“California! The Hollywood Bowl, just like I pictured it,” Stevie Nicks greeted the crowd just before Dreams.
She said they'd been on the road for five weeks and expressed how glad she was to be back home.
It was about 60 degrees outside and Stevie put on a velvet scarf tied in a bow to shield her throat after Dreams.
As Lindsey introduced Sad Angel he said they're still not sure how they're going to put all of their new music together.
For the intro into the Tusk songs, I think it's charming the way Lindsey gets so much pleasure out of the crowd's acknowledgment of the album. He says Fleetwood Mac has occasionally had to subvert the old "rule of thumb" or axiom that if something works run it into the ground and then move on and they did so most notably with an album called, Tusk, then he beams as the crowd claps and whistles in response to the word. It may not have been what WB wanted, but Lindsey says time has revealed not only the content and quality of the album, but the reasons why it was done.
It's funny, as much as we've talked about it, I'm still a little surprised every time they start the music for SOTM. I have to get my bearings because I'm not used to having it in the setlist. But it's pleasant to have my expectations shaken. After it's over Stevie says it's an old song that they haven't done since [meaningful pause] "1981." Close but no cigar. Still, we fans have made inroads. She's heard us and listened. We can get her to say 1982 before this year is over.
It was before Big Love that Lindsey says "it smells like you guys are having a pretty good time. Yeah," in response to the marijuana fumes wafting towards him. He spoke of his need to defend against love being no more than an echo now that's he's been lucky enough to marry and have a family. He says that kids are a big responsibility, but one of the greatest gifts you can have. He dedicated the song to his lovely wife Kristen and his children Will, Lee Lee and Stella.
The tapestry that drops down from the ceiling for Big Love isn't used tonight, presumably because of the Bowl's layout.
When Stevie comes out for Without Love she says, "this is my moment!" I suppose that it's because Lindsey's family is present that she sanitizes things a bit, so that you might imagine that she and Lindsey were just chums. She doesn't mention how it's the nicest song she ever wrote about them or that she did it when they were so in love. She doesn't recall their great romance or say what a "loyal boyfriend" he was to insist that she join the band too. She refers to herself as the girl, rather than the "girlfriend."
This disappoints me, because I was thinking with that assembly, it'd be a great time to graphically explain, "Yep, in 1970 Lindsey and I were insatiable lovers hitting it on the regular," but nooooo. . .
She does say that even though they struggled and times were difficult, they were also wonderful. It was the best rock and roll life. She says, that after they put her poem to music, by making a wonderful demo, what probably happened is that someone, a sneak, sneak, sneak, came in and took the casette from their home and then copied it and brought it back and they never knew it was gone. But that's how the song was lost and they would never have found it, if a friend didn't hear it on Youtube. Huh? Ok. I understand that someone stole her demo and copied it without permission, but she is saying that they brought the original back. So, she still has it, right? She never even knew it was gone, according to her. It wasn't "lost". She just forgot about it.
Anyway, they found it and she says that Mick admits to her that what attracted him to Lindsey was that he needed a guitarist. He wasn't looking for a girl singer. Mick is sitting on the floor with them and he stands up and slinks away in shame as Stevie says this. Stevie says that she likes to use this part of the show to thank Lindsey and Mick and John McVie who agreed to it too (Wow, John you finally got included in this story, buddy). She thanks them all for saying, "ok you can bring the girl." Lindsey responds "I think we did all right."
She says they are doing the song exactly as they did it then and it's one of the tracks on their little EP.
For Gypsy they don’t use the backscreen to play the video with the two little girls on the beach. There is a narrow arch over the stage and you can see a ribbon of the video up there. At the end, Stevie moves to her right and spins. More slowly now than then, but we recognize her recreation of that iconic close to the Gypsy video.
After Gypsy, Mick is sitting on the floor with them, so as Stevie is bowing, Lindsey went over, leaned down and rested his arm on Mick's shoulder as they stood outside of the spotlight. Pretty sweet.
My thoughts are wry during NGBA. I think Lindsey thinks his "ooooh yeahs" are sexy. I close my eyes and try to escape to my safe place.
There is one time when Stevie exits the stage where she exits from Lindsey's side instead of her own. She started to walk backstage by going behind the drum kit and Karen came out and grabbed her hand and led her to the exit by the side. Karen usually would just meet her at the stage entrance with a little flash light so that Stevie can see.
When Stevie comes out for Landslide she says that there's been "a complete wardrobe change" because of the really cold weather. But she didn't get a chance to finish the switch. She only had time to put on one glove. "Lindsey, your song should have been longer." She shows him she's only wearing one glove and he looks bemused. She reaches out and grabs his collar, trying to protect his chest from the elements. He wards her off as if to say that he is fine. She says, "He never gets cold."
She says when she wrote Landslide, sitting on the floor in Colorado, she never dreamed it would mean so much to Fleetwood Mac. She wants to dedicate Landslide to 2 special people. Dave Stewart who made the time they spent together in 2010 the best year of her life and David Grohl who convinced her and Stewart to actually finish IYD. Without his prodding, she thinks she and Stewart would have just played around and never completed their production. To David Stewart she says, "thank you for making witches dance."
At the end of the song, when Lindsey takes her hand he moves the fingers back and forth first, as if he is examining the glove. Then he kisses it, though, due to his antics, the moment is not as tender as it has been on nights past. Their fingers intertwine and he waves at her as he pulls away and returns to his side of the stage.
For GDW as they get to the "did she make you cry, make you break down, shatter your illusions of love" Lindsey stamps his feet as he barks out his background vocal and she faces him with her hands in the halt position. He helps her act out the fire and passion passages in the song here, as in Silver Springs later, by giving her emotion to play off of.
At the end she rips open her shawl dramatically. "You wish you could save me, but you can't save me."
As I listen to Mick sputtering during World Turning I wonder exactly what kind of accent is he trying to achieve? It's rather calypso, I think.
When Lindsey introduces him, I understand that I misunderstood in San Jose. Lindsey didn't say that Mick had a "resounding wand." He said, "The one --and only and there is only one -- Mick Fleetwood."
When Mick gets to Brett he says, he "has a massive hammond organ, no doubt." Brett gestures to play up the double entendre and Mick says, "Steady."
Mick says he just realized that Lindsey, "this young man" never leaves the stage all night. "Not once." Well, it's true, but that's been going on for years. How is it Mick never noticed? Mick, if Lindsey wanted to step offstage, get a hamburger and slip into an Armani suit between numbers, exactly when would he make the getaway? Songbird's gone. Are there any other songs in your set that don't require a guitarist? The only time Mick leaves the stage is when Lindsey is playing solo. During Mick's drum solo, Lindsey is sitting there right within Mick's line of sight. So, if Lindsey did make a habit of running offstage, when would it happen?
Mick says that the three guys think of Stevie every night as "our lady, our poet. Ms. Stevie Nicks. Oh Yeah." Then, he pretends to arrange his hair and gives another high pitched, "oh yeah."
He introduces John as "always on my right hand side. Always on my right hand side." Calls him the backbone of the band, as usual.
For Say Goodbye Lindsey reflects on being back in this place. It's their home. He and Stevie came down . . . when was it? 1972? [Stevie, who is so good with dates, doesn't respond], "Something like that." He talks about the song being written 10 years ago when all of their illusions are gone, but says sometimes you have to let go of those illusions to jump forward.
Some point at the end of the show, I'm not sure if it was GYOW or something, Lindsey bent down and when he was getting up he covered his face with an arm so that the bright spotlight wouldn't hit hit him in the orbs. Well, how does he think we felt, when it bored straight into our faces for extended periods? Blinded for life.
But it was actually a nice dramatic picture to have captured, Lindsey masking his face. Like the Phantom of the Opera, shunning exposure, shielding his hideous secret.
After the band hugs and bows, Lindsey leaves the stage after shaking a few hands in the front row. Stevie gives her dream catcher speech. As songwriters, when they give to us and we give it back, then what they are able to create is really "all your fault," she says.
Mick ends the night by summarizing what he said he heard Stevie and Lindsey express: how lucky they are to be doing something that they love to do.
And I guess I'm lucky to still be able to see them do it!
![Stevie Nicks - Complete Studio Albums & Rarities [New CD] Boxed Set picture](/vintage/img/g/pBAAAOSwbW5kyTCW/s-l225/Stevie-Nicks-Complete-Studio-Albums-Rarities-New-C.jpg)
Home Again, Home Again
“California! The Hollywood Bowl, just like I pictured it,” Stevie Nicks greeted the crowd just before Dreams.
She said they'd been on the road for five weeks and expressed how glad she was to be back home.
It was about 60 degrees outside and Stevie put on a velvet scarf tied in a bow to shield her throat after Dreams.
As Lindsey introduced Sad Angel he said they're still not sure how they're going to put all of their new music together.
For the intro into the Tusk songs, I think it's charming the way Lindsey gets so much pleasure out of the crowd's acknowledgment of the album. He says Fleetwood Mac has occasionally had to subvert the old "rule of thumb" or axiom that if something works run it into the ground and then move on and they did so most notably with an album called, Tusk, then he beams as the crowd claps and whistles in response to the word. It may not have been what WB wanted, but Lindsey says time has revealed not only the content and quality of the album, but the reasons why it was done.
It's funny, as much as we've talked about it, I'm still a little surprised every time they start the music for SOTM. I have to get my bearings because I'm not used to having it in the setlist. But it's pleasant to have my expectations shaken. After it's over Stevie says it's an old song that they haven't done since [meaningful pause] "1981." Close but no cigar. Still, we fans have made inroads. She's heard us and listened. We can get her to say 1982 before this year is over.
It was before Big Love that Lindsey says "it smells like you guys are having a pretty good time. Yeah," in response to the marijuana fumes wafting towards him. He spoke of his need to defend against love being no more than an echo now that's he's been lucky enough to marry and have a family. He says that kids are a big responsibility, but one of the greatest gifts you can have. He dedicated the song to his lovely wife Kristen and his children Will, Lee Lee and Stella.
The tapestry that drops down from the ceiling for Big Love isn't used tonight, presumably because of the Bowl's layout.
When Stevie comes out for Without Love she says, "this is my moment!" I suppose that it's because Lindsey's family is present that she sanitizes things a bit, so that you might imagine that she and Lindsey were just chums. She doesn't mention how it's the nicest song she ever wrote about them or that she did it when they were so in love. She doesn't recall their great romance or say what a "loyal boyfriend" he was to insist that she join the band too. She refers to herself as the girl, rather than the "girlfriend."
This disappoints me, because I was thinking with that assembly, it'd be a great time to graphically explain, "Yep, in 1970 Lindsey and I were insatiable lovers hitting it on the regular," but nooooo. . .
She does say that even though they struggled and times were difficult, they were also wonderful. It was the best rock and roll life. She says, that after they put her poem to music, by making a wonderful demo, what probably happened is that someone, a sneak, sneak, sneak, came in and took the casette from their home and then copied it and brought it back and they never knew it was gone. But that's how the song was lost and they would never have found it, if a friend didn't hear it on Youtube. Huh? Ok. I understand that someone stole her demo and copied it without permission, but she is saying that they brought the original back. So, she still has it, right? She never even knew it was gone, according to her. It wasn't "lost". She just forgot about it.
Anyway, they found it and she says that Mick admits to her that what attracted him to Lindsey was that he needed a guitarist. He wasn't looking for a girl singer. Mick is sitting on the floor with them and he stands up and slinks away in shame as Stevie says this. Stevie says that she likes to use this part of the show to thank Lindsey and Mick and John McVie who agreed to it too (Wow, John you finally got included in this story, buddy). She thanks them all for saying, "ok you can bring the girl." Lindsey responds "I think we did all right."
She says they are doing the song exactly as they did it then and it's one of the tracks on their little EP.
For Gypsy they don’t use the backscreen to play the video with the two little girls on the beach. There is a narrow arch over the stage and you can see a ribbon of the video up there. At the end, Stevie moves to her right and spins. More slowly now than then, but we recognize her recreation of that iconic close to the Gypsy video.
After Gypsy, Mick is sitting on the floor with them, so as Stevie is bowing, Lindsey went over, leaned down and rested his arm on Mick's shoulder as they stood outside of the spotlight. Pretty sweet.
My thoughts are wry during NGBA. I think Lindsey thinks his "ooooh yeahs" are sexy. I close my eyes and try to escape to my safe place.
There is one time when Stevie exits the stage where she exits from Lindsey's side instead of her own. She started to walk backstage by going behind the drum kit and Karen came out and grabbed her hand and led her to the exit by the side. Karen usually would just meet her at the stage entrance with a little flash light so that Stevie can see.
When Stevie comes out for Landslide she says that there's been "a complete wardrobe change" because of the really cold weather. But she didn't get a chance to finish the switch. She only had time to put on one glove. "Lindsey, your song should have been longer." She shows him she's only wearing one glove and he looks bemused. She reaches out and grabs his collar, trying to protect his chest from the elements. He wards her off as if to say that he is fine. She says, "He never gets cold."
She says when she wrote Landslide, sitting on the floor in Colorado, she never dreamed it would mean so much to Fleetwood Mac. She wants to dedicate Landslide to 2 special people. Dave Stewart who made the time they spent together in 2010 the best year of her life and David Grohl who convinced her and Stewart to actually finish IYD. Without his prodding, she thinks she and Stewart would have just played around and never completed their production. To David Stewart she says, "thank you for making witches dance."
At the end of the song, when Lindsey takes her hand he moves the fingers back and forth first, as if he is examining the glove. Then he kisses it, though, due to his antics, the moment is not as tender as it has been on nights past. Their fingers intertwine and he waves at her as he pulls away and returns to his side of the stage.
For GDW as they get to the "did she make you cry, make you break down, shatter your illusions of love" Lindsey stamps his feet as he barks out his background vocal and she faces him with her hands in the halt position. He helps her act out the fire and passion passages in the song here, as in Silver Springs later, by giving her emotion to play off of.
At the end she rips open her shawl dramatically. "You wish you could save me, but you can't save me."
As I listen to Mick sputtering during World Turning I wonder exactly what kind of accent is he trying to achieve? It's rather calypso, I think.
When Lindsey introduces him, I understand that I misunderstood in San Jose. Lindsey didn't say that Mick had a "resounding wand." He said, "The one --and only and there is only one -- Mick Fleetwood."
When Mick gets to Brett he says, he "has a massive hammond organ, no doubt." Brett gestures to play up the double entendre and Mick says, "Steady."
Mick says he just realized that Lindsey, "this young man" never leaves the stage all night. "Not once." Well, it's true, but that's been going on for years. How is it Mick never noticed? Mick, if Lindsey wanted to step offstage, get a hamburger and slip into an Armani suit between numbers, exactly when would he make the getaway? Songbird's gone. Are there any other songs in your set that don't require a guitarist? The only time Mick leaves the stage is when Lindsey is playing solo. During Mick's drum solo, Lindsey is sitting there right within Mick's line of sight. So, if Lindsey did make a habit of running offstage, when would it happen?
Mick says that the three guys think of Stevie every night as "our lady, our poet. Ms. Stevie Nicks. Oh Yeah." Then, he pretends to arrange his hair and gives another high pitched, "oh yeah."
He introduces John as "always on my right hand side. Always on my right hand side." Calls him the backbone of the band, as usual.
For Say Goodbye Lindsey reflects on being back in this place. It's their home. He and Stevie came down . . . when was it? 1972? [Stevie, who is so good with dates, doesn't respond], "Something like that." He talks about the song being written 10 years ago when all of their illusions are gone, but says sometimes you have to let go of those illusions to jump forward.
Some point at the end of the show, I'm not sure if it was GYOW or something, Lindsey bent down and when he was getting up he covered his face with an arm so that the bright spotlight wouldn't hit hit him in the orbs. Well, how does he think we felt, when it bored straight into our faces for extended periods? Blinded for life.
But it was actually a nice dramatic picture to have captured, Lindsey masking his face. Like the Phantom of the Opera, shunning exposure, shielding his hideous secret.
After the band hugs and bows, Lindsey leaves the stage after shaking a few hands in the front row. Stevie gives her dream catcher speech. As songwriters, when they give to us and we give it back, then what they are able to create is really "all your fault," she says.
Mick ends the night by summarizing what he said he heard Stevie and Lindsey express: how lucky they are to be doing something that they love to do.
And I guess I'm lucky to still be able to see them do it!