edge of Seventeen.” Both were mesmerizing from start to finish.
She also told the crowd there is just something about performing in “Motown.”
“I have to say that in all the years I’ve been doing this, I always remember being in Detroit many, many times to play. I don’t know whether it’s Detroit City, like the song, or cars, I don’t know. It’s just something in the name of Detroit that’s just really special and rock and roll. I’m so happy that I’m here still standing and alive.”
The setlist also included solo hits “If Anyone Falls” and “Stand Back” as well as Fleetwood Mac staples “Gypsy,” “Rhiannon” and “Landslide.” In all, she performed 17 songs in two hours with plenty of storytelling. Nicks voice is just as strong as ever and she delivered a memorable night of music.
“You have been patient listening to my long stories and I love you for that so much, really. I will take that home with me tonight.”
Stevie Nicks celebrates long career, absent friends at Little Caesars Arena
Stevie Nicks called to “get this party started” early on during her concert Tuesday night, Nov. 7, at Detroit’s Little Caesars Arena.
What the presented, however, was a bit of a wake — albeit a celebratory one.
Nicks, at 75 and nearly 50 years into a two-time Rock and Roll Hall of Fame inducted recording career, put absent friends front and center during her two-hour show. Tom Petty was particularly top of mind; Nicks and her eight-member band entered the stage to his “Runnin’ Down a Dream,” and Petty, who passed away in 2017, was part of a parade of stars (her ex-boyfriend Don Henley, occasional tour mate Billy Joel, Jimi Hendrix, Janis Joplin and others) featured on the curved rear stage video screen as she played their 1981 hit collaboration “Stop Draggin’ My Heart Around.”
An emotional encore cover of Petty’s “Free Fallin’,” meanwhile, was accompanied by another photo show, this time all of Petty, his Heartbreakers and Nicks with him and them. In image of Prince, who died during 2016, appeared during “Edge of Seventeen.”
But perhaps the most moving was the show-closing rendition of Fleetwood Mac’s “Landslide,” a tribute to Nicks’ late bandmate Christine McVie — who passed last year — that was also accompanied by a three-hanky reel of vintage images of the two together.
The undercurrent of mortality was poignant but hardly a drag on a show that also celebrated Nicks’ long career and continuing potency as a performer. Wrapped in a series of shawls — including the original one she sported on the cover of her 1981 solo debut, “Bella Donna” — Nicks was a commanding presence even when standing stock still, her voice finding melodic variations in the 17 songs from her solo and Fleetwood Mac catalogs. She’s aging with grace, but her capable delivery of rockers such as “Fall From Grace,” “Wild Heart,” “Stand Back” and “Rhiannon” assured fans — many dressed in Nicks’ flowing Welsh witch attire — that she’s hardly bowing to the years.
The support was there, too, particularly from longtime guitarist and music director Waddy Wachtel — spotlighted during numerous solos including a lengthy prologue to “Edge of Seventeen” — and backing vocalists Lori Nicks (her sister-in-law) and Sharon Celani.
The show was part “Storyteller” as well, with Nicks offering lengthy and insightful remembrances of working with Petty on “Stop Draggin’ My Heart Around” and her fan experience with Buffalo Springfield’s “For What It’s Worth,” which she covered during the show. Nicks is also using this year’s tour to perform the 1985 track “I Sing for the Things” for the first time, and she dedicated “Soldier’s Angel” to current war in Ukraine, with video images of the struggle and of Ukrainian President Volodymyr Zelenskyy.
Nicks didn’t delve deeply into politics, however. “You came her for peace — that’s what I’m trying to give you,” she explained before the song. “We just sing this for peace.”
Nicks demonstrated admirable self-awareness at the end of the night, telling the Little Caesars crowd that “you have been sweet and you have been patient and you have listened to my long stories, and I love you for that.” She could rest assured the feeling from fans was mutual.
The 2023 Rock & Roll Hall of Fame Ceremony brought out the best and brightest in the music industry for a night of electrifying performances at the Barclays Center in New York City on November 3, 2023.
One of the biggest surprises of the evening came when Stevie Nicks joined inductee Sheryl Crow on stage to perform Crow's hit 'Strong Enough' off her 1993 Grammy-winning album Tuesday Night Music Club.
The 75-year-old Fleetwood Mac icon looked every inch the bohemian chic goddess in a billowy black ensemble as she belted out the upbeat single next to Crow, 61, who rocked out on a guitar.
The 'Edge of Seventeen' songstress wasn't finished whipping the crowd into a frenzy when the song ended, however, as she kept up her signature vocals for a round of Crow's 'Everyday Is a Winding Road'.
And the stunning female vocalists got a little help from none other than singer/songwriter/guitarist Peter Frampton.
Vinyl Me Please releases exclusive versions of Fleetwood Mac's Tango In The Night and Mirage on forest green and plum galaxy vinyl. The expected release date for both is early February. Members and non-members can pre-order now at vinylmeplease.com
This bundle includes VMP exclusive reissues of Fleetwood Mac's Tango In The Night and Mirage.
Tango In The Night is Fleetwood Mac's fourteenth studio album featuring iconic tracks like "Big Love," "Seven Wonders," "Little Lies" and "Everywhere." A volume of incredible synth-pop from the band originally released in 1987.
The VMP exclusive version of Fleetwood Mac's Tango In The Night is pressed on 180g Forest Green Galaxy vinyl at GZ Vinyl. The 1LP will arrive in a single, tip-on, foil-stamped jacket with a lyric insert. It was mastered from the original master tapes by Ryan Smith at Sterling Sound.
Mirage, the soft rock follow up to its more experimental predecessor, Tusk, is the thirteenth studio album from Fleetwood Mac and features "Gypsy," "Can't Go Back," "Hold Me" and "Oh Diane."
The VMP exclusive version of Fleetwood Mac's Mirage is pressed on 180g Plum Galaxy vinyl at GZ Vinyl. The 1LP will arrive in a single, tip-on, foil-stamped jacket with a lyric insert. The lacquers were cut from the master tapes by Ryan Smith at Sterling Sound.
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