From the information that has been published (10 of 11 shows) for their joint dates, they have done amazing numbers. 10 shows and over 105 million gross. 521 thousand fans.
Fleetwood Mac hasn’t officially broken up, but they’re not really an active band any longer. The pop-rock outfit has not worked together in some time, and following the death of Christine McVie, it seems there are no plans to produce any new music or tour again. While some kind of end may have come for the group, they are still reaching new highs on the Billboard charts with music they made decades ago.
This week, Fleetwood Mac rises to a new peak on a ranking they’re still relatively new to. The band’s Rumours returns to the Top Streaming Albums chart this frame, finding its way back to the ranking of the most-streamed full-lengths in the U.S.
Rumours lands at No. 46 on the Top Streaming Albums chart this week. That’s not a very lofty placement on the 50-spot tally, but it’s the best that Fleetwood Mac has ever managed.
So far, Rumours is the only Fleetwood Mac release to make it to the Top Streaming Albums chart. It has thus far spent five nonconsecutive frames somewhere on the list, and it’s climbing–very slowly, but steadily.
It’s not surprising that Fleetwood Mac–or any band from decades past era–may only be getting started on the Top Streaming Albums chart. The ranking was introduced by Billboard in the past few months, and it’s almost always dominated by current pop stars, rappers, country acts, and rock bands. Newer names usually rule streaming platforms, so it isn’t odd that the list is filled with more contemporary releases, instead of older favorites.
Rumours is on the rise on a number of Billboard charts this week. As it hits a new high on the Top Streaming Albums tally, it also lifts on the Billboard 200, which ranks the most consumed titles across all metrics and genres. This week, it jumps from No. 36 from No. 43 as total consumption of the effort increases by a little more than 3%, according to Luminate.
Fleetwood Mac released Rumours in 1977 to critical and commercial acclaim. The set became the biggest album for the band, and in the decades since it dropped, it’s also been recognized as one of the bestselling and most respected full-lengths in history. The title produced many hits that are still loved to this day, and it won the group the Album of the Year Grammy.
Fans looking to see Stevie Nicks at her huge Co-op Live gig later this year have slammed the ‘too expensive’ prices for tickets during the event’s presale.
Announced earlier this week, the Fleetwood Mac singer will perform at Manchester’s newest music venue on July 9 as part of her first series of shows in the UK and Ireland for seven years. The gig will coincide with shows in Dublin on July 3 and Glasgow on July 6 as well as a headliner slot at BST Hyde Park on July 12
Tickets for the Manchester show are set to go on general sale from 12pm on Friday (March 22) but Co-op members and select fans have been able to sign up for presale tickets since Wednesday.
The pre-sale opportunity has seen some fans criticise the pricing of seats for the show - with tickets for far back areas of the arena, like sections 316 and 317, going for £132.50 each. Tickets a little closer to the stage, in sections including 104 and 112, are priced at £233.50 each.
It’s meant that some fans have said they feel priced out of going to the show. One posted on social media: “wanted to go see stevie nicks but it's too expensive :(“. Another wrote: “Well this was short lived. It would seem I need to be Stevie Nicks to afford Stevie Nicks tickets.”
Another asked: “why does stevie nicks want me to sell my kidney for her concert”. One other person said: “Love you to bits @StevieNicks but your prices are ridiculous!”. Another said: “Why are @stevienicks concerts so expensive! Loved Stevie since 1977 but this makes me sad !! People paying £140 + for rubbish seats - really?”
Members of tribute band Fleetwood Mad also decided to get into the fun of the online reaction by jokingly suggesting they could perform at a Co-op store for a fraction of the cost. Drummer 'Rocksteddie Ed’ posted: “Come and see Fleetwood Mad instead....we will play the Co-Op for far less!”
During the pre-sale this week, there were still some fans who were keen to pay no matter the cost to see their idol Stevie for the first time in years. One wrote: “Ticketmaster kept kicking me out of the queue (on both devices) but managed to get a ticket for Stevie Nicks. Insane prices - as well as 5 years of my life - but worth it.”
Sharing a screenshot of tickets booked for Co-Op Live, another said: “Beyond excited! Been waiting for this for years @StevieNicks.” Another wrote: “Stevie Nicks, you'd better be good after the amount I've just spent on you!!!”
But it’s not just tickets for Stevie Nicks that has opened up a wider discussion amongst fans about the rising cost of attending large-scale concerts. The likes of Eric Clapton and The Eagles have charged up to £300 for tickets to recent shows, whilst Taylor Swift’s shows in Liverpool later this year saw VIP experiences cost as much as £662.40 each.
Tickets for Stevie Nicks at Co-Op Live on July 9 will go on sale at 12pm on Friday
Stevie Nicks has extended her 2024 summer tour to include shows in the UK and Ireland. The announcement comes following news of her upcoming performance in London for the BST Hyde Park series later this summer.
The additional shows begin with a performance in Ireland, where Nicks will headline at Dublin's 3Arena on July 3, followed by a show at Glasgow's OVO Hydro Arena on July 6.
Afterward, she will perform at Manchester's new Co-op Live arena on July 9, just days before her highly anticipated London performance.
Following the UK and Ireland leg, Nicks will continue her tour with dates in Europe, including performances in Antwerp on July 16 and Amsterdam on July 19.
Tickets for these shows will be available for purchase starting this Friday, March 22, at noon. Fans can also access pre-sale options starting Wednesday, March 20, at the same time.
Fleetwood Mac’s heyday was long before the streaming era. Unlike many of their peers, the pop-rock band has been able to somehow find an audience with younger listeners, who make up a large share of users on streaming platforms. Their albums and singles continuously rack up millions upon millions of plays–and their catalog is still selling, as well.
The beloved band’s single “Dreams” stands out as one of their biggest hits. It was a commercial win when it was first released decades ago, and in the past few years, it’s become a success on streaming sites. This week, the tune is back on one specific chart, as Americans are still eager to press play on the cut, even after so many years.
“Dreams” reappears on this week’s Streaming Songs chart. The Billboard ranking tracks the most-played tunes on platforms like Spotify, Apple Music, Tidal, and many others. It is genre-agnostic, which makes it very competitive. The list usually favors younger, more current acts–but Fleetwood Mac has bucked that trend.
On the latest version of the Streaming Songs chart, “Dreams” returns at No. 49. That’s a fairly low position on the 50-spot tally, but the fact that it’s found space on the ranking at all is impressive.
Even more impressive is the history of “Dreams” on the Streaming Songs chart. The tune once peaked at No. 6 on the tally, becoming not only Fleetwood Mac’s biggest hit on the ranking, but perhaps one of the oldest top 10s on the streaming-only roster. The cut reached an entirely new audience several years ago after going viral on TikTok, propelling the band to new heights on several streaming-focused lists.
As “Dreams” finds its way back to the Streaming Songs chart, it’s also on the rise on another, related list. The tune is up one slot to No. 7 on the current edition of the Rock Streaming Songs chart. As its name suggests, that tally only looks at the most-played titles in the country labeled as rock. In the past, it has conquered that roster.
“Dreams” remains Fleetwood Mac’s only No. 1 hit on the Hot 100, so it’s not surprising that it has managed to stand out for years among a bevy of smashes the group released. The tune gave the band their only placement on the Streaming Songs chart and their only leader on the Rock Streaming Songs ranking. On the latter list, it’s one of their three tunes to find space, as “The Chain” peaked at No. 5 and “Landslide” rose as high as No. 14.
Fleetwood Mac On The Charts
Here's a look at how Rumour and other Fleetwood Mac albums are doing on the charts around the world this week (March 15, 2024).
A little less than midway through his main set Saturday night, Billy Joel, a Dallas Cowboys hat parked atop his bald pate, sat at his gleaming black grand piano and cast a sideways glance at the many thousands packed into AT&T Stadium.
“This is usually the part where I say I don’t have anything new,” the 74-year-old superstar began, before feigning surprise: “We actually have a new song!”
With that, Joel, making his first North Texas appearance in five years, and the seven men arrayed on the stage behind him lurched into “Turn the Lights Back On,” a deeply wistful, gorgeous ode to lost possibilities and acting before it’s too late — whether on a personal, romantic, or even professional level.
The performance was, put mildly, a hash.
Joel seemed as uncertain about tempo and lyrics and feel as the band members and the song contrasted with the tunes on either side of it (“Don’t Ask Me Why” preceding; “Allentown” following), “Turn the Lights Back On” had the fumbling energy of a colt finding its legs.
Such a moment stuck out in an otherwise polished-to-practiced-perfection two-hour set purely because, well, at this stage of his career, finding his footing on a new single isn’t something Joel really does.
The track is his first such effort in 17 years, a formidable stretch of seasons, and the veteran singer-songwriter defied expectations to deliver a song that is of a piece with his beloved catalog.
That catalog was selectively roamed Saturday (the concert was a make-good from an April 2023 postponement, owing to an illness in the touring party), as Joel heavily favored his 1980 LP Glass Houses and 1977’s The Stranger, declining to offer up any real rarities. (Of his 1974 album Streetlife Serenade, Joel cracked: “You don’t have that album — no one has that album. I don’t have that album.”)
he crowd, well-lubricated and ready for a Saturday full of hits, was, at least where I sat, utterly indifferent to deeper cuts like “Zanzibar,” which featured a volcanic trumpet solo from Carl Fischer.
Joel was also backed by drummer Chuck Burgi, guitarist-vocalist Mike Delguidice, guitarist Tommy Byrnes, saxophonist Mark Rivera, keyboardist David Rosenthal and bassist Andy Cichon — Crystal Taliefero, a long-time Joel collaborator, was oddly absent Saturday.
Yet perhaps Joel was somewhat invigorated by the challenge of new material. He seemed quite lively throughout and in shockingly strong voice — he reached for, and appeared to mostly hit, the sky-scraping high notes in the chorus of “An Innocent Man” (the contorted look on his face certainly suggested he was in the vicinity) — and playfully goofed around with the stadium’s cavernous echo, even yodeling at one point (“I like the acoustics in here”) and its enormous video board, fully operational on Saturday (“You’re watching a drive-in movie over there”)
The closing run of songs did build up a relentless, pile-driving energy: “Sometimes a Fantasy” into “Only the Good Die Young” into “River of Dreams” (complete with a Delguidice interpolation of ZZ Top’s “Tush”) into “Scenes from an Italian Restaurant” (again, Delguidice teeing it up with Puccini’s “Nessun Dorma”) and, finally, as mandated by law, “Piano Man.”
The shock of the new isn’t a common sensation in these settings, but its effects were, ultimately, pleasing. Being forced to reckon with fresh energy after many, many years created some pleasurable ripple effects — whether Joel will submit himself to additional such shocks remains to be seen.
Joel was joined as co-headliner (the evening was billed as “Two Icons, One Night”) by Stevie Nicks, whose opening 90-minute set marked her first North Texas performance in eight years.
The 75-year-old singer-songwriter was likewise in fine fettle, her dusky contralto relatively undimmed by wear and tear. She was backed by an incredibly tight band: guitarist Waddy Wachtel, drummer Drew Hester, bassist Carlos Rios, keyboardists Ricky Peterson and Darrell Smith, and backing vocalists Sharon Celani and Marilyn Martin. (“We’re just road dogs,” Nicks explained. “We really, really enjoy doing this.”)
As with Joel, Nicks was concerned with the hits and little else (Joel did join her early in her set, to duet on “Stop Draggin’ My Heart Around”) — although in fairness, Nicks hasn’t released any fresh solo material since 2011, so the set list was always going to be full of the familiar and the popular
The propulsive energy of her solo back catalog was infectious: “Stand Back” giving way to “Bella Donna” before detouring into Fleetwood Mac (“Gold Dust Woman,” which built up to a furious climax, full of smoldering guitar and whirling shawls). Nicks even trotted out her long-time vocal coach, Steve Real, for “Leather and Lace,” as Real gave a startlingly approximate recreation of Don Henley’s singing voice.
For her encore, Nicks leaned heavily into sentimentality and was richly rewarded. The three-song run (Tom Petty’s “Free Fallin’” and Fleetwood Mac’s “Rhiannon” and “Landslide,” the latter featuring a deeply moving photo montage of Nicks and the late Christine McVie) was as beautiful as it was poignant — “Landslide” even did the impossible: silencing the entire stadium as Nicks, backed only by Wachtel on acoustic guitar, sang of getting older too.
It was an emotional moment that drove home the point of the entire evening, even before Joel wrestled with the disruptive energy of the new.
Time is an inescapable element in these settings. You’re measuring the arc of a career in decades, the depth of impact in generations and the number of records sold in the double (or triple) digit millions. (Nicks has sold 65 million copies as a solo artist; 120 million as a member of Fleetwood Mac — Joel has sold over 160 million copies worldwide.)
These are weighty, substantial, and meaningful statistics, yet they recede somewhat in the light and locomotion of a stadium-sized concert. Still, there is that unquantifiable feeling, lurking in the edges of the spotlight, the sensation of witnessing an endurance of impressive magnitude, but also, of looming mortality, a sense of days dwindling.
Each of these artists has made a profound impact upon those who piled into AT&T Stadium Saturday, and for a moment, sharing the space together drove home the value of what they do and the songs they sing. New or old, familiar or obscure, what matters most is the act itself: By standing tall in the light, everyone on the stage or in front of it helps delay the inevitable just a little longer, preserving the thrill and the joy of being alive in the moment, lost in the comfort of a melody.
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