stevie nicks tour review

Outspoken Stevie Nicks casts a spell in heartfelt United Center show

As much as she is a gifted songwriter, nicks is also a great storyteller and had several yarns to spin with the crowd, including how her parents moved to chicago while she was still enrolled at san jose state university. it was the first move she didn’t make with her nomadic parents and fatefully led to her start in music..

“Someday I’ll talk to you about what it’s like to lose Christine [McVie]. … I can’t do it yet, but maybe someday over a glass of wine,” Stevie Nicks said, her voice cracking as she wrapped up her moving headlining performance at United Center Friday on night.

Tyler Pasciak LaRiviere/Sun-Times

Finding beauty in the struggle and a voice amid heartbreak has been the cornerstone of Stevie Nicks’ unending talent. Her gift takes on even new weight in 2023, as the prolific singer-songwriter tours while mourning the loss of her “best friend” and Fleetwood Mac cohort Christine McVie, who passed away unexpectedly last November.

“Someday I’ll talk to you about what it’s like to lose Christine. … I can’t do it yet, but maybe someday over a glass of wine,” Nicks said, her voice cracking with emotion as she wrapped up her moving headlining performance at United Center Friday night.

Nicks and her talented eight-part backing ensemble — led by the incredible guitarist/music director Waddy Wachtel — did so with a solemn salute of “Landslide,” one of the biggest and most poignant songs Nicks wrote for Fleetwood Mac in 1975. A confessional for navigating the way forward as life changes, it’s a message that takes on even more gravitas now.

Stevie Nicks performs at United Center on Friday night.

Moving “Landslide” to the end and dedicating it to McVie, complete with a black-and-white photo montage of the two that played across the video screens, was one of the marked differences in Nicks’ latest two-hour, 17-song set that largely mirrored her show under the stars at Ravinia last September.

Even so, the emotional pull felt different nine months later. The celebration of seeing Nicks live was buffered by the thought that Fleetwood Mac is likely wrapped up, while a large part of Friday night also felt like a séance for the giant ghosts of music past, with Nicks as the audience medium. It added to the ongoing sense of urgency to see the legends while we still can (and no doubt led to a near-capacity crowd at the UC).

There was a Prince tribute during the “white-winged dove” of “Edge of Seventeen” as well as Nicks’ ongoing tributes to late friend Tom Petty. In addition to a heartfelt serenade of his “Free Fallin’,” Nicks dug out her 1981 duet with the Heartbreakers frontman, the ever-catchy “Stop Draggin’ My Heart Around.” She prefaced it by recalling what a timely gift it was from Petty, as her record label scrambled to find a single to help explode her debut solo album “Bella Donna.”

That LP was much of the focus of the night, with 75-year-old Nicks sounding as pristine as ever and celebrating by donning the original shawl “cape” she wore during the “Bella Donna” promo shots and videos (and the one she originally wore for “Gold Dust Woman”). It was her only costume change of the night, met with uproarious applause as she did little twirls around the stage.

As much as she is a gifted songwriter, Nicks is also a great storyteller and had several yarns to spin with the crowd, including how her parents moved to Chicago while she was still enrolled at San Jose State University. She noted it was the first move she didn’t make with her nomadic parents and fatefully led to her start in music. “It’s a good thing I didn’t change my mind,” Nicks joked.

Later, she covered Buffalo Springfield’s “For What It’s Worth,” talking about Stephen Stills writing it in homage to the Sunset Strip curfew riots in the ’60s.

“This song has traveled all the way from 1966 to 2023 and still makes a statement,” Nicks said, sharing that had she been old enough and in L.A. at the time, she would have participated in the demonstrations.

Her hippie heart continued to shine with a moving delivery of “Soldier’s Angel,” from her 2011 album “In Your Dreams.” Originally written after Nicks visited American soldiers at Walter Reed Army Medical Center in the early 2000s, it’s being revisited on this tour as a tribute to the people of Ukraine.

“I stand for democracy, I stand for freedom, I stand for Ukraine,” Nicks shared, reading a speech from a teleprompter in order to not mince words. The number ended with blue and yellow flashing lights on the video screens and a QR code that audience members could scan to donate to the UN’s crisis relief fund.

A video screen projects Stevie Nicks’ image as she performs at the United Center.

Finding throughlines of past and present and adapting archive songs to modern context is the true mark of a legacy artist, and the practice is just one part of what makes Nicks so alluring and worshipped by multi generations, even though it’s been nearly 10 years since she released a new album. Droves of fans came bedecked in flower crowns and their best witchy wear, some with binoculars to get a closer look at the woman who has inspired a whole new legion of singer-songwriters (see her close relationships with Taylor Swift and Haim, and even Riley Keough’s eponymous lead character from “Daisy Jones”).

And she’s clearly not done yet, promising to see everyone “next time.”

Nicks’ tour continues through 2024 coupled with co-headlining dates with Billy Joel.

• Outside the Rain
• Dreams (Fleetwood Mac)
• If Anyone Falls
• Stop Draggin’ My Heart Around
• Fall From Grace
• For What It’s Worth (Buffalo Springfield)
• Gypsy (Fleetwood Mac)
• Bella Donna
• Soldier’s Angel
• Gold Dust Woman (Fleetwood Mac)
• I Sing for the Things
• Edge of Seventeen
• Free Fallin’ (Tom Petty)
• Rhiannon (Fleetwood Mac)
• Landslide (Fleetwood Mac)

Things To Do | Review: Stevie Nicks’ musical legacy was in the…

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Things to do | review: stevie nicks’ musical legacy was in the room with her at the united center.

Trent Sprague/for the Chicago Tribune

Stevie Nicks preforms her song "Dreams" at the United Center on June 23, 2023.

Trent Sprague/Chicago Tribune

Stevie Nicks performs her song "Outside the Rain" at the United Center in Chicago on June 23, 2023.

Yet as black-and-white pictures of Christine McVie — Nicks’ longtime Fleetwood Mac cohort and best friend who died last November — flashed on a curved projection screen behind her, the words took on added weight. Nicks, recognizing how circumstance forever changed the lyrical meaning, struck a decidedly submissive and reverent tone. The interpretive shift and photos of McVie weren’t the only reminders of time’s finite qualities during the 110-minute set.

Now 75, Nicks is in the victory-lap stretch of her long career. This July, she’ll be feted with a career-spanning box set documenting her solo work. The release (by Rhino) coincides with her current tour on which she’s appearing with Billy Joel for select stadium dates. These profile boosts follow a 2022 summer-fall trek that brought her to Ravinia, and her 2019 feat of becoming the first woman to be twice inducted into the Rock & Roll Hall of Fame.

The attention showered on Nicks in the past decade-plus seems overdue. Despite her distinguished role in Fleetwood Mac, she often stood in the shadows of male colleagues and dealt with the double standards of a chauvinistic era. Though her situation paralleled those faced by many female artists who traded in rock ‘n’ roll during the ’70s and ’80s, Nicks’ songwriting acumen, unique voice and inner strength helped transform her into an icon embraced by subsequent generations.

Her wide-ranging impact could be seen throughout the United Center crowd, which skewed younger — median age falling between late 30s and early 40s — than at most shows by baby boomers. Celebrating the singer’s trademark fashions, some fans arrived adorned in frilly jackets, wide-brimmed hats or chiffon shawls.

Dressed in black, Nicks wore a few signature accessories of her own. When performing “Bella Donna,” she modeled the original cape she was pictured wearing on the back cover of that title track’s 1981 LP and proudly boasted about its pristine condition. The old cape used for her 1983 synth-heavy single “Stand Back” also emerged but didn’t merit the same royal treatment. After noting its holes and repairs, Nicks tossed the garment aside like a dirty T-shirt ready for the laundry. It’s unclear if she realized the humor of her actions.

Amicable and sincere, Nicks appeared to dwell in her own universe. She came across less as a famous rock star and more as an eager storyteller. Talking a mile a minute, Nicks framed a majority of songs with introductions or outros. Her combination of personal histories and frank disclosures supplied context and color — not to mention trivia fodder. A prime example: Who knew she penned “Gold Dust Woman” after passing a street named Gold Dust Lane?

Nicks’ candor applied to matters lighthearted (the need for an album to have a hit single in order to get attention in the ’80s; her tendency to go off on a tangent) and serious. In terms of the latter, after the final acoustic passages of the closing “Landslide” faded and the music stopped, she admitted she will one day discuss what it feels like to lose McVie. Nicks isn’t ready yet.

The singer also addressed her collaborative experience with Tom Petty, increased the heat on a rendition of their 1981 duet “Stop Draggin’ My Heart Around” and paid the late artist tribute with a well-meaning albeit flat cover of “Free Fallin’.” Another bygone great, Prince, received his due in the form of his picture being displayed during two songs. Nicks also punctuated the end of an invigorating version of “Edge of Seventeen” with a lyric from Prince’s “When Doves Cry.”

Backed by an ace band anchored by veteran guitarist Waddy Wachtel and drummer Drew Hester, Nicks sang with a sharpness that projected above the eight-piece support group. Her range is considerably lower from that of her heyday and proved most convincing on upbeat fare. Occasionally, Nicks’ voice betrayed her, turning pinched and nasally on upper-register passages. Two backing vocalists assisted with highs, choruses and extended notes.

Onstage, Nicks remains an original: a free-spirited blend of siren, gypsy, canyon queen and enchanted sorceress. With the longest strands of her hair nearly reaching her waist, and a mix of beads and ribbons lining her angled microphone stand, she gave the mysticism and dreams in her narratives visual reference points. Those extended to Nicks’ theatrical movements — outstretched arms, palms-up gestures, cape clutches, slow twirls, forward bends, head-in-hands signals, grandiose bows. For the finale of an epic “Gold Dust Woman,” she stood in front of an amplifier and worshipped distortion.

Though Nicks and company played just one song released in the last two decades, the present revealed itself in other ways. The collective’s folk-blues reading of Buffalo Springfield’s “For What It’s Worth” invoked themes of division, confrontation and paranoia fracturing the American landscape. “Fall From Grace” burned with an intensity that mirrored the courage, independence and outspokenness of a crop of younger, modern artists Nicks inspired.

Nothing, however, resonated with as much relevance as “Soldier’s Angel.” Concerned she might lose focus, Nicks read her explanation of the 2011 tune from a Teleprompter and apologized for doing so. Played as devastating images from the Russian invasion of Ukraine provided the backdrop, the song sounded a clarion call for righteousness, justice and democracy before concluding with an image of the Ukrainian flag.

The answer to the question Nicks has asked in another, more renowned song for decades — “Do you know how to pick up the pieces and go home?” — seldom seemed so uncertain or necessary.

Bob Gendron is a freelance critic.

Setlist from United Center June 23, 2023:

“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”

“Free Fallin'” (Tom Petty cover)

“Rhiannon” (Fleetwood Mac)

“Landslide” (Fleetwood Mac)

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Review: Stevie Nicks delivers the hits and stories in Pittsburgh concert

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.”

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“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.

A little bit of “Landslide” to end the Stevie Nicks concert in Pittsburgh pic.twitter.com/j1xjnpaiZk — Mike Palm (@MikePalmMedia) September 28, 2023

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.

Mike Palm is a TribLive digital producer who also writes music reviews and features. A Westmoreland County native, he joined the Trib in 2001, where he spent years on the sports copy desk, including serving as night sports editor. He has been with the multimedia staff since 2013. He can be reached at [email protected] .

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

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Live Review: Stevie Nicks @ CFG Bank Arena — 2/17/24

Stevie Nicks is known for her distinctive voice, charismatic stage presence, and poetic songwriting. Her performances have a magical and ethereal quality that complements the dreamy and mystical nature of her music.

Saturday night’s show at CFG Bank Arena in Baltimore was no different. Stevie was in fine voice and appeared to be in a good mood, joking around with the audience while telling stories about her songs and various events throughout her life.

Prior to singing “Stop Draggin’ My Heart Around,” Stevie revealed that she loved Tom Petty and the Heartbreakers and would go all fan girl around them. She had wanted to work with Tom, but she wasn’t sure if he would want to work with her.

Petty had written the song for himself and the Heartbreakers, but his producer Jimmy Iovine (who was also dating Stevie at the time) wanted to see what Stevie could do with it. The result of the duet between Stevie and Tom was a No. 3 Billboard smash in 1981 and to this day a mainstay of Stevie’s sets, and the show on Feb. 17 was no different.

Joining her onstage was her longtime guitarist and producer, Waddy Watchtel, who provided the guitar histrionics that her old flame, Lindsey Buckingham used to play but with much less personal drama and heartache. The two obviously enjoyed each other’s company and played off each other splendidly.

Stevie clearly loves being back out on tour and she would toss in a couple of shawl swirling twirls at the end of several songs, all to screams of delight from her enthusiastic fans.

Another lovely story Stevie told the packed arena, was about the song, “Gypsy.” Whenever she felt she was becoming too full of herself as a member of the massively famous Fleetwood Mac, she would take the mattress off her bed and put it on the floor, covering it with scarves and pillows. She would then sit on the mattress, repeating to herself “I am still Stevie.” She says she still does this regularly, in all her houses, to stay grounded.

Watch Stevie Nicks perform “Gypsy” live for Rolling Stone on YouTube:

Stevie’s storytelling ability added a personal touch to the concert experience for her fans.

The main body of the 17-song set was filled with all the hit songs from her solo albums and the massively popular Fleetwood Mac songs that she sang lead on. Stevie mixed in several cover songs.

Stevie’s concerts are not just about the music; they also showcase her unique fashion sense. Throughout the night, the video screens showed images of dreamcatchers and lace and raindrops and doves. It was all so Stevie with her gypsy queen persona and her beautiful dresses, knee high boots, and shawls. Looking around, one could see her fashion choices were being emulated by a good portion of the audience.

During the encore, a sweet-sounding cover of Tom Petty’s “Free Fallin’” was followed by the song most closely identified with Stevie, the magical and bewitching “Rhiannon.”

The final song of the evening was a melancholy version of “Landslide” that Stevie touchingly dedicated to her long time Fleetwood Mac partner, Christine McVie.

During the song, photos of Christine and Stevie from over the years were displayed on the video screen behind the band and after the song ended, many fans were wiping tears from their eyes as they filed out of the arena and into the cold, winters night.

1. Outside the Rain 2. Dreams 3. If Anyone Falls 4. Stop Draggin’ My Heart Around 5. Fall From Grace 6. For What It’s Worth 7. Gypsy 8. Wild Heart 9. Belladonna 10. Stand Back 11. Soldier’s Angel 12. Gold Dust Woman 13. Leather and Lace 14. Edge of Seventeen

Encore 15. Free Fallin’ 16. Rhiannon 17. Landslide

Stevie Nicks 2024 Tour Dates:

02/10 — Atlantic City, NJ @ Mark G Etess Arena 02/14 — Belmont Park, NY @ UBS Arena 02/17 – Baltimore, MD @ CFG Bank Arena 02/21 — Greenville, SC @ Bon Secours Wellness Arena 02/24 — Hollywood, FL @ Hard Rock Live 02/28 — New Orleans, LA @ Smoothie King Center 03/03 — Omaha, NE @ CHI Health Center 03/06 — North Little Rock, AR @ Simmons Bank Arena 03/09 — Arlington, TX @ AT&T Stadium * 05/04 – Charlotte, NC @ Lovin’ Life Music Fest 05/07 – St. Louis, MO @ Enterprise Center 05/10 – Thackerville, OK @ WinStar World Casino and Resort 05/14 – Nashville, TN @Bridgestone Arena 05/18 – San Antonio, TX @ Frost Bank Center 05/21 – Highland, CA @ Yaamava Resort and Casino 05/24 – Napa Valley, CA @ BottleRock Napa 05/27 – Salt Lake City, UT @ Delta Center 05/30 – Denver, CO @ Ball Arena 06/04 – Indianapolis, IN @ Gainbridge Fieldhouse 06/09 – Uncasville, CT @ Mohegan Sun 06/12 – Albany, NY @ MVP Arena 06/15 – Hershey, PA @ Hersheypark Stadium 06/18 – Grand Rapids, MI @ Van Andel Arena 06/21 – Chicago, IL @ Soldier Field *

* = w/ Billy Joel

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Review: Billy Joel and Stevie Nicks keep a fantasy alive at SoFi Stadium

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Stevie Nicks slumped against a microphone stand, steadying herself with both sparkly gloved hands, and bowed her head for 10 or 12 seconds as the final chords of “Landslide” rang out through Inglewood’s SoFi Stadium on Friday night.

Concluding her set on the opening date of a joint mini-tour with Billy Joel, the singer and gothic-hippie style icon had just performed her signature acoustic ballad in front of an enormous video screen showing photos of her with Fleetwood Mac bandmate Christine McVie , who died in November. We saw Stevie and Christine harmonizing; we saw them holding hands; we saw them whispering into each other’s ear, sharing some joke made only funnier by its secrecy. Now, Nicks — onstage for the first time since McVie’s death — lifted her head, her eyes seeming to glisten under the stadium lights.

“There’s really not much to say,” she told the tens of thousands in the crowd. “We just pretend that she’s just still here — that’s how I’m trying to deal with it.”

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Finding new emotional purpose in well-worn material — in lines like those in “Landslide” about getting older after having built your life around someone — is probably the most you can ask of a veteran rock star on the road for the umpteenth time. It’s a way to keep the classic music alive, even (or especially) when it’s painful; it shows there’s use left in the old songs, not just for the audience but for the artist as well.

There are less noble reasons to tour, of course, some of which were in evidence Friday. Maybe you want to show off a voice, as Nicks did, that still sounds great at age 74 — low and smoky, with an imperiousness that can suddenly melt away to reveal pure need. Maybe you want to crack some dad jokes, as 73-year-old Joel did, about his lack of dance skills, just before his band struck up the Rolling Stones’ “ Start Me Up ” and he flailed around for a minute like an adult-aerobics Mick Jagger .

And maybe you want to make some money, as both stars certainly will on a leisurely run scheduled to touch down once a month or so through November. (Primo floor seats for the duo’s next concert, in Arlington, Texas, are available for $2,250 a pop.)

But for those watching, a moment like Nicks’ moving “Landslide” — its reminder that honesty and finesse can happen in the same place at the same time — is the reason to show up for an operation like this.

Do Joel and Nicks make for an odd combination? He’s Mr. New York, she an avatar of West Coast cool ; his songs look back to the tidy structures of the Brill Building, hers the haunted romance of Welsh folklore. Yet each began racking up radio hits around the same time, in the mid-1970s: Two years after Fleetwood Mac’s “Rumours” was named album of the year at the Grammy Awards, Joel won the same prize with “52nd Street.”

More to the point, both singers outlasted the FM era to endure well into the MTV age — a testament to radio’s career-building power, sure, but also to their understanding the emergent value of a visual brand. At SoFi, Joel still scrunched up his bulldog’s face while Nicks kept twirling in her glittering shawl.

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Besides, how much sense does a joint bill of boomers even need to make? (Recall that Nicks toured a decade ago with Rod Stewart , of all people.) As Joel told The Times in an interview last week, McVie was just one casualty of the war of attrition that time is waging against his generation. “Dropping Like Flies” was his joking title for the next possible tour. That would really only sharpen the catch-’em-while-you-can pitch embedded in “Two Icons — One Night,” as the current show is called.

Here they joined forces for a pair of unlikely duets: her “Stop Draggin’ My Heart Around,” in which Joel sang the part made famous by the late Tom Petty ; and his “And So It Goes,” for which they stationed themselves at opposite ends of Joel’s grand piano. Neither performance convinced you that they had finally found their musical soulmates; both performances made you glad nonetheless to see two artists reaching toward each other.

Other than “Landslide,” highlights of Nicks’ set included a lustrous “Sara,” which online record-keepers say she hadn’t performed solo for a decade and a half, and a juicy take on “If Anyone Falls” that led you to think about how much modern pop music Nicks was groundworking between the years of 1975 and 1983. (No “The Wild Heart,” no Miley Cyrus; no “Bella Donna,” no Lana Del Rey .)

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Joel did that too with “Just the Way You Are,” which sounds now like a blueprint for guys like the Weeknd and Bon Iver and their ideas about the obsessions concealed by shimmering surfaces. Mostly, though, he seemed less interested in casting new light on his music than in showcasing its durability: Before “An Innocent Man,” he said he was worried about hitting the song’s high notes, then nailed each one — wouldn’t you know it? — with precision to spare.

His hits were many and varied, from “My Life” and “Movin’ Out” and “Allentown” to “Only the Good Die Young” and “The River of Dreams” and the inevitable “Piano Man.” For his encore Joel rose from behind his piano and grabbed a mike on a stand to belt out “Uptown Girl” and “It’s Still Rock and Roll to Me” as his band cranked the guitars. The songs were arguing that things never change — another fantasy to believe in even when you know better.

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Mikael Wood is pop music critic for the Los Angeles Times.

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Witchy vibes, musical magic: Stevie Nicks flexed rock god power at Austin's Moody Center

On Tuesday, Stevie Nicks conjured music and magic at the Moody Center. In a set that clocked in at nearly two hours, she led a packed house of elated fans on a musical odyssey through her storied career, playing songs that have been the fabric of American pop culture for generations with power, beauty and grace.

Perhaps you have questions about the show. We have answers.

Stevie Nicks is getting older. How’s her voice?

Her voice is a national treasure and thank god she has protected it. (You might recall that she canceled a string of dates including an Austin City Music Limits headline set during the COVID surge in 2021. She was worried that if she caught the virus and had to be intubated it would destroy her voice.)

Nicks' voice has always been vehicle for profound emotion. At 75, she carries the dust of decades of life and love, ecstasy and agony, in that distinctive rasp. Backed by an eight-piece band, she commanded the stage on set opener “Outside the Rain.” As she lamented “what you had and what you lost” on the Fleetwood Mac classic “Dreams,” her voice echoed the ache in our own hearts. “If Anyone Falls” was a sheer triumph, her voice rising, a siren through the storm, to lead us through cascading swells of sound.

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Did she wear flowy shawls and make witchy hand moves?

Here’s the amazing thing about Stevie Nicks: She is a legitimate rock god who resides in the same pantheon as Mick Jagger, Jimi Hendrix and Prince. The setlist for this show was a cavalcade of classics from the ‘70s, ‘80s and beyond performed with soul-shattering prowess.

She is also a charming and down-to-earth human being who tells rambling, occasionally illuminating stories with the verve of your kooky aunt. Clad in all black with a skirt adorned with layers of torn taffeta that resembled the tufted crest of an ominous bird, she entered the stage to a riotous cheer and immediately greeted the crowd with a goofy curtsy.

She spun around the stage with her shawl (one of many during the night) during a stirring mid-set version of “Bella Donna.” After facing her backup singers to close the song with gorgeous a capella chords, she said it was the “original cape” from the video.

A song and a shawl change later, her voice rose over pummeling drums and muscular guitars on the forceful “Stand Back.” She crouched down, coaxing the band to build and covering herself in a gold-threaded shawl, then stood tall, wavy blonde hair flowing as once again she spun with the shawl, which she described as the original “Stand Back” cape. “It’s been mended many, many, many times, but it still works,” she said.

Her most dramatic shawl-eography was during “Gold Dust Woman.” As the requiem for a past life spent courting darkness built to an explosive cacophony of pounding drums and wailing guitars, she banged her head around then grabbed her hair with both hands. She waved her hands wildly like a mad conductor. As the melee died down, she caught the shawl in her outspread arms. With her back to the audience, she looked like a rock ‘n’ roll butterfly emerging transformed to face a new day.

Did her fans also wear said shawls and gesture witchily?

Stereotype much? Look, let’s say less than 30%, but more than 15% of an audience that skewed female, white and closer to AARP than college-aged draped their shoulders with some sort of a black lace or crochet shrug. There were indeed witchy fingers winding in the air during some songs, but more wild cheering than anything else.

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Let's hear more about the rambling stories.

She intro’d “Gypsy” with a story about how rapidly the life she shared with her then-beau and longtime collaborator Lindsey Buckingham changed when the pair joined Fleetwood Mac. She had been working as a cleaning lady and a waitress, forcing herself to not look at the fancy stores she passed on the way to the laundromat. Almost overnight, the duo was making $200, then $400, then $800 a week. Before Fleetwood Mac, they “never made enough to pay taxes,” she said. By the end of their first summer with the band, they had amassed $500,000. “We were half a millionaire,” she said.

To center herself, she would put a mattress in the middle of the floor (the way they lived during the lean era), scatter it with paper flowers and remind herself “I am still Stevie.”

The gorgeous rendition of the song that followed — “the only reason some of you came to this show,” she quipped — inspired some of the biggest cheers of the night.

So, about Lyndsey Buckingham … did she allude to their bad blood?

Maybe? She called her 2001 track “Fall From Grace,” the “closest thing to an argument song” that she has. For years she didn’t play the song because it is so “violent and mean,” she said. She described it as a story that you write in your journal, then immediately draw a line through but choose not to erase.

“Be that what it may,” she decided to start playing it on this tour in part because she “gets her steps in” during the performance, she said with a wry smile.

Did she talk about current events?

She confessed to never voting until she turned 70. She made excuses. She was busy. She didn’t want to be called for jury duty. “Don’t be like me,” she said as an intro to a cover of “For What It’s Worth” by Stephen Stills.

She also dedicated “Soldier’s Angel” to the people of Ukraine. The song was released in 2011 and written after visiting with soldiers at Walter Reed Army Medical Center. Those conversations dramatically affected her world view, she said. “If (Putin) takes over that country, he's right up against Europe, he's not going to stop,” she said.

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How epic was 'Edge of Seventeen'?

It opened with an extended guitar solo dancing around the familiar melodies and built into a breathless thing of wonder. Nicks became the heroine left standing at the end of a devastating quest, wiser from loves lost, steel-willed because every time she was beat down she came back stronger. She performed with such ferocity we could feel the mythical wind whipping through our own hair as our souls took flight.

Did 'Landslide' make you cry?

Oh Stevie, how you handled our fragile hearts. Nicks capped off an encore that included a heartfelt cover of Tom Petty's "Free Fallin'" and a galloping rendition of "Rhiannon" with a gorgeous tribute to Christine McVie. A misty-eyed audience sang along as images of Stevie and Christine together through their Fleetwood Mac years played on the screen. She was transcendent as she unwound one of the most beautiful songs of loss ever written.

“Love never dies and if anything is making me better it's you,” she said to her late friend, who died in November, at the end of the song.

Stevie Nicks is very open about her decision to forgo marriage and children for a life in rock ‘n’ roll. The song, and the concert itself — loaded with poetry, passion and power chords — was a testament to a life well lived.

Stevie Nicks gives robust, eclectic performance to massive and reverential Ruoff crowd

Prior to about 9:15 p.m. on Tuesday evening, Ruoff Music Center had a stage. When Stevie Nicks revealed herself to 24,000 rabid fans, it became an altar. 

The wave of her hand drew screams. A spin or flourish drew roars. The audience struck an immediate reverential tone with Nicks, clad in her usual, iconic all-black look.  

It was my first time seeing Nicks live, and the look and feel and mysticism of the whole thing was exactly what I had been led to expect. 

The sounds weren't bad, either, with Nicks' voice soaring during show's highlights — a stellar version of "Stop Draggin' My Heart Around," a beautiful "Landslide" moment and even Led Zeppelin's "Rock and Roll" to cap the night off. 

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It was a great show that flirted with becoming something more, had it not been for a few strange and perhaps unnecessary moments. 

"This is the last show until September," Nicks told the crowd, "so this has to be a big night." 

The Fleetwood Mac frontwoman and two-time Rock and Roll Hall of Fame inductee is doing a dozen solo shows — mostly large amphitheaters and festivals — in 2022. 

It's hard to understate how full Ruoff was. I couldn't spread my arms even slightly away from my body, let alone move. It looked as if the whole place was like that, even as some people had to have been in line for beer or the restroom. 

Nicks even commented on it. 

"That's a lot of people," she said following her third song, "If Anyone Falls." 

Her show started out strong, with familiar Fleetwood Mac hit "Dreams" raising the temperature early.

There's no doubting her voice has changed considerably over a nearly 50-year career with health issues. I didn't expect the high highs and all-out belting for 20 songs.

But I was pleasantly surprised with how she moved through some of the familiar early stuff, like "Dreams," in a way that transformed songs we've all heard a million times into something a little different. 

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Nicks had two background singers that could handle the upper range, but more often than not, she kept her own parts and changed them up. 

The only Fleetwood Mac song I was a little underwhelmed by was "Rhiannon." It's just such an epic song, and I don't think it can be replicated by another band. It also felt as if Nicks throttled back a bit on the parts that I expected, given some strong vocals earlier in the night, her to belt. 

However, her band handled "Gold Dust Woman," also a heavy lift for a non-Fleetwood Mac rhythm section, quite well. 

Nicks' personality also added a little something extra.  

She told the origin stories of several hits — how her then-boyfriend and producer of her debut 1981 solo album "Bella Donna," Jimmy Iovine, told her she needed a single, and Tom Petty was willing to give her one in "Stop Draggin' My Heart Around," or how she skipped a dinner to write "Landslide" in a stranger's Aspen living room in 1973. 

A performance of the latter, as I expected, brought the house down. With 10,000 cell phone lights shining in the night, the audience erupted along with Nicks once it reached its first chorus. 

Nicks wore the original 1983 "Bella Donna" cape while singing the title track. She explained her mother had chastised her for spending something like $4,000 on it back then, but Nicks countered with her plans to be singing "until I'm at least 60." Holding it on stage at 74, she reasoned it was a sound investment. 

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The show was eventually tripped up by a few moments near the end of the main set. 

Nicks warned the crowd of a serious moment before dedicating "Soldier's Angel" to a Ukrainian artist named Julia. The massive video screen behind her showed various war scenes and eventually a plea to help Ukraine during the ongoing Russian invasion. 

It dampened the mood, but that seemed to be the intent. I didn't mind that. There are, of course, far more serious and important things going on than a rock concert. 

But Nicks seemed to briefly lose her place during the song, singing a few words of one lyric then quickly changing back to a different one. 

A few songs later, "Moonlight (A Vampire's Dream)" once again put a standing crowd in the seats in between "Gold Dust Woman" and "Edge of Seventeen" — two stand-up-and-scream-along moments. The flow was off. 

One other minor issue that was probably no one person's fault: Why on earth was a solo Ingrid Andress the opening act?

She was quite talented, and I found her millennial jokes about Disney and Bumble entertaining. People were happy for her, but it wasn't really her crowd. A 30-year-old country singer, alone on stage with a piano, was a strange accompaniment to a full-band classic rock show. 

But these were minor hiccups for a strong show that also featured as ambitious an ending as I've seen in a while. 

Typically, acts save their crowd-favorite hits for the encore. Nicks changed it up with "Rhiannon" bookended by two covers: A touching tribute with "Free Fallin'," complete with a photo collage of Petty and Nicks, and the Led Zeppelin song, which felt like a group of artists having fun rather than trying to match a pretty much difficult cover note for note. 

Nicks even joked at this. 

"We have one more song before they take us all to the emergency room," she said. "I'm kidding... you'll understand why."

The crowd — again, in a reverential mood and watching a 74-year-old icon who has lived quite a life — seemed a little worried by the mere mention of the emergency room. But I thought it was funny. 

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Rory Appleton is the pop culture reporter at IndyStar. Contact him at 317-552-9044 and [email protected], or follow him on Twitter at @RoryDoesPhonics.

Stevie Nicks setlist: Here are all the songs on her can't-miss US tour

NEW YORK — Stevie Nicks will always be the coolest person in any room.

On Sunday night, rock's high priestess made Madison Square Garden her church with an electrifying, funny and at times heartbreaking sold-out concert. Wearing a black, billowing dress — her mic stand sparkling with beads and ribbons — Nicks delivered some of her best-loved hits with regal grace and bewitching power, including "Bella Donna," "Stand Back" and "Edge of Seventeen."

In between each song, the singer candidly regaled stories to the audience with self-deprecating humor and wistful wisdom: recalling her "incredible crush on Tom Petty" that led to "Stop Draggin' My Heart Around," and how "Fall From Grace" is the closest thing she's written to "a real serious argument." And although you'd never know it, she talked about feeling intense stage fright, returning to headline the iconic Garden for the first time since 2016.

"I've been here before, but it doesn't ever get old in the way of you saying, 'Oh, Madison Square Garden, no problem,'" Nicks said early in the evening. "It's such an amazing place that you’re a little scared. And I'm fearless – I'm never scared – but I'm scared right now. So anyways, let's just get this party started!"

'They helped her have my soul': Stevie Nicks enters the Barbie zeitgeist with her own doll

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The night's biggest tearjerkers were Nicks' emotional encore tributes to Petty and Fleetwood Mac member Christine McVie , singing "Free Fallin'" and "Landslide" accompanied by pictures of the late musicians. She also had the crowd in stitches mid-show as she gleefully played with her Stevie Barbie doll, which she told USA TODAY about in a new interview .

"Thank you for indulging me and my little guilty pleasure," Nicks said onstage. "And now, moving on from Barbie Land and back to Stevie Land."

Nicks, 75, last released an album of all-original music with 2011's "In Your Dreams," while 2014's "24 Karat Gold" featured new versions of old demos. She is playing nearly two dozen shows across the U.S. through next March, some of which with Billy Joel .

Stevie Nicks' tour setlist:

• "Outside the Rain"
• "If Anyone Falls"
• "Stop Draggin' My Heart Around"
• "Fall From Grace"
• "For What It's Worth"
• "Wild Heart"
• "Bella Donna"
• "Stand Back"
• "Soldier's Angel"
• "Gold Dust Woman"
• "I Sing for the Things"
• "Edge of Seventeen"
• "Free Fallin'"
• "Landslide"

Fleetwood Mac News

• FLEETWOOD MAC
• STEVIE NICKS
• STEVIE NICKS 24 KARAT GOLD
• IN YOUR DREAMS DOC
• LINDSEY BUCKINGHAM
• RSD VINYL RELEASES
• CHRISTINE MCVIE
• MICK FLEETWOOD
• BOB WELCH & FRIENDS
• EXTENDED PLAY
• RUMOURS 2013
• ONE MAN SHOW
• IN YOUR DREAMS
• 24 KARAT GOLD
• SEEDS WE SOW
• COMPLETE STUDIO ALBUM & RARITIES
• RUMOURS LIVE
• BUCKINGHAM NICKS
• FLEETWOOD MAC 2013
• FLEETWOOD MAC 2014/2015
• FLEETWOOD MAC 2018/2019
• STEVIE NICKS 2011/2013
• STEVIE NICKS 2016/2017
• STEVIE NICKS 2022
• STEVIE NICKS 2023/2024
• STEVIE NICKS APPEARANCES
• LINDSEY BUCKINGHAM 2006/2012
• BUCKINGHAM MCVIE 2017
• LINDSEY BUCKINGHAM 2021/2022

Wednesday, June 05, 2024

Review stevie nicks live in denver june 1, 2024.

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CONCERT REVIEW: Stevie Nicks remains a singular force of nature

Credit: RODNEY HO/rh

Stevie Nicks finished up “Bella Donna” at Ameris Bank Amphitheatre Wednesday night and proudly showed off her cape to the sold-out crowd of 12,000 fans. “It’s the original cape from the back of the album 40 years ago,” she said. “It’s in perfect condition.”

Clothes can be kept in near perfect shape for decades if properly cared for. Nicks is trying her best, at age 74, to keep her own physical being and vocal chops as pristine as that cape. But it’s a perpetual, grinding challenge.

Just last week, NIcks postponed a concert in Phoenix after coming down with a non-COVID-19-related respiratory illness. Doctors recommended vocal rest. In August 2021, she canceled several concert dates, including a stop at the Shaky Knees festival in Atlanta, as a precaution after a variant caused an uptick in COVID-19 cases.

Fortunately, on this particular night, Nicks looked good, sounded great and provided the audience a top-notch performance of over 100 minutes with her signature blend of grace, majesty and a smidgen of grittiness. Her singularity as an iconic artist has not dimmed as songs like “Dreams” (a TikTok sensation in 2020) and “Rhiannon” have lost none of their luster.

Her 16-song set, which hasn’t varied much during her fall tour, featured most of her solo hits including the criminally underrated “If Anyone Falls,” a few choice album cuts such as the delightful “Enchanted,” two covers (one honoring a Stephen Stills-penned song she worshipped in the 1960s “For What It’s Worth”) and five legendary Fleetwood Mac smashes she wrote herself.

She was chipper and gabby between songs, explaining the origins of a few of them, probably for the 1,000th time but acting as if she had never told those well-worn stories before. She recalled that her father used to travel a lot when she was a young girl and would tell her and her mom “the most beautiful women in the world are from Atlanta.” She never lived in Atlanta so, she noted with a chuckle, that this “kept us out of the running.”

Her most serious moment came introducing her emotionally nuanced “Soldier’s Angels,” which she wrote a few years to honor the military and those who support them, inspired after visiting soldiers in a veterans hospital in 2005. Her former Fleetwood Mac colleague and lover Lindsey Buckingham in 2011 helped her finish the song. In Atlanta, she passionately dedicated the tune to Ukraine, showing photos of the war there while she sang.

And this isn’t to say she was as spry as she was in her MTV days. Nicks made vocal concessions on “Stand Back,” ceding some higher notes to her back-up singers. And her twirling during “Gypsy” was a bit less emphatic and free flowing than it once was.

But she whipped herself into a frenzy during a nine-minute version of “Gold Dust Woman” and gave her band a chance to jam for a tour de force 10-minute extended take on “Edge of Seventeen,” a rock anthem that features one of the most terrific guitar riffs in history, played with gusto by session guitarist Waddy Wachtel.

Credit: RODNEY HO/rhoa

The concert was also in many ways a tribute to her late friend Tom Petty who died in 2017. The band entered the stage to Petty’s “Runnin’ Down a Dream.” Nicks early on sang “Stop Draggin’ My Heart Around,” a hit duet she said Petty gave her that jumpstarted her solo career. During the encore, she covered Petty’s 1989 bittersweet sing-along “Free Fallin’” while images of Petty were projected behind her. And as the crowd began leaving after she concluded the show, “Learning to Fly” wafted from the speakers.

While fellow raspy crooner Rod Stewart a few weeks ago made what was likely his final rock tour stop in Atlanta at Ameris, Nicks gave no indications she is getting off the road, expressing gratitude just to be back on stage again after the yawning quietude of the pandemic.

“I didn’t know if this would happen again,” she said. “I’m so happy it did. We’ll see you next time.”

About the Author

Rodney Ho writes about entertainment for The Atlanta Journal-Constitution including TV, radio, film, comedy and all things in between. A native New Yorker, he has covered education at The Virginian-Pilot, small business for The Wall Street Journal and a host of beats at the AJC over 20-plus years. He loves tennis, pop culture & seeing live events.

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Stevie Nicks Dazzles at First Solo Headlining Show After Canceled Dates: Review and Setlist

Nicks kicked off her 2022 headlining run in Clarkston, MI on September 13th

We’re in Clarkston, MI, at Pine Knob, where Stevie Nicks is kicking off her first tour in a handful of years ( get tickets here ). It’s Tuesday, September 13th, and the air smells like roadkill.

In the parking lot and the ticket lines, and the bathroom lines and the beer lines, you can practically taste the hairspray. The man behind me bellows, “Does anyone have any mushrooms?” The women in front of me are quite literally cawing at each other, and when one of the ticket lines ends up leading nowhere — a machine has died; long live the machines — a brunette says, “It’s ‘cause men are running it,” and then her friend says, “I need a coloring book and a safe space right now!”

At last, there’s activity on stage. Vanessa Carlton opens with a few bright, pop-y tunes, though it’s hard to hear her over the noise of the crowd. Everyone’s eyeliner is already running. Every inch of the lawn has been pasted over with sleeping bags and blankets, corners peeling back like damp postage stamps. A woman clutches a tiny dog in her hands. The breeze stinks with cigarettes and weed.

Then the lights go down and the band starts appearing on stage while Tom Petty’s “Runnin’ Down a Dream” pounds out of the speakers. There’s someone on organ and someone on piano; others on bass and drums; a few guitars; background singers. Then, all of a sudden, there’s Stevie, center-stage, spot-lit; there she is with her mane of crimped, silver-gold curls, in heeled boots, a black velvet jacket and a tiered skirt.

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Stevie Nicks Extends North American Tour With 12 Additional Dates

By Larisha Paul

Larisha Paul

Stevie Nick’s headlining North American tour kicks off next week in Atlantic City, but the singer and songwriter is already eager to play even more shows. On Monday, Nicks announced the addition of 12 new dates to the already expansive run, now scheduled to conclude in June rather than March as originally planned.

The new dates run from May 7 through June 18 and include stops in St. Louis, Nashville, Salt Lake City, Denver, Albany, Hershey, Grand Rapids, and more.

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The initial run included eight shows and an additional appearance with Billy Joel. Nicks performed a slate of solo shows last year as well. View added and existed dates to the 2024 Live in Concert tour below.

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Stevie Nicks Attends Taylor Swift's Concert In Dublin

Stevie Nicks received a touching tribute from Taylor Swift while attending the pop star’s Eras Tour concert in Dublin on Sunday.

During the show, Swift took a moment to acknowledge Nicks, whom she referred to as a “friend,” before performing her song, “Clara Bow,” that name-checks the Fleetwood Mac singer.

“This one is a pretty easy one because I’ve never played this one live before,” Swift said . “The reason I want to play this tonight is because a friend of mine is here who is watching the show and who has really been one of the reasons why I or any female artist gets to do what we get to do. She’s paved the way for us. And she’s mentored so many artists that you don’t even know she’s doing it.”

“She’s just become friends with so many female artists just to be a guiding hand. I can’t tell you how rare that is,” she continued. “She’s a hero of mine and also someone that I can tell her 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.”

Swift then sang a mashup of “Clara Bow” and another of her songs, “The Lucky One.” In “Clara Bow,” Swift sings about women in the music industry being compared to one another, singing, “You look like Stevie Nicks in ’75, the hair and lips.”

The “Tortured Poets Department” artist also sang her song, “You’re on Your Own, Kid,” which Nicks had previously thanked Swift for writing . During one of Nicks’ concerts in 2023, she said the song reminded her of her Fleetwood Mac bandmate, Christine McVie, who died in 2022. 

“Thank you to Taylor Swift for doing this thing for me, and that is writing a song called ‘You’re on Your Own, Kid,’” Nicks said at the time. “That is the sadness of how I feel. As long as Chris was, even on the other side of the world, we didn’t have to talk on the phone. We really weren’t phone buddies. Then we would go back to Fleetwood Mac, and we would walk in and it would be like, ‘Little sister, how are you?’ It was like never a minute had passed, never an argument in our entire 47 years — never.”

“So, when it was the two of us, the two of us were on our own, kids, we always were,” she continued. “And now, I’m having to learn to be on my own, kid, by myself. So, you help me to do that. Thank you.”

Previously, Nicks and Swift performed a medley of Fleetwood Mac’s “Rhiannon” and Swift’s “You Belong With Me” together at the 2010 Grammys. 

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Taylor Swift Hung With Travis Kelce, Stevie Nicks and Paramore at Dublin Bar After Eras Tour Shows: ‘Such a Warm and Genuinely Friendly Night’

The singer also made the Fleetwood Mac singer get misty while performing "You're On Your Own, Kid" on Sunday night.

By Gil Kaufman

Gil Kaufman

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After sweating it out for more than three hours a night on her Eras Tour Taylor Swift has earned some down time with friends. And that’s exactly what she got over the weekend after wrapping her three-night stand at Aviva Stadium in Dublin, Ireland, when she and some fellow A-listers dropped into the city’s Hacienda bar.

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In addition, one of Swift’s all-time musical lodestars, Fleetwood Mac singer and solo star Nicks, seemed to get a bit misty at that show after Taylor performed the Midnights track “You’re On Your Own, Kid.” Swift dedicated the live debut of The Tortured Poets Department song “Clara Bow” to Nicks at the show, and according to fan videos, when the singer began performing “You’re On Your Own” Nicks got teary-eyed.

Last year during a show in Atlanta, Nicks said the song helped capture the sadness she felt following the death of her longtime Mac bandmate Christine McVie in November 2022. “Thank you to Taylor Swift for doing this thing for me, and that is writing a song called ‘You’re On Your Own, Kid,’” Nicks said at the time. “That is the sadness of how I feel. As long as Chris was, even on the other side of the world, we didn’t have to talk on the phone. We really weren’t phone buddies. Then we would go back to Fleetwood Mac, and we would walk in and it would be like ‘little sister, how are you?’ It was like never a minute had passed, never an argument in our entire 47 years.”

Check out the fan footage below.

stevie nicks was crying to yoyok!! she previously revealed that this song helped her grieve her friend christine mcvie pic.twitter.com/47wyxGZ4Bz — Taylor Throwbacks (@ThrowbackTaylor) July 1, 2024

Stevie Nicks reaction to hearing Taylor and the crowd sing Clara Bow 🥺✨ pic.twitter.com/MckbCDvaXG — Old welsh witch 🔮 (@oldwelshwiitch) June 30, 2024

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Julia Roberts and Stevie Nicks Join Travis Kelce at Taylor Swift's Eras Tour in Dublin

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Taylor Swift 's VIP tent was full of star power during another Eras Tour show!

On Sunday, the GRAMMY-winning songstress, 34, hit the stage for her third night at Aviva Stadium in Dublin, Ireland, and Julia Roberts, Stevie Nicks and boyfriend Travis Kelce were all in attendance. In videos captured by fans, Roberts, 56, was spotted grabbing friendship bracelets from the audience. Meanwhile, the Fleetwood Mac lead vocalist, 76, was spotted in the VIP tent taking in the show.

For his part, Kelce, 34, was seen talking to the famous women. Everyone had one thing in mind, though: jamming out to Swift's music during her performance.

This isn't the first time that Roberts has attended one of Swift's show. In 2023, Roberts and her family attended the Eras Tour . After the show, the Oscar-winning actress took to Instagram to gush about the moment. Roberts also took the stage with Swift in 2015. 

Before going into her song "Clara Bow," Swift gave a special shout-out to Nicks -- whom she called a "hero of mine." 

"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 said. "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 her 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!"

Kelce, on the other hand, hasn't been far from his girlfriend's mind during her weekend in Ireland. On Friday, Swift hit the Super Bowl champion's signature archer pose  during her performance of "Midnight Rain," which drew boisterous approval. As everyone knows, Kelce famously  strikes that pose  just before he runs out onto the field with the rest of his Kansas City Chiefs teammates.

According to  Page Six , Swift also rewore her Tiffany & Co.  diamond wire ring , which features the couple's diamond-dotted initials.

Prior to taking the stage, Swift shared a bouquet of flowers she received from rock icons U2 , who gave her a welcome to their home country. Swift took to social media to share a pictures of the flowers and the note from Bono and guitarist The Edge, bassist Adam Clayton and drummer Larry Mullen Jr.

"Dear Taylor, Welcome back to our hometown.... leave some of it standing?!!!! Your Irish fan club," the note read.

Swift's Eras Tour has not been without star power. Last week, the stars aligned (sang their hearts out) and packed her VIP area when she did her run of shows in London . Some of the biggest celebs in attendance included her boyfriend, Kelce, his brother Jason Kelce, his sister-in-law Kylie Kelce, Sophie Turner, Cara Delevingne and royalty -- Prince William, Prince George and Princess Charlotte. 

London is also where Swift and Kelce finally went IG official  and where he made his onstage debut alongside his leading lady.

For more Eras Tour moments, click below. 

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Taylor Swift Brings Eras Tour After Party to Dublin Bar With Stevie Nicks and Paramore

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The Eras tour party doesn’t end when Taylor Swift exits the stage. This weekend, after performing three back-to-back sold-out shows at Aviva Stadium in Dublin, Ireland, the musician kept the night going during a bar outing with Paramore and Stevie Nicks . Her boyfriend Travis Kelce also joined the crew of artists as they stopped in at Hacienda Bar.

“Great to welcome Taylor Swift with all her musicians and dancers to the Hacienda last night. Special to also welcome Superbowl champion Travis Kelce, the legendary Stevie Nicks and Paramore,” the local bar wrote on Facebook on Monday. “It was such a warm and genuinely friendly night, we did not request our ‘usual’ Hacienda photo so as to allow Taylor and friends the chance to properly relax and enjoy their well-deserved time off.”

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On Sunday, Nicks could be seen wiping her tears while Swift performed “You’re on Your Own, Kid,” a deep cut from Midnights . Last year, the legendary musician revealed that the song had brought her comfort and understanding following the deal of Fleetwood Mac’s Christine McVie.

“Thank you to Taylor Swift for doing this thing for me, and that is writing a song called ‘You’re On Your Own, Kid,’” Nicks said during a performance in Atlanta. “That is the sadness of how I feel. As long as Chris was, even on the other side of the world, we didn’t have to talk on the phone. We really weren’t phone buddies. Then we would go back to Fleetwood Mac, and we would walk in and it would be like ‘little sister, how are you?’ It was like never a minute had passed, never an argument in our entire 47 years.”

Swift has found comfort in Nicks, as well, not just as an artist but as a friend. On her latest album, The Tortured Poets Department , she name-drops the musician on “Clara Bow,” singing: “You look like Stevie Nicks/ In ’75, the hair and lips/ Crowd goes wild at her fingertips/ Half moonshine, a full eclipse.”

🚨| FULL video of Taylor Swift performing a mashup of "Clara Bow" and "The Lucky One" at Night 3 of 'The Eras Tour' in Dublin, Ireland! #DublinTSTheErasTour pic.twitter.com/fmw7qttanl — The Eras Tour (@tswifterastour) July 1, 2024

Sunday’s concert fittingly saw the live debut of “Clara Bow” — mashed up with “The Lucky One” — with a special dedication to Nicks.

“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,” Swift told the audience during the surprise song portion of the set. “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 about, and she’d never tell anybody. She’s really helped me through so much over the years. I’m talking about Stevie Nicks!”

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Taylor Swift & Travis Kelce Party With Stevie Nicks & Paramore After Dublin Concert

The "Shake It Off" popstar and her boyfriend enjoyed a night on the town with the Fleetwood Mac rocker as well as her "Eras Tour" openers.

Taylor Swift   and  Travis Kelce   had a fantastic night out in The Fair City on Sunday, June 30. After wrapping up her “Eras Tour” performance at Dublin’s Avivia Stadium, the “All Too Well” singer, 34, and her boyfriend, 34, were spotted heading out to have a night at the Hacienda Bar with  Stevie Nicks , who was in attendance at the show, and the members of Paramore , who have been opening the European tour leg.

The bar revealed that Taylor had stopped in with the entourage, including her boyfriend, the rock legend, the pop-punk band, and her “Eras Tour” back-up dancers and crew members, in a Facebook post. “Great to welcome Taylor Swift with all her musicians and dancers to the Hacienda last night. Special to also welcome Superbowl champion Travis Kelce, the legendary Stevie Nicks and Paramore. It was such a warm and genuinely friendly night,” the bar wrote.

While Hacienda regularly shares photos of their famous patrons on social media, the bar said that they opted to give Taylor some privacy. “We did not request our ‘usual’ Hacienda photo so as to allow Taylor and friends the chance to properly relax and enjoy their well-deserved time off,” they concluded the post with a smiley face emoji.

The Dublin stop on Taylor’s outing was made up of plenty of special moments. A cute moment when Taylor noticed Travis during the  folklore/evermore  section of her show went viral among Swifties. She looked over the moon as she locked eyes with Travis in the crowd.

Before performing the live debut of her song “Clara Bow, ” which mentions the Fleetwood Mac singer, Taylor took some time to speak very highly of Stevie and how she’s a “mentor figure” for younger female artists. “She’s a hero of mine, and also someone that I could tell her any secret, she’d never tell anybody. She’s really helped me through so much over the years. I’m talking about Stevie Nicks,” she said.