Due to a recent leg injury requiring a minor surgical procedure that will need a few days of recovery time, Stevie Nicks’ scheduled performances in Glasgow Saturday 6 July and Manchester Tuesday 9 July have been postponed. More information will be available at point of purchase, ticketholders are advised to hold on to their tickets as rescheduled dates will be announced soon.
Updated July 11, 2024
The Dates were rescheduled as follows:
Manchester will now take place on Tuesday, July 16th
Glasgow will now take place on Wednesday, July 24th
The show in Antwerpen originally scheduled for July 16th has been canceled and won't be rescheduled.
Having announced the end of Fleetwood Mac to MOJO last month, Stevie Nicks’ show in the Irish capital proves she can still cast plenty of magic on her own.
Speaking in the latest issue of MOJO, Stevie Nicks confirmed what many fans had feared. That following the death of Christine McVie in 2022, a rapprochement between her and Lindsey Buckingham was not on the cards and Fleetwood Mac were essentially no more. At the same time, she offered hope for her fans.
“I would rather not be freed up from Fleetwood Mac, because of Christine. But I’m in a place when I can concentrate on my solo work. I can do anything I want now and not have to worry about stopping and going back to Fleetwood Mac,” she told MOJO’s Bob Mehr, before stating that she plans to carry on as she always has, ever since she was little girl: “To get up and dance and put on outfits and sing and tell stories.”
It's precisely what her Dublin fans - who’ve been on Nicks watch ever since she was spotted at last weekend’s Taylor Swift show and joined Swift for a night out in the city - are here in their droves to see. That many of them have made the effort to dress in imitation of their idol only adds to the joyous atmosphere.
When the lights go down and Tom Petty’s Running Down A Dream comes out of the speakers, the excitement goes up another notch and then there she is, dressed in black, hair almost to her waist and drawers’ worth of scarves tied round her mic stand.
She begins with Outside The Rain, from 1981’s solo debut Bella Donna. As she was on the record, Nicks is joined by Waddy Wachtel (Keith Richards, Warren Zevon, Linda Ronstadt, Randy Newman) on the guitar. The veteran session player is here both to marshal the troops and act as a foil to Nicks and he gives good Lindsey Buckingham during Dreams, which is greeted with a surge of euphoria.
Is it Nick’s greatest song? Possibly. Does it show a certain chutzpah throwing it out this early in the game? Definitely. Even back in the gods, the roar along to the chorus from the floor is deafening. Wachtel throws a few Keith Richards-like shapes as ballet dancers sway on the screens during an equally useful If Anyone Falls In Love from 1983’s The Wild Heart, another million selling solo record, then Nicks pauses to start telling some of those stories.
She recalls how producer Jimmy Iovine came to her at the end of the recording of Bella Donna to say they needed a single. Fortunately, Iovine was also working with Tom Petty & The Heartbreakers at the time and they had a song. Nicks went to his house and met Petty for the first time - “way overdressed” she remembers “and we did it.”
With Wachtel taking Petty’s vocal parts, the song in question, Stop Draggin’ My Heart Around, rocks magnificently as images of Nicks and all her fabulous showbiz friends in the 70s play out behind them. Despite being released in 2011, the warm FM radio sound of Nicks’ reading of Crosby Stills And Nash’s For What It’s Worth feels like it could have plucked from the same era.
The crowd sing along so enthusiastically to Gypsy from Fleetwood Mac’s 1982 album Mirage that they stumble ahead on occasion but the three-part vocal from the stage is beautiful. Wild Heart, Bella Donna, and Stand Back (Nicks gives it some trademark twirl during the latter) all land wonderfully, although a surprise Soldier’s Angel from 2011’s In Your Dreams is a more admirable sentiment than it is a song.
They’re all forgotten, however, when an exaggerated version of the intro to Gold Dust Woman is recognised. It’s also given an extended outro here, which transforms it into glorious swirling maelstrom of sound.
She brings out her vocal coach Steve Real, who acquits himself admirably and shows why he got the job, for Leather And Lace (given their past, a Don Henley appearance on the song was always unlikely) but there’s a bit of a misstep at the start of Edge Of Seventeen. The song’s instantly recognisable muffled riff sounds out only for the band to temporarily bury it under some back passing noodling, but once they get that out of their system the place nearly melts down.
While Nicks pauses before the encore, it should be noted that this show is not without its problems. She promised to tell stories and accordingly there are rambling introductions to several songs. Often as long, if not longer than the tunes they precede. For some this is manna from heaven as they hang on every word. Others would prefer Nicks sing more songs (Sara, Silver Springs, Storms, and those are just the S ones) rather than deliver monologues. We overhear one woman wondering if she’d been ripped off, while another beamingly declares she’s loving every second. On balance, it wouldn’t do any harm to rein it in a smidgen as the breaks slow the momentum.
Never mind all that now though, because Nicks is back for an encore that washes away all sins. The high notes might not be all quite there (although it must be acknowledged that, despite the very occasional slip-up, Nicks’ voice is an age-defying wonder throughout the evening), but the sound of Rhiannon, a bewitching meld of drums, guitar and the vocals of both Nicks and her two backing singers, is mesmerising. Even this is surpassed by another song from 1975’s Fleetwood Mac, the beyond beautiful Landslide. Nicks sings it in front of a collage of images of McVie, and it is as moving as it was when she sung it over Lindsey Buckingham’s acoustic guitar during the last full Fleetwood Mac shows in this building in 2015.
Surely everyone in attendance this evening would wish that wasn’t the case, but when Stevie Nicks is on form, as she is for the most part tonight, she doesn’t really need a return to the fold.
The first time that Stevie Nicks played Ireland in November 1989, her fellow musical entertainer Taylor Swift wasn’t even born. Yet just a few days ago, Nicks thrilled the parents in the audience at Swift’s Aviva Stadium gig by making a masked appearance in the VIP tent. Some 50,000 people found themselves in the presence of both rock and pop royalty as Swift, the biggest pop star in the world, paid tribute to her hero’s genius.
Tonight at the 3Arena, there is no sign of the Princess of Pop and friendship bracelets returning the favour, but the Swift Effect is visible nonetheless: there is a decidedly younger faction to the audience, many of them dressed in the boho-style skirts made famous by Nicks in Fleetwood Mac’s 1970s heyday.
Although there had been much (understandable) gnashing of teeth at the eye-watering ticket prices, Nicks’ first solo appearance in Ireland in almost a decade is undoubtedly an event gig. And with little chance of Fleetwood Mac reforming after the death of Christine McVie in 2022 – Nicks recently vowed that “There is no chance…. without [McVie], it just couldn’t work” – fans have flocked to the temple for the opportunity to worship their goddess.
This is no mere run-through of her former band’s songs, though. As Nicks takes the stage just after 8pm, her trademark long blonde tresses easy to spot even from the furthest point of the 3Arena, it is a solo song, Outside the Rain, that she opens with.
It’s followed by the swift canter of Dreams, before she launches into the first of several long and amusing stories about recording Stop Draggin’ My Heart Around with Tom Petty for her 1981 debut solo album Bella Donna.
Indeed, tonight’s show could have been billed as “An Evening with Stevie Nicks”, as her stories are almost as entertaining as her songs. One, which recounted living in poverty with Lindsey Buckingham (“we were so poor that our car didn’t have a reverse gear”) and their first meeting with the members of Fleetwood Mac is particularly enjoyable, and leaves many fans wondering what stories she may yet have up her billowing sleeve if she ever decided to pen a memoir.
Now 76, Nicks is clearly a little less steady on her feet and there are less “whirling dervish” spins around the stage than there used to be, and more between-song breaks as her fine band fills time or she goes to change another of her trademark capes.
Nevertheless, her distinctive voice remains in glorious fettle – whether it’s taking on a cover of Buffalo Springfield’s For What It’s Worth, a duet with her vocal coach Steve Real (standing in for Don Henley) on Leather and Lace, or on a strident Edge of Seventeen, which brings many of the crowd to their feet.
Soldier’s Angel, a turgid ballad that she dedicates to the war-torn people of Ukraine, is the only real mis-hit in a set list largely drawn from her early solo albums – while the stage visuals, although in keeping with Nicks’ mystical aura, are occasionally a little naff.
There’s even an unexpected shout-out to Irish TikTok comedian Garron Noone, whose videos Nicks says she has been enjoying, before launching into a knockout two-song encore of Rhiannon and Landslide. The former is a highlight of the evening, Nicks’ voice swarthy and impassioned as she shakes her trademark scarf-draped tambourine. The latter, however, provides a moment that will undoubtedly live on in many of the audience’s memories as images of Nicks and the late Christine McVie from across the decades are projected behind her. It’s a moving dedication and the line “And I’m getting older too…” seems especially poignant tonight, although Nicks seems adamant that she’ll be back to Dublin soon. Not yet ready to hand over her mantle – to Swift or anyone else, it seems – she tells the crowd that she has been “running to the stage” to try to cope with McVie’s death in recent years. If tonight’s anything to go by, she’ll continue to be met with a welcome embrace by Irish audiences in thrall to a bona fide legend.
Stevie Nicks was in the VIP tent at Taylor Swifts Eras Tour night 3 in Dublin June 30, 2024. During the show she performed "Clara Bow" for the first time, a song off her most recent album The Tortured Poets Department. In the song, she references Stevie Nicks. In the videos below watch Taylor introduce the song mentioning Stevie and Stevie in the VIP tent capturing the moment on her phone! Julia Roberts was also there, she's the blonde to Stevie's right with the glasses.
"You look like Stevie Nicks In '75, the hair and lips Crowd goes wild at her fingertips Half moonshine, a full eclipse"
“The reason I want to play this tonight is because a friend of mine is here who’s watching the show and who has been one of the reasons why I, or any female artist, get to do what we get to do. She’s become friends with so many female artists just to be a guiding hand. I can’t tell you how rare that is. She’s a hero of mine and also someone that I can tell any secret and she’d never tell anybody. She’s really helped me through so much over the years. I’m talking about Stevie Nicks!”
FOR MICK FLEETWOOD - the one constant figure and unwavering force during the entire 57-year journey of Fleetwood Mac- the last few years have been, by his own admission, a personal and professional challenge.
When the most recent incarnation of Fleetwood Mac-Fleetwood, John McVie, Christine McVie, and Stevie Nicks, aided by Neil Finn and Mike Campbell-played the last show of a year-long world tour in November 2019, the drummer didn't think it would be a final farewell.
"There was a full intention, without waiting too long, that we'd go and pick things back up." says Fleetwood. "That we'd play stadiums, big shows, and festivals... and then at that point it was heading towards us saying goodbye."
However, in early 2020- just after Fleetwood led an all-star concert tribute to late Mac founder Peter Green at the London Palladium - lockdown scuttled further touring plans. An even bigger blow to the future of Fleetwood Mac came in November of 2022, with the death of Christine McVie.
Though Fleetwood is open to the idea of adding a final chapter to the band's story, he is mostly resigned to the fact that Fleetwood Mac, or as he puts it "the mothership", may be harboured permanently.
"It's been a strange time for me," admits Fleetwood. "Losing sweet Christine was catastrophic. And then, in my world, sort of losing the band too. And I [split] with my partner as well. I just found myself "licking my wounds."
Then, last summer, Fleetwood's adopted home of Maui, Hawaii-specifically the city of Lahaina - was ravaged by a series of wildfires that killed over 100 people, and destroyed some 80 per cent of its homes and businesses, including his long-running restaurant, Fleetwood's, on Front Street.
“It was a hardcore hit for everyone on this lovely little island," says Fleetwood. "I mean, we're just Lucky to be here, but there was a lot of terrible loss, lots of people without homes, people who were badly affected.”
Nearly a year after the fires, Fleetwood says the residents of Lahaina “are making progress. And people are coming back to the island, which gives us a lot of hope of coming through this. It just takes time. Even I’m starting to think about bringing back my crazy little restaurant. It was a place where people around here would gather and commune.”
More recently, Fleetwood saw solace and found, renewed inspiration and playing music again. “I had to just get off my bottom, “he says. “I was sitting around twiddling my fingers for a long time. I finally plugged into the fact that I’m a drummer, I need to go play.” Fleetwood confirms he’s in the middle of making a new solo record, his first in 20 years. “And believe it or not, I’m actually starting to sing so God help you,” he adds, laughing.
In between work on the project, Fleetwood will spend part of the summer in the UK, where he's planning on attending Nick‘s Hyde Park concert in July, as well as shows by recent bandmate Neil Finns group Crowded House, and his old pal, ZZ Top guitarist Billy Gibbons.
"I'm gonna get myself a vicarious fix," says Fleetwood. "For once, I get to be a punter in the audience and see them do all the work."
Four hours was barely enough time for the Two Icons, One Night tour at on Friday night at Soldier Field. Commencing at 7:15 p.m. and wrapping at 11:25 p.m., the catalog-busting doubleheader from Billy Joel and Stevie Nicks delivered 37 songs in brilliant succession, but still left fans wanting more.
It’s greedy to even say. The two legends are an incredible 75 and 76 years old, respectively, and the fact they are still performing at this level is a gift. Nicks just returned to the stage after an illness that sidelined her gigs in Michigan and Pennsylvania over the past week and kept apologizing for being hoarse and “not her best” (she could’ve fooled us). Joel kept using throat spray and had his own disclaimers for not being able to hit the high notes in “An Innocent Man” (no one seemed to mind).
Such limitations aside, both performers gave it their all amid a winding summer stadium trek that also marked their first time sharing a stage in our city. The pinnacle came as they joined together to duet on “Stop Draggin’ My Heart Around,” Nicks’s 1981 collaboration with the late Tom Petty.
Even while being able to hear “Gold Dust Woman” on the same night as “We Didn’t Start The Fire” was itself a total rock and roll fantasy, it still was a mere tease of the voluminous songbooks from two music icons who have been performing a collective 118 years.
“If it seems like I’m rushed tonight, I am,” Nicks shared as she opened the festivities, donning her iconic black velvet, witchy ensemble in the near 90-degree heat, and explaining she had to curtail her typically juicy storytelling between songs. She still managed a few gems, like recalling working with Petty, and the tale of hearing Buffalo Springfield’s “For What It’s Worth” on the radio years ago and desiring to cover it. Nicks did so on this night, using the track’s political overtones to pivot to an endorsement to vote, lamenting she didn’t do so until she was 70 years old.
The 14-song set was almost identical to her headlining date at United Center last June, with the addition of “Leather and Lace” as her gifted vocal coach Steve Real filled in for Don Henley’s parts. But something felt heavier on this night, in the wake of her recent interview with Mojo in which she declared there’s “no chance of putting Fleetwood Mac back together in any way.”
There was a new immediacy to hearing “Rhiannon” and “Dreams” and of course “Landslide.” The latter was flanked by a slideshow of throwback images of Nicks and the late Christine McVie. As their baby faces took over the screens, the lyrical line “even children get older” took on more meaning and became a cornerstone of the entire night. It was hard not to reflect on time passed, how much has changed, and yet how much this music and coming-of-age songs still have a hold on us.
As Billy Joel reigned in the second half of the night, that sentiment carried over. It hit a fever pitch on “Piano Man,” as Joel let the audience take over the last verse. It soon morphed into a spirited acapella singalong, thousands of camera lights held high in the air, as the capacity crowd begged him to “sing us a song tonight.”
Nostalgia waved over the performer during moments like these in the 23-song set delivered from a bare-bones stage. After serenading the crowd with a snippet of “My Kind of Town,” he thanked everyone for “making me a lucky man … I had no idea I’d still be doing this at 75.”
He also recalled a time when he could do flips off the piano, admitting, “I’m a little too long in the tooth now.” And he tore through some of his most gilded works, sticking heavily to cuts from 1977’s “The Stranger,” 1978’s “52nd Street” and 1980’s “Glass Houses.”
Other standouts included the opener “My Life,” in which Joel showed his never-wavering dexterity on the keys, as well as a barbershop rendition of “The Longest Time” featuring four of his multi-talented bandmates, and a rousing edition of “We Didn’t Start The Fire” with Joel on guitar.
Unexpected moments included a cover of The Rolling Stones’ “Start Me Up,” foreshadowing that band’s impending takeover of Soldier Field, and several of Joel’s eight-piece backing ensemble getting moments to shine. Among them was Gary, Indiana, native Crystal Taliefero aceing Ike and Tina Turner’s “River Deep Mountain High,” and Mike DelGuidice offering an unreal operatic turn with Puccini’s “Nessun Dorma.”
Friday night was an incredibly special moment to see Joel live — even if the venue was a big change from his home-away-from-home at Wrigley Field. The gig falls smack dab in his long-running residency at Madison Square Garden and just ahead of his 150th and final show at the legendary New York venue on July 25.
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