From left, Stevie Nicks and Mick Fleetwood of Fleetwood Mac performs at the SAP Center in San Jose, California on Wednesday, November 21, 2018. (LiPo Ching/Bay Area News Group).
CREDIT: Chris Willman What kind of additions and Mike Campbell will make to lineup is a question that will have to wait till the newly reconfigured lineup goes on tour in October. But at Largo Thursday night (May 3), some 280 fans got a partial glimpse as a pop-up show by father-and-son partners Neil and Liam Finn found Campbell as a surprise guest on two songs, one of them a deeper-than-deep Mac track. “Playing at Largo is really about having wonderful surprises occur,” said the elder Finn, “and I’d like to welcome to the stage now a wonderful guitar player I’ve just had the extreme pleasure of learning how to play with — and there’s still more to learn, but for now let’s welcome Mike Campbell!” They then proceeded to perform a short but sweet version of ’s 1969 single “Man of the World,” a Peter Green song obscure enough that there was no applause of recognition when it kicked off, with most in the audience probably assuming it was yet another unreleased tune off the Finns’ upcoming album.
Said in a recent interview with Rolling Stone that the new version of the group would use the tour to spotlight at least a little material from the era before she and now-departed joined the band. So Finn and Campbell dusting off a really, really pre-Buckingham-Nicks chestnut suggests they’re taking that idea seriously or maybe the two guitarists just thought it would be a fun first- practice exercise of their own accord. Related In any case, there was no danger of the other song Campbell sat in on going unrecognized: a six-minute rendition of Davie Bowie’s “Moonage Daydream,” which had Campbell doing the initial coda soloing in the familiar Mick Ronson style, but which eventually built into a twin-lead jam with Finn that really gave an idea of the fireworks that could happen in arenas later this year while Christine McVie and stand back. “You’ve all had your tickets since last Christmas,” Finn joked early in the set, an allusion to the show only having been announced at noon the day before, later acknowledging that the quick-draw fans are “possibly the same people that have won a lot of prizes on the radio.” The only other reference to impending bigger venues came when someone called out a request for “Go Your Own Way,” the kind of joke Fin’s probably going to have to get used to it at solo (or duo) shows. “I should be ready to start it up by now,” he said.
“Just you wait.” Other guests included Wendy Melvoin, who spent six months in New Zealand in the early 2000s working on Finn’s “One All” album. She mentioned having worked with a number of celebrated musicians in her time, “but this one was life-changing.” (Largo’s Finn-devoted audience was not one to call out, “Wait, more than the other guy?”) Largo regular Jon Brion sat in on multiple instruments, sitting alongside Finn band member John Carrol Kirby for a double-piano solo on “Moonage Daydream” — at the senior Finn’s request, after he called “John” back to the stage and realized they were both headed for the bench.
Liam Finn acknowledged at one point that the audience was being patient for a set that consisted “half of material you’ve never heard before” — actually, only a third, since five of the 17 songs came from their yet-to-be-announced first joint album project.
Stevie Nicks sings “The Chain” onstage at Fleetwood Mac’s concert at Nationwide Arena in Columbus on Nov. Credit: Casey Cascaldo Photo Editor Fleetwood Mac performed at Nationwide Arena Wednesday night with the same energy I imagine they had back in their glory days in the 1980s. A lot of the show was reminiscent of the era when the band skyrocketed to fame: the cheesy and cliche visual graphics, ranging from horses galloping along the ocean coast to a black and white rose losing its petals; the band member’s attire; and the rush from one song to the next.
However, all of it fit Fleetwood Mac’s folky and kitschy brand so well, nobody minded at all. Opening with classic hit “The Chain,” Fleetwood Mac gripped the room and did not let go until the lights went off for good. The crowd was screaming every word and dancing for over two hours while the band was on stage. Although Stevie Nicks is arguably the most well known member of the band, all the members of Fleetwood Mac engaged with the audience equally. That being said, most of the high points of the show did involve Nicks. While bassist John McVie was performing “Don’t Dream It’s Over” alone on stage, Nicks came back up to finish the song as a duet, and the crowd immediately became re-engaged. Nicks herself admitted that the hauntingly beautiful duet of “Don’t Dream It’s Over” would be a tough song to follow, but as the renowned “white witch,” she managed to do it.
After thanking the crowd for following the band for so many years, she launched into “Landslide.” Only Nicks and guitarist Neil Finn were on stage to perform “Landslide.” The stage was dark and the crowd was hushed. The intimacy of a gigantic arena like Nationwide rivaled some of the smallest venues I’ve ever been in. It was bone chilling, and haunting and everything you would expect Fleetwood Mac to bring to the table. More highlights of Nicks’ vocals came in the form of “Rhiannon,” “Everywhere” and “Gypsy.” But my favorite moment was when Nicks finally did her signature shawl twirl during “Gypsy.”. Christine McVie sings and plays the organ during Fleetwood Mac’s performance of “Little Lies” at their concert at Nationwide Arena in Columbus on Nov. Credit: Casey Cascaldo Photo Editor However, Nicks was not the sole singer on stage.
Christine McVie had her fair share of mic time as the primary singer, and brought the same high-paced energy as Nicks, with hits like “You Make Loving Fun,” “Isn’t it Midnight” and “Little Lies.” Guitarist Mike Campbell was also solo on vocals during early Fleetwood Mac-era song “Oh Well.” Drummer Mick Fleetwood even had a 10-minute solo while the rest of the band was offstage. The show was ultimately a group performance, and the ease which with they played and shared the stage together made it obvious that this was a veteran group of performers. They were not onstage to be cool or to convince the crowd to like them; they were onstage because it’s what they love to do.
The band left the stage for the final time with a simple bow—it was more of a whimper than a bang. Compared to concerts by more modern musicians, it was a very quiet farewell. Again, it seemed very fitting for the band. Even though they have not evolved with concert fads in the form of seamless graphics and flashy costumes, the members of Fleetwood Mac don’t really need modern visual spectacles to still put on an exciting and emotional show. Editor’s Note: Changes were made to the article to reflect accuracy and errors made in the original article publication. The Lantern regrets these errors. This review is frustrating to say the least.
It’s clear not much research went into this piece, as integral members of the band are misidentified and disregarded as mere supplements to Stevie’s performance. Additionally, there is no mention of missing band leader Lindsay Buckingham – the whole reason for introducing Neil Finn (“Don’t Dream it’s Over” – a song written and performed by his band Crowded House and very likely NOT performed by bassist John McVie) and Mike Campbell (of Tom Petty and the Heartbreakers). What’s Fleetwood Mac like without Lindsay Buckingham? You won’t know from reading this review.
Instead of treating the band like a bunch of relics, why don’t we tap into what made them so essential to OSU students 40 years ago?