Honolulu Bulletin & Advertiser, March 28, 1980

"A Whopper, with Stevie, Lindsey & Big Mac"

Wayne Harada

If Fleetwood Mac is the ranking rock combo in the world today, and many are inclined to think so, be prepared for a lot of raw energy, musical intensity, and a free-form informality in the landscape of the 1980s.

The Warner Bros. combo, completing its world-wide "Tusk" tour in Honolulu, has set an Island box office record with its three-night-stand which began last night before an SRO crowd and continues tonight and tomorrow night at the Arena.

The Big Mac, it turns out, is a whopper--chock full of subtle turns. The group is grossing about $96,000 per show, for a phenomenal $288,000 take at the gates--a decided triumph for promoters Ken Rosene of KMR Productions and Larry Vallon Presents.

Fleetwood Mac--consisting of Stevie Nicks (vocals), Christine McVie (keyboards and vocals), Mick Fleetwood (drums), John McVie (bass) and Lindsey Buckingham (lead guitar and vocals)--has been pursuing individual musical interests prior to and since the release of its innovative digital "Tusk" album.

There is an undercurrent of electrical energy, a kinetic form that is undergoing change. Fleetwood Mac, surely, has emerged as a trend-setting group, with individualism amid the cohesion. There is a growing emphasis on idiosyncrasies--and quite a bit of time is given for solo endeavors.

Simply, the noticeable switch is in the growing importance Buckingham plays in the front line. He has outmatched the witch-like stance of Nicks, and indeed, the Big Mac Attack now reads like the Stevie and Lindsey Show.

Nicks maintains her ethereal, hypnotic, trance-like qualities, a Lady in Red who vanishes in and out of the landscape, primarily to arrange her attire--a satin cream shawl first, a sheer red veil next, followed by a flowing and knotted cape.

Buckingham has become rather like a punk rock or new wave soloist--crouching, dancing, molesting his guitar at crotch level.

Too, the group's sound is characterized by an insistent thumping tempo--best characterized in the lengthy and risky "Tusk" tune, which is less of a song and more like a celebration, like street singers gathered for communion.

The fare runs the gamut--"Sara" (by Nicks) and "What Makes You Think You're the One" (by Buckingham), from the "Tusk" package, and a comforting dosage of "Rumours" replays such as "Say That You Love Me," "Take It Easy" and "Take Me Back."

Christine McVie's wistful ballads are an underrated joy, and her keyboard work outstanding--on piano, synthesizer, upright piano, and accordion. Mick Fleetwood's drumming is precise and persistent, and John McVie has fun on the bass, frequently strumming in a horizontal prone position.

Because of the stage setup, 600 additional seats are available for the remaining performances. Try, too, to catch Island Band, the up-and-coming local favorite, who display progress and maturity, and reflect the leaps and gains being made by homegrown acts.

[Note: The Honolulu gigs were not the end of the Tusk Tour. "Take It Easy" and "Take Me Back" are not in the Fleetwood Mac repertoire and were not played at any point on the tour. In addition, "Say You Love Me" is not a "Rumours" track.]

Thanks to David for posting this to the Ledge and to Anusha for formatting and sending it to us.