Stevie Nicks Announces Baltimore Date + Rock and Roll Hall of Fame Performace

STEVIE NICKS Announced a new date: 

February 17, 2024 Baltimore, MD at CFG Bank Arena. 

Tickets on sale Friday Oct 27th

Stevie Nicks Official

STEVIE NICKS will be performing LIVE at Rock Hall 2023! Stream it on Disney Plus, Friday, Nov. 3 at 8p ET!

Lindsey Buckingham & Omar Apollo Musicians on Musicians

Lindsey Buckingham Wrote a Song That Changed Omar Apollo’s Life

A genre-hopping young star and a rock icon compare notes on songwriting, Fleetwood Mac, relationships and much, much more

BY TOMÁS MIER

Rollingstone

Photographs by Joshua White

I DIDN’T BRING my stilts,” dad-jokes Lindsey Buckingham as he eyes Omar Apollo, all six feet five of him. Apollo lets out a chuckle as he leans against the recording console, where Buckingham’s band, Fleetwood Mac, happened to have made Tusk 45 years ago. 

Buckingham, a 74-year-old guitar hero, might seem an odd pairing for a 26-year-old Mexican American star who makes tear-jerking alt-R&B. But as Apollo, who asked Buckingham to join him for Musicians on Musicians, puts it: “I got layers, you know?” (That’s evident as the singer jumps between playing the Cocteau Twins and norteño legend Ramón Ayala during the duo’s photo shoot.)

Once the men sit down for their chat at the Village, the legendary L.A. studio, they realize their connection is more than just musical. Perhaps, fateful. Buckingham made Tusk here. Apollo dropped his breakthrough album, Ivory, last year. “That’s crazy,” Apollo says. “We both have the elephant thing.”

Apollo’s conversation with Buckingham arrives at a pivotal moment in his career: He earned a Best New Artist Grammy nomination earlier this year, his song “Evergreen” just went platinum, and his excellent new EP, Live for Me, came out Oct. 6 — the success is coming swiftly, and he’s at a clear turning point. Buckingham knows that feeling all too well: It happened after Fleetwood Mac dropped their blockbuster album Rumours. He has some advice to impart about fame, songwriting, and going your own way as an artist. 

Omar, you wanted to talk to Lindsey. I would love to hear why.

Apollo: Well, there’s a song that you made that has so many memories attached to it, that I’m obsessed with, that literally changed how I wanted to look at music and make music.

Buckingham: And what song was that?

Apollo: It was “Never Going Back Again.”

Buckingham: Oh, wow.

Apollo: Actually, there was this guy that I had a crush on. He was in love with that song. And so, I was like, “I’m going to learn it.”

Buckingham: And did you?

Apollo: No, I couldn’t learn it. It’s impossible! I literally was sitting on tour having my friend teach me. “Teach me how to do this picking. I can’t do the picking.” It is such a specific pattern and rhythm. And my head is hurting. I was losing it: “It’s so hard.”

Buckingham: The song has changed a lot. If you listen to it on Rumours, it’s one thing, and it evolved into something different onstage over the years.

Apollo: I watched a live video of you singing it. And you don’t say it on the record, but you say it in the live version: “I’ve been down three times.” And I was like, “Man.” I remember driving in my friend’s Mini Cooper in the desert, we had gotten done a big night of partying. And then I just blast this song, and I just remember feeling like, “Oh, every time I put this song on, it makes me so happy.” And that’s something that I feel is very rare in music — for something to just affect me like that. I just want to do that one day, you know what I mean? 

[Buckingham nods.]

Buckingham: I love how you use vocals on Ivory. What’s the fourth track called? The one with Daniel Caesar on it?

Apollo: “Invincible.”

Buckingham: Yeah, your use of vocals is just so sublime. And “Killing Me.”

Apollo: That’s crazy to hear you say that.

Buckingham: Are you playing a lot of the stuff on that?

Apollo: I’m playing a lot of the acoustic guitars on that. That was me on “Invincible.” Kind of folky, then it turns into this Radiohead drummy thing.

Buckingham: That’s part of what’s interesting, is you’re cross-breeding. You’ve got these elements of R&B and soul, but then you’ve got beats that are more referencing hip-hop. The only thing I didn’t like about it was it’s too short.

Apollo: You thought it was too short?

Buckingham: I mean, it was just an intro piece. I was thinking, “Oh, he could do a whole song like that!” It’s so delicate. It’s what you’re not doing in a lot of ways that’s so great, too. What I think your challenge will end up being.… You’re poised to get to the point where these external forces are going to expect a certain thing from you. I got to that point post-Rumours. Rumours started off about the music, then the success eventually became about the success. The key is to remember who you are and to be yourself. 

Apollo: Like lean into it.

Buckingham: Lean into it, or subvert people’s expectations for the sake of your own growth. I did something really radical after Rumours, which was that I made the Tusk album. It was just a whole other palette. It wasn’t Rumours 2, but it set me on the right path for always valuing art over commerce.

Apollo: And it aged really well. When I made my first projects before Ivory, I was broke. I wasn’t really thinking about it. It was just pure.

Buckingham: After Tusk, there was a backlash, and Mick [Fleetwood] says to me, “Well, we’re not going to do that anymore.” I had to try to get back to the spontaneous mindset we had that led to Rumours. If I was going to keep following my heart, I had to start making solo albums. The people that were fans of mine, in the context of Fleetwood Mac, you lose nine-tenths of that. [With solo music], you can bring a whole other approach, on a production level, in the studio, and onstage. You’ve got some Spanish on the album, right?

Apollo: Yeah, a little bit. My mom and dad, they’re from Mexico. They knew Michael Jackson. And my dad knew the Beatles, so that was it. He showed me “Yesterday,” and that was one of the first songs I learned on guitar.

Buckingham: Not a bad place to start. Those guys could write. See, I think of myself as a stylist.

Apollo: As a stylist. Why?

Buckingham: If you think of a real writer, there are people who come from the Tin Pan Alley tradition, or Lennon and McCartney, people who just have a certain level of skill that takes them to that place. And then you’ve got something that is equally valid, which is more based on style. 

Apollo: Even with “Never Going Back Again,” the lyrics, your cadence. You said so much by saying so little. And I think that’s really what I want to do. I wanted to ask you about how you wrote it.

Buckingham: Well, it helped that I was in a band with someone who had broken up with me.

Apollo: You guys were broken up for a while?

Buckingham: In Stevie’s [Nicks] case, I think she was drawn to a new version of herself she couldn’t see before she joined Fleetwood Mac. She saw an opportunity to step out into the light a little more. I think that played into our breaking up. What I’m saying is that to have someone that you never had the luxury of having closure with made it hard to be emotionally healthy. But it might have also made it that much easier to write a song like “Never Going Back Again,” because it was the farthest thing from being academic. It was completely visceral.

Apollo: It gave me chills hearing you talk about it. There are these harmonies that happen in the middle of the song that don’t happen again. I started doing that with my songs. But that song, it woke me up.

Buckingham: That’s what it’s for, man. To pass it along for someone else to pick up on the meaning and make their own meaning. 

Apollo: I love making music. I’ve realized that I just have this creativity, I feel like I have to honor it right now in this time of my life. I’m like, “In 20, 30 years, am I going to have this same drive?” It’s actually so hard to make albums.

Buckingham: It’s OK if you don’t — that’s a long ways away. You’re right at the beginning. It’s very exciting.

Apollo: I’m about to put out this four-song EP, and it’s literally the best music I’ve ever written. It’s like I can’t stop listening to it.

Buckingham: It should go like this, you know?

Apollo: It’s interesting because only one song is about love and the rest is just about family. You just change as a writer. It’s interesting when you get out of survival mode. It’s like the switch is on and now it just can’t stop. 

Buckingham: It’s funny, isn’t it? Because it seems like there’s always stuff passing over your head in the ether somewhere. Snatch it, and take it to the next step. Because you can have an idea and 10 minutes later, it’s like, “What was that? I don’t know. It doesn’t matter.” Do a voice memo at least!

Apollo: How did you guys do voice memos back in the day?

Buckingham: Cassette players a lot of times.

Apollo: Just in your pocket?

Buckingham: Yeah, or you just didn’t. The way I work, writing and recording can become one thing. 

Apollo: I had a song and it went platinum, called “Evergreen.” It’s about watching another relationship form in front of me. I was like, “Oh, people are reacting to this song emotionally.” So I figured I needed to make even more sad music. If I can just amplify the sadness, I feel like that is what’s going to feel authentic for me: “Oh, this is how it’s being perceived. How can I keep it authentic to me but still—”

Buckingham: There’s nothing wrong with taking in external input, but at the end of the day, you can’t let that be a driving force. A lot of artists who do what’s expected of them forget who you are and why you got into it in the first place. It sounds like you already know that intuitively, so that’s a good place to be.

Apollo: I’m trying, man. I love this shit too much. Hearing you say the name of my album and naming off songs means so much to me. I was a little scared. “He’s going to be like, ‘This fucking young guy.’”

Buckingham: I wasn’t really super aware of you before all of this, but my daughters were.

Apollo: Oh, they were?

Buckingham: Yes. I have three [kids]. 

Apollo: They got good taste, man.

Buckingham: They were psyched. One of the things that was so cool about touring with Fleetwood Mac, there was a point, probably early 2000s, when I’d see three generations of people in the audience. And you’re going, “OK, well if it’s making sense to the 75-year-old, but it’s also making sense to the 15-year-old, we must have done something right.”

Apollo: That’s what I want. What really sticks is authenticity.

Buckingham: I think it can be hard. It’s probably hard being Taylor Swift. Although she seems like she’s handling it pretty well, all things considered. Not sure about Matty Healy, that kind of came and went. He seems like a loose cannon, that guy.

Apollo: You’re funny.

Buckingham: I mean, I like that band, but …

Apollo: You’re tapped in, man. 

Buckingham: I try to keep up as much as I can because there’s good stuff out there.

Apollo: When people say, like, “Oh, no, music isn’t good,” it’s like you’re just not looking for it.

Buckingham: Sometimes it’s better than other times. But if you want a great pop song, listen to “As It Was,” by Harry Styles. I mean, come on.

Lindsey, I wanted to ask about this space we’re in and how you used it for “Tusk.” 

Buckingham: I used to try to leave here at a reasonable hour, midnight or so. I didn’t want to stay here all night. Mick wouldn’t let me leave. If I wanted to leave, I’d have to say, “Hey, I’m going to the bathroom,” and I’d just walk out to my car. A bunch of times Mick would come out and grab me.

Apollo: That’s how it is in the studio. You look up and it’s, like, six o’clock in the morning.

Buckingham: Crazy. And in those days, with all the substances— 

Lindsey, is it weird coming back into the space that they made for “Tusk”?

Buckingham: Christine [McVie] and I were here more recently. We were trying to make a Fleetwood Mac album, but Stevie refused to participate. But we had John and Mick in here, and Christine and me, four out of five, and we did what ended up being a duet album back in 2017, I guess. It was great.

Apollo: There was this one song on it that I really loved, “In My World.” That song is fire.

What’s it like listening to that album with Christine now, a few months after she passed?

Buckingham: I did listen to it once after she passed, and it held up very well for me. It was sad losing her. No one really saw that coming. She’d been ill for a little while, but no one really expected her to die.… I got to take Christine out on the road. She’d never seen what it was like touring outside of Fleetwood Mac and all the politics. I think it was really an eye-opener for her about what the whole thing should be more of. Fleetwood Mac was always a family, but was always a dysfunctional family.

Lindsey, last time we spoke, you told me that you would come back to Fleetwood Mac “like a shot.”

Buckingham: And I would.… I always have been ready to come back if the opportunity presented itself. We could still do it now, even without Christine. But the only way that would happen is if Stevie said she wanted to do it. She’d have to have some kind of an epiphany, and I don’t necessarily see that happening. I think that ending on the proper note would be a better way to do it than the way it has been left.

Apollo: I had this thing that whenever there’s someone in my life I write a song about, that I’m intimately involved with, I send it to them to see if they catch on if it’s about them or not. Or they ask, “Is this about me?” And I’m like, “Yeah, that one’s about you.”

Buckingham: I was still writing songs occasionally about Stevie, not that long ago, but most of the songs in the last 20 years have been about my wife. 

Apollo: Recently, I was writing from a perspective from when I was a child, because those are moments that happened and it doesn’t mean that you feel it right now. But you remember. 

Stevie Nicks Live in Pittsburgh, PA September 27, 2023

Stevie Nicks delivers the hits and stories in Pittsburgh concert

MIKE PALM 

Triblive.com

Photo: Renee Klaas Piatt

Much as she’s done for the past 40-plus years of her solo career, Stevie Nicks enchanted Pittsburgh concert-goers with a career-spanning show Wednesday night.

Nicks dazzled through a nearly two-hour show at PPG Paints Arena, soaring through Fleetwood Mac classics like “Dreams” and “Gypsy” while delving into her solo career, with hits like “Stand Back” and “Edge of Seventeen.”

Dressed all in black, the 75-year-old Nicks didn’t venture too far from her mic stand except for occasional off-stage wardrobe updates — a variety of shawls, of course — or for light dancing near her guitarists.

Playing the part of enthusiastic storyteller, Nicks offered commentary and insight into many of her songs while introducing them. First, she expressed satisfaction with being indoors after a rain-drenched show in Boston last week where she was forced to wear a velvet hat on stage for the first time in 30 years.

Appropriately, she opened Wednesday’s show with “Outside the Rain,” which segued seamlessly into Fleetwood Mac’s “Dreams.”

After the synth-driven “If Anyone Falls,” Nicks told the story of how one of her most famous songs — from her debut solo album “Bella Donna” — came to life, thanks to producer Jimmy Iovine.

“(He said) ‘Well, it’s a great record, and we love it, but guess what? There is no single,’” Nicks recalled of the conversation. “By now, this guy is also my boyfriend. ‘There’s no single. Did you think about telling me that last week or something? Do I have to write a single or dig through my vault of songs and find another song that we didn’t put on there already? He goes, ‘No, no … I have a plan.’”

That plan turned out to be a collaboration with Tom Petty on “Stop Draggin’ My Heart Around,” which helped Nicks’ debut record rocket to No. 1 on the Billboard charts back in 1981.

One of her most recent songs (relatively speaking), 2001’s “Fall From Grace” rocked with Nicks offering her most emphatic singing of the night and some minor head bopping.

In 1966, Stephen Stills of Buffalo Springfield wrote “For What It’s Worth” about the Sunset Strip Riots in Los Angeles, and Nicks had long admired it, releasing a cover of it last year.

“He managed to write a protest song but yet write it in a way where it’s like, you’re on this side, and you’re on this side, and you’re down the middle and he doesn’t really care,” Nicks said. “He’s just writing a song to ask everybody to stand back and listen. Listen to some music. Listen to your friends, and don’t be nuts and try to destroy everything.”

Nicks called Fleetwood Mac’s “Gypsy” her foundation song, recalling a time in 1975 where she and Lindsey Buckingham came into a lot of money but she needed to stay grounded. She pulled her mattress onto the floor, declaring “I am still Stevie.”

“And much to my surprise — you would probably not believe this — but I still do this every once in a while,” she said. “I put the mattress back on the floor, back to my roots. So if you ever need to just bring your foundation back to where you wish it would have stayed, that’s what you do.”

“Wild Heart” flowed into “Bella Donna” before an electric version of “Stand Back,” complete with black and yellow lights on the stage and video screen, as well as Nicks’ black-with-gold-highlights shawl.

In her most serious moment, Nicks reflected on 2011’s “Soldier’s Angel” — written after visiting injured troops at Bethesda Naval Hospital and the Walter Reed National Military Medical Center — taking on new meaning in light of the conflict in Ukraine.

An extended version of “Gold Dust Woman” led to “I Sing For the Things,” which had originally been cut from Nicks’ debut album. The crowd came back to life as the drums and guitar kicked in for the intro on “Edge of Seventeen,” another highlight of the set.

Two of the three songs in the encore paid tribute to close friends she had lost. A cover of Petty’s “Free Fallin’” included archival photos of Nicks and Petty, and the closing “Landslide,” a Fleetwood Mac classic, honored bandmate Christine McVie, who died in November 2022.

In between those two came another Fleetwood Mac hit, “Rhiannon,” which drew the largest cheers and helped send the audience home satisfied.

Judging by the restroom lines, the crowd skewed heavily female, and there might not have been this many Pittsburgh women sporting fancy hats since Easter or maybe the Kentucky Derby.

Cil, a 20-year-old pop singer from Colorado, opened the show with 25 minutes of songs about love, albeit with a younger viewpoint.

Stevie Nicks setlist

• Outside the Rain
• Dreams (Fleetwood Mac)
• If Anyone Falls
• Stop Draggin' My Heart Around
• Fall From Grace
• For What It's Worth (Buffalo Springfield cover)
• Gypsy (Fleetwood Mac)
• Wild Heart
• Bella Donna
• Stand Back
• Soldier's Angel
• Gold Dust Woman (Fleetwood Mac)
• I Sing for the Things
• Edge of Seventeen

Encore

• Free Fallin' (Tom Petty cover)
• Rhiannon (Fleetwood Mac)
• Landslide (Fleetwood Mac)

Review: The ageless Stevie Nicks bewitches crowd at PPG Paints Arena

SCOTT MERVIS

PostGazette.com

With the departure of Lindsey Buckingham and the passing of Christine McVie, we may have seen the end of Fleetwood Mac.

While that situation plays out, or doesn’t, we are blessed to have the mystical gypsy of the band, Stevie Nicks, serenading us with those classic songs as well as the best of her solo career.

That on-and-off journey was launched 42 years ago with the instant success of “Bella Donna,” and now, at 75, Nicks is on a solo tour that brought her to PPG Paints Arena Wednesday for the first time since 2018.

Her devoted followers turned out strong in brimmed hats, shawls and lacy dresses, even some of the guys.

After the entry song of “Runnin’ Down a Dream,” from another fallen comrade, Tom Petty, Nicks emerged, all in black, bowed, and eased into “Outside the Rain,” a deeper track from her 1981 debut, “Bella Donna.”

Although it’s not a showy song, vocally, it was all we need to know that her uniquely rough and raspy voice still has the old magic. It was reinforced when the song segued into “Dreams,” one of the beloved entries from the FM catalog.

It’s not often that Pittsburgh is complimented for its lack of rain, but she greeted the crowd saying she did her previous show, with Billy Joel, in a steady Boston rain, with a hat pinned to her head, “and I can’t tell you how excited I was to get to this show.”

She prefaced her signature duet with the story of Jimmy Iovine telling her that her forthcoming solo debut album didn’t have a single.

His solution was to introduce her to Petty for what would become “Stop Draggin' My Heart Around.”

“I love you, I love the Heartbreakers, I love this song,” she recalled telling Petty.

Rather than summoning the late Heartbreaker on video, she found a worthy duet partner in longtime guitarist and music director Waddy Wachtel, who sizzled throughout.

Nicks, once a shy frontwoman, continued in storyteller mode, providing the background, about the LA Sunset Riots in 1966, for Buffalo Springfield’s “For What It’s Worth.” The song endures for her, she said, because it’s about learning how to listen. She infused it with some added slide guitar, her blunt, husky delivery and a longer, echoey outro.

About 10 years after Stephen Stills wrote that song, she was joining a broke Fleetwood Mac, driving around with Buckingham in a car that didn’t go in reverse.

“I was the only one that had a job,” she said, “because [what] was Lindsey going to do?”

She was cleaning houses. He was perfecting his guitar chops, presumably.

It introduced “Gypsy,” which she referred to as one of FM’s “foundational songs.” It, of course, was another beauty with another stunning vocal over a spinning, carousel effect.

It was full-on hard-rock muscle for a show-stopping “Stand Back,” for which she donned a sparkly coat for the first of her witchy dances, sending the crowd into hysterics.

The strident “Soldier's Angel,” she explained, was added to the set to support Ukraine and express her disgust with Vladimir Putin, who she is convinced plans to take over all of Eastern Europe. “He is not going to stop.” Rod Stewart had a similar message here a few weeks ago, so this is clearly a hot topic with the boomer rockers.

An exquisite “Gold Dust Woman” was thick with drama and noisy atmosphere, climaxing with harrowing held notes and the shawl dance that’s the Stevie Nicks equivalent of Gene Simmons spitting fire.

Wachtel got to blaze away in an extended opening for the song that many were waiting for, “Edge of Seventeen.” It was an epic set-closer with the chugging riff, Nicks’ braying vocal and a round of solos going from organ to piano to guitar.

“You’ve been an awesome crowd…I love being in this city,” she said, before exiting the stage.

There were more hits stacked in the encore: a celebratory cover of “Free Fallin’,” a surprisingly hard-driving “Rhiannon” and finally, the lovely and bittersweet “Landslide” with just Nicks, Wachtel and keyboard.

This song is course, has her repeating “And I’m getting older too.”

Some of the 70-something rockers still packing arenas have lost a step or two, while others barely seem any different than they were 30 years ago. Maybe even better. Nicks clearly falls in the latter category. Rock goddess, indeed.

Stevie Nicks Announces 2024 North American Headlining Tour Dates

Stevie Nicks unveils seven additional headlining tour dates extending into 2024. She will kickstart the new year on February 10th in Atlantic City and sweep across the US enchanting audiences from New York, South Carolina, Florida, and Louisiana concluding on March 9th in Arlington, TX.

Tickets for all dates (minus Arlington, TX) go on sale beginning Sept. 29 at 10 a.m. at StevieNicksOfficial (pre-sales begin earlier this week)

February 10 – Atlantic City, NJ - Mark G Etess Arena

February 14 – Belmont Park, NY - UBS Arena

February 21 – Greenville, SC - Bon Secours Wellness Arena

February 24 – Hollywood, FL - Hard Rock Live

February 28 – New Orleans, LA - Smoothie King Center

March 3 – Omaha, NE - CHI Health Center

March 6 – North Little Rock, AR - Simmons Bank Arena

Reviews... Stevie Nicks Live in Foxborough (Boston) Sept 23, 2023

Stevie Nicks and Billy Joel a powerhouse pop tandem at rainy Gillette

By Maura Johnston

BostonGlobe

FOXBOROUGH — When the pugilistic pop composer Billy Joel and the bewitching singer-songwriter Stevie Nicks announced their joint tour earlier this year, it took a second for the pairing to click. Joel’s blend of classical training and punky New York attitude seem at odds with Nicks’s West Coast mystic visions, but the two share a theatricality — not to mention packed back catalogs — that made their show Saturday night at Gillette Stadium a top-to-bottom joyride.

The hit parade was a bit waterlogged, with rain falling steadily throughout the show. But the weather — which was also marked by decidedly autumnal temperatures — added a sense of drama to the proceedings while also proving that those filling the stadium were committed to seeing the whole night through. Nicks’s set spotlighted both her work with the tumultuous hitmakers Fleetwood Mac and her solo material, with a stunning extended run-through of the world-weary Mac track “Gold Dust Woman” and a fiery take on her grief-stricken solo hit “Edge of Seventeen.”

Mourning ran through the set, with Nicks’s former duet partner Tom Petty being paid tribute through versions of the tug-of-war duet “Stop Draggin’ My Heart Around” (with Joel more than ably handling what Nicks called “the argument part” of Petty’s vocal) and the modern American standard “Free Fallin’.” Her former bandmate Christine McVie, who passed away last November, was given the spotlight during Nicks’s set-closing version of the yearning Fleetwood Mac smash “Landslide.” That song and “Free Fallin’” have both become modern touchstones of American pop, and Nicks’s presentation of both showed how crucial she and her collaborators have been to the modern pop firmament.

Joel opened his set with a take on his 1978 outta-my-face anthem “My Life” that he blended into Ludwig van Beethoven’s “Ode to Joy,” which succinctly summed up at least one facet of his appeal. His musical chops straddle the old and new worlds; his piano playing, as evidenced by the frequent close-ups on his keyboard that blazed across the video screens, hasn’t missed a beat, and he can still hit the high note that marks the yearning title track from 1983′s street-corner-music homage “An Innocent Man.” He’s able to channel that talent and knowledge of pop into songs that speak from a perspective marked by hunger, whether it’s for basic respect from the system (the chugging “Allentown”), bridge-and-tunnel transcendence (the strivers’ anthem “Movin’ Out [Anthony’s Song]”), or something more carnal (the New Wave-y chronicle of frustration “Sometimes a Fantasy”). Joel’s been in music’s upper echelons for four-plus decades, but his wisecracking, fighting spirit still shines through — and his pop craftsmanship makes joining in via singing along even easier.

Double play at Gillette: Joel and Nicks offer a classic show

Craig S. Semon

Worcester Telegram & Gazette

FOXBOROUGH _ Billy Joel and Stevie Nicks’ limited-run, double-bill concert pairing is being touted as “Two Icons, One Night.”

No argument here.

While one of these legendary artists has enough star power, rich musical legacy, and a cavalcade of hits to play to a packed house on their own, two on the same bill is rock ‘n’ roll heaven sent as became quite evident during a rain-soaked, sold-out show Saturday night at Gillette Stadium.

Despite having really nothing in common other than selling tons of records, composing some of the most memorable and beloved pop songs in the last 50 years, and emerging out of the ‘70s, Joel, who hasn’t played Foxborough gridiron since the summer of 2009 as part of the “Face to Face” tour with Sir Elton John, and Nicks, who has never played at the home of the Patriots, seems like an unlikely pairing indeed.

While they’re not quite as odd at each other as Elvis Costello hanging out with Burt Bacharach or as peculiar as Miley Cyrus fronting Metallica, Joel is New York brass/angry young man cool while Nicks is rock’s premiere earth mother/leather and lace enchantress.

And that’s what made this unlikely pairing so special and so much fun.

Joel, 74, who played roughly two hours, while Nicks, 75, who opened with an abbreviated hour-and-20-minute set, delivered two distinctly different and totally satisfying sets that were chock-full of nothing but great songs. And both delivered a killer encore worth the price of admission alone.

Early in his set, Joel braced the drenched crowd with some good news and bad news, starting with the bad news: “We don’t have anything new to play for you.” And then the good: “You don’t have to listen to any new (expletive).”  

Despite the fact that he hasn’t released a new pop album in 30 years, Joel’s voice sounded great and his songs sounded as fresh and relevant as ever.

Perched behind a black baby grand piano on a rotating circular stage, Joel pounded out Beethoven’s “Ode to Joy” before breaking into his first of many beloved hits and crowd singalongs, “My Life,” during his longer, headlining set. Delivered with the same youthful vigor as he did when the song was first released 45 years earlier, Joel stood up at the end of the number to soak up the admiration from the drenched audience.

While the rain was enough to give the most delicate in the crowd a heart attack, ack, ack, ack, ack, ack, Joel kept the hit parade coming with a rousing version of “Movin’ Out (Anthony’s Song),” one of his great slice-of-angry-young-man’s-life vignette songs from 1977’s “The Stranger.”

Although it wasn’t needed to sell the song, the stormy seas saga “The Downeaster Alexa” received an added visual boost with sheets of rain crashing down on the crowd during Joel’s passionate plight of the Long Island fisherman.

With Taylor Swift no longer being the only recording artist with a memorable rain show at Gillette, Joel _ after amusingly doing impromptu versions of the Beatles’ “Rain” and The Everly Brothers’ “Crying in the Rain” _ cursed the Almighty up above with the defiant cries of “Is that the best you can do! Is that all you got!”

Retreating back to the standard setlist, Joel briefly lamented that he’s not in his 30s anymore, so the audience should pray for him to hit a couple of high notes on the falsetto favorite “An Innocent Man.” Brushing the sweat off his brow by song’s end, Joel nailed the crucial notes like a seasoned trooper.   

Snippets of The Regents’ “Barbara Ann” and Solomon Lindi’s original Evening Birds’ cover of “The Lion Sleeps Tonight,” served as a warm-up exercise for Joel’s modern-day doo-wop classic, “The Longest Time,” which had the singer dragging the mike stage from one end of the stage to the other.

After the elegant piano masterwork on “Vienna,” Joel gave Bruce Springsteen a run for his blue-collar champion crown with “Allentown,” one of the happiest songs ever recorded about factory closings.

With its swirling keyboards and percolating rhythms, Joel’s naughty little ‘80s relic about the middle of the night, 900 phone calls “Sometimes A Fantasy” is still his strongest bid for new wave rocker status, while “Only the Good Die Young” served up the singer at his bad boy best.

The soul-cleansing, life-affirming “The River of Dreams” was not only enough to lift the crowd’s spirits, it turned into a killer showstopper when percussionist and blessed pipes extraordinaire Crystal Taiefero got up from behind her drumkit and unleashed her inner-Tina Turner on “River Deep, Mountain High.”

Joel and company delivered a spectacular version of “Scenes from An Italian Restaurant,” which ended with the crowd waving Brenda and Eddy (the two main characters in the song) goodbye.

After getting a stagehand to replace his rain-soaked harmonica with a dry one, Joel introduced "a pretty good crowd for a Saturday (which it was)" to a series of familiar bar regulars sharing a drink they called loneliness (because it’s better than drinking alone) on the autobiographical musical character study “Piano Man.”

Joel kicked off a killer, five-song encore with the chart-topping, history lesson “We Didn’t Start the Fire,” a true scorcher that every Baby Boomer should see performed once in their lifetime with the flickering images of the 118 pop culture references that the singer rattles off at breakneck speed.

Joel revisited the lovable bad boy with the blessed pipes of his youth (the same one that once won supermodel Christie Brinkley’s heart) on his lively ode to doo-wop, “Uptown Girl.”

After the snappy and irresistible “It’s Still Rock and Roll to Me” (Joel’s first Number One), Joel went back to the piano for “Big Shot,” which was one of the heaviest rockers of the evening, followed by “You May Be Right.”

With her unmistakable raspy voice, elegant gypsy fashion sense, and spacy stage antics, Nicks proved she’s still an encompassing free-spirit who, despite the rain, is one with the cosmos but always seems to be at odds with affairs of the heart.

Whether it was the timeless, Fleetwood Mac classics (which included “Dreams” “Gold Dust Woman,” “Rhianna,” and “Landslide”) or her stellar solo hits (including “If Anyone Falls in Love,” “Stand Back” and “Edge of Seventeen”), Nicks proved she still has the power to conjure up the forces of nature.

Wearing a black, long-sleeve top, a grey frilly chiffon skirt, knee-high boots, a floppy hat, and donning a vast assortment of capes, scarves, and shawls throughout her set, Nicks' voice sounded youthful and robust and her teary-eyed ruminations and impassioned roars of defiance were vibrant and timeless.

One of the most distinctly female voices in pop, Nicks cast the audience under her spell immediately and often and nothing was going to rain on her hit parade, not even rain, even if she conjured up images of stormy skies with the appropriately titled opener “Outside the Rain,” which seamlessly segued into “Dreams,” the first of four Fleetwood Mac classics performed by her piping hot band led by guitar god and bespectacled rock legend Waddy Wachtel

Despite the golden-haired rock goddess calling the rain “awful,” the lines “Thunder only happens when it raining” and “When the rain washes you clean, you’ll know” (both from “Dreams”) became the unofficial mantra of the rain-soaked crowd that roared with approval.

Joel first popped up unannounced during Nicks’ set to fill in for the late Tom Petty in the Nicks-Petty duet smash “Stop Draggin’ My Heart Around.” Carrying an umbrella and wearing a bundled-up blazer, dungarees, sneakers, and a baseball cap advertising “Deux Ex Machina Custom Motorcycles,” Joel sang the song with gusto but the pairing was merely a nice gesture that lacked the infectious heat of the original.

Nicks adorned herself with a gold and black shawl for the showstopper “Stand Back” and while draped with a gold shawl showered the crowd with rock ‘n’ roll riches on the epic rocker “Gold Dust Woman.” With the pouring rain glimmering in the yellow stage lights, it looked like the audience was in the middle of a psychedelic gold rush.

After a heartfelt cover of Tom Petty and the Heartbreakers’ “Free Fallin,’” Nicks closed her main set with a guitar-heavy, arena-rock version of "Edge of Seventeen," which turned into a lovefest with the diehard Nicks-ophiles in the audience pounding their fists in the air and shouting along with their idol.

During her encore, Nicks delivered the most tender and tortured number of the evening with her signature Fleetwood Mac ballad "Landslide." Paying tribute to her Fleetwood Mac bandmate Christine McVie, who died at 79 in November, this was Nicks at her emotionally unguarded best.

Fleetwood Mac this week on the charts around the world

Fleetwood Mac this week on the charts around the world. Previous week in brackets.  These are the most current charts as of September 22, 2023.

 

 

US Billboard Top 200

#34 - Rumours (32)

#81 - Rumours Live (debut)

#178 - Greatest Hits (146)

US Top Album Sales

#4  - Rumours Live (debut)

#23 - Rumours (22)

US Top 100 Current Album Sales

#4 - Rumours Live (debut)

US Top 25 Vinyl Albums

#7 - Rumours Live (debut)

#14 - Rumours (14)

Canada Top 100 Albums Chart

#31 - Rumours (re-entry)

UK Top 100 Albums Chart

#6  - 50 Years - Don't Stop (7) 5,220 sales

#26 - Rumours (22)

UK Top 100 Singles Chart

#84 - Dreams (74)

#85 - Everywhere (77)

UK Top 100 Album Sales

#22 - Rumours (23)

#41 - Rumours Live (9)

#86 - Greatest Hits (95)

UK Top 100 Album Downloads

#63 - Rumours (51)

UK Top 100 Physical Albums Chart

#21 - Rumours (21)

#39 - Rumours Live (9)

#90 - Greatest Hits (98)

UK Vinyl Albums Chart

#14 - Rumours (17)

Scotland Top 100 Albums Chart

#15 - Rumours (17)

#43 - Rumours Live (6)

#91 - Greatest Hits (85)

Ireland Top 100 Albums

#4  - 50 Years - Don't Stop (2

#21 - Rumours (20)

Australia Top 50 Albums

#27 - Rumours (26)

Austria Top 75 Albums Chart

#15 - Rumours (re-entry)

Belgium Top 50 Albums Chart

#19 - Rumours (re-entry)

Dutch Top 100 Albums Chart

#3 - Rumours (3)

France Top 150 Albums Chart

#51 - Rumours Live (debut)

Switzerland Top 100 Albums Chart

#17 - Rumours (re-entry)