What did we do to deserve Stevie Nicks? - Dallas review

[SisterNightroad]

Stevie Nicks, Pretenders go deep in AAC show
By Robert Philpot
dfw.com
Posted 2:25am on Monday, Oct. 31, 2016

DALLAS Stevie Nicks announced early during her concert Sunday at the American Airlines Center that she would be shaking things up a bit, not playing the kind of set list her fans had been used to been hearing for decades. Then she and her band quickly played her 1983 hit If Anyone Falls, a reassuring sign that although she’d be playing some unfamiliar material, the show wouldn’t be all obscurities.

And it wasn’t But it was weighted heavily toward deep cuts and non-hits, including a song that dated back to 1973 and her Buckingham-Nicks days, and others that for one reason or another never made it on to an album — at least till the 2014 release of 24 Karat Gold: Songs From the Vault found a home for songs such as Starshine (which Nicks said she wrote while hanging out with Tom Petty) and Belle Fleur.

This is a risky strategy for a classic-rock artist, even if there’s advance publicity about it. On a “school night,” fans often want to hear the hits, but Nicks’ fan base is so passionate that the less-familiar songs were well-received, and in some cases — the title cut from The Wild Heart segueing into the title cut from Bella Donna — stirred a rapturous reaction.

But about a third of the show was hits, from Nicks’ solo career and from Fleetwood Mac, with some excellent twists and turns — bringing out Chrissie Hynde from the Pretenders, who opened the show, to do the Tom Petty parts on Stop Draggin’ My Heart Around; extending Gold Dust Woman with Nicks going into a possessed-looking dance (while the big-screen image of her appeared to be turning into melting gold) that ended with her hair covering her face; singing Leather & Lace with background singers Sharon Celani and Marilyn Martin doing the Don Henley parts; the expected but still climactic intensity of Rhiannon, a song Nicks somehow manages it invest her entire self (and possibly more) in every time she performs it.

There was warmth and humor in Nicks’ show, during which she told the stories behind several songs (including how she wrote Leather & Lace for Waylon Jennings and Jessi Colter, then asked for it back when they split up, and how Prince’s Little Red Corvette helped inspire her hit Stand Back, which he played on). For all the intensity of her singing, the chattier portions of her show were laid-back and personal, including the long introduction of her band (longtime guitarist/musical director Waddy Wachtel, rhythm guitarist Carlos Rios, pianist Darrell Smith — who performed a lovely intro to Moonlight (A Vampire’s Dream) — organist Ricky Peterson, bassist Al Ortiz, drummer Scott Crago and the background singers), all of whom she treated like old friends.

Speaking of old friends, the Pretenders blasted through a tight first act, with Hynde in a great mood, greater voice and appealing loose form. She came onstage wearing a cowboy hat and, a few songs in, doffed her jacket to reveal a sleeveless “Everything is Bigger in Texas” T-shirt. The band leaned hard on some of its earliest stuff — Mystery Achievement, Talk of the Town, Message of Love, the Kinks cover Stop Your Sobbing — but not at the expense of later songs like Back on the Chain Gang, Don’t Get Me Wrong and I’ll Stand By You.

And the band was on fire — starting off great and really getting locked in about midset, especially showy guitarist James Walbourne and Martin Chambers, the band’s longtime, sledgehammer-force drummer, with bassist Nick Wilkinson and pedal-steel player Eric Heywood making more subtle contributions.

Back in 1984, Hynde wrote the lines, “I’m not the kind I used to be/I got a kid, I’m 33, baby.” That was more than 30 years ago, but she seemed like she was 33 again Sunday night. She also wrote Time the Avenger, which she didn’t perform Sunday night, but she sure let us know that she’s not read for time to get her just yet.


http://www.dfw.com/2016/10/31/114931...s-go-deep.html

The website has some nice pictures.

[MovieStarView]

Well it looks like nothing has been dropped so that's some good news there isn't it? My show is a week from today. This is going to be the longest week to suffer through. Ha ha ha but at least we will get to hear all the new stuff friday with the remastered bonus bella donna and wild heart.

[RavenOfRhiannon]

as copied from my Facebook note.

I’m not going to recap the entire Stevie Weekend for you. Most of it is already out there in the form of tweets, and Facebook posts anyway. I also want to keep some of the things to myself, so they are just for Anthony and me.
Anthony and I entered the AA Center dressed in our finery: he is his standblack shirt, myself in Tango Red. Draped around us were the Erica Palay original stand back scarves. Everywhere we went, people stopped and pointed at us, asking us where they could get one. Lots of people thought they were at the merch booths. As soon as we turned a corner, we saw a LOOOONNNG line to the aforementioned merchandise. We quickly got in line, so we could get something before the show started. A very nice security lady walked right up to us, and whispered, ‘Go around to the other side, the line is much shorter.’ It would be the first of many nice things that happened to us this night.
I have to tell you, by this point in the weekend, Anthony and I had honed Our Story well, and could tell it at the drop of a top hat:

‘Sir, would you like foam on your latte?’
‘Yes. Also, in 1991 my friend Anthony Lower wrote a letter to the Teen Titans comic book...’

We told our story as we waited in line for a t shirt. What was so amazing to us was how people responded. EVERYONE was so knocked out, and wanted all the details, and we happily obliged them.
Now, because of the way we purchased our tickets, our seats weren’t actually together. I was third row far right, Anthony was tenth row dead center. He was practically in line with where Stevie would be. I was bound and determined to get some seat switching done so we could sit together, and I did not mind giving up my third row seat to do it. Fortunately, the (very drunk) man next to Anthony obliged and sat up front and I took his seat next to Ant. Right before the show started, Anthony and I took advantage of the time to again inform everyone within shouting distance that we were best friends, etcetera.
(Aside: Behind us, the ENTIRE ROW had backstage passes)
The Pretenders took the stage. I don’t want to be disingenuous, because they actually were very good, but this is a story about Stevie Nicks. Moving on.
Their set is over, and the lights come up so that the roadies can change the set. Anthony takes advantage of this to make a bathroom run. I’m alone in our row. Very Drunk Man walks up, and tells me he wants his seat back, and then promptly disappears. I get very upset and I’m alone trying to figure out what to do. I want Anthony and I together for this. I’m pretty sure I’m on the verge of a real life panic attack when this redheaded woman walks by and says, ‘excuse me.’ I let he pass, take a beat, and then recognize her.
‘You’re Lori Nicks!’ I squeal. (for the uninitiated: Lori is Stevie’s sister in law and backup singer, although she’s not signing on this tour). She nods and puts a finger to her lip, as to quiet me down. I make way for her, and end up in the aisle watching her talk to the row behind us, which I come to realize is her family and friends.

So: Randy’s on the verge of throwing up on top of everything else.

I’m trying to be polite, but I’m also wanting to get back to my ‘seat’ so I can try to figure out how to stay there with Anthony. At that moment, Lori concludes her business, and sees me still standing there. She assumes I still want to talk to her. She walks up and says, ‘I’ve got a couple of seconds for you.’ Anthony walks up to me at the same time.

Now: Arts Council Professional Randy, in his brain, is saying, ‘I’m sorry to have bothered you, I just need to get back to my seat. Thank you for saying hello, and it was nice to meet you.’

What came out of my mouth, however was something like: ‘THISISMYBESTFRIENDANTHONYWEMETBECAUSEOFSTEVIEPLEASETELLHERHOWMUCHSHEMEANSTOUS.’

Lori could not have been more gracious in the face of my verbal diarrhea. She said how much it means to Stevie to hear these things, and thank you, and she’s got to get backstage. I immediately snap out of it and profusely apologize for taking any of her time at all. She’s very nice and talks to us for a few more seconds.
Now it’s time for the show to start, and Anthony and I have resigned ourselves to the fact that we are not sitting together. I make my way to my seat and the music begins.
Here’s where I’m actually going to start talking about Stevie: The woman was amazing. Her voice was full and rich. She was so full of energy and so happy on that stage. If you were there to see a greatest hits tour, however, you were going to be disappointed. She was yanking songs out of the vaults for her true fans (i.e.: Anthony and I). I’m not going to give you a rundown of every song, but here are some of the highlights:

She opened with Gold and Braid, which has never been released as a studio recording. It was high energy and SO MUCH FUN.

Every single song she did from the 24 Karat Gold album was done so well. You could tell she was feeling it, and so proud.

She chatted and chatted, and her stories were amazing to hear (even the ones we knew by heart).

Hearing Wild Heart and Bella Donna live was one of the highlights of the night. She was so deep into those songs, and it was such a treat to see the Bella Donna cape make a comeback.

Moonlight (A Vampire’s Dream) has always just been an ‘ok’ song for me. Didn’t hate it, didn’t love it. That night, she sang it damn near acapella, as a torch song, and it became more beautiful and hauntingly intense. I wish she would re-record it like that. I teared up.

Crying in the Night has not been performed, ever, and it’s from 1973. The woman next to me was astounded that I was singing along. (Sorry, Honey, I know them ALL) All night Anthony and I would catch each other’s eyes and gesture to each other throughout the songs, especially this one. I’m pretty sure backup singer Marilyn Martin saw us (how could you not? We were the only men in Standback scarves)

When Standback came on the place went nuts. Anthony and I couldn’t see each other, but I could feel him dancing away like me.

I could go on about the show, and there’s so much more to say, but by the grace of Rhiannon, I got to go back and sit with Ant for the last two songs. It was beautiful and emotional.
As the lights came up, Ant and I stood around waiting for the crowd to thin out. I still felt bad about my Lori encounter, and I took this opportunity to walk up to the man she had been talking to and apologize to him. At first he wasn’t buying it. At All. After a few minutes, he realized I was sincerely offended by my actions and was trying to Make Things Right. He started to chat with Anthony and I. So of course, out comes Our Story. Everyone is very moved, and the man says: ‘Well, do you know who this is sitting next to me?’

Without missing a beat, I look at this lovely woman and say, ‘You’re Carolyn Brooks. I loved your work on The Wild Heart.’

You could have knocked her over with a feather. She was so thrilled to be recognized. We chatted about the recording of Beauty and the Beast.
The man sitting next to us said he was so moved he ‘almost’ felt like giving me his backstage pass. I said no, that would not be right. But I asked that he pass our story to Stevie.
Anthony grabbed my arm, looked into the man’s eyes, and said: ‘Stevie gave an interview not too long ago about her regret at not having children. Tell her she has children, they are the people like us. She helped this little gay boy in Philly and this little gay boy in Odessa find each other, and it probably saved both of their lives.’
We got up and walked out before we started crying.

[sorcerer999]

THAT WAS AMAZING!!! Thank you so much for sharing that. So cool that you got to meet Lori and Carolyn! So awesome you got to spend the evening with your best friend!

[SisterNightroad]

This is a beautiful story.

[24karatstevie]

This story is awesome!!! I'm so happy for you! I don't think I could have said no to backstage passes though, haha you're stronger than I am! But meeting Lori is so cool! I wish I could have the same experience at my show next Monday! 

[gjack5404]

Thank you so much for sharing. That was a great story!

[skimmy]

Love this story! Sounds like a magical night.... and an even more magical friendship! Thank you for sharing

[Tango]

What an amazing night you had! Thank you for sharing your story!

[StreetAngel86]

ALL THE WARM AND FUZZIES <3 <3 <3 <3

what comes out of my mouth is never what i imagined in my head either.
bless my soul i have never encountered the High Priestess 1:1

[Danielle]

KEATON BELL | NOVEMBER 3, 2016 NORMAN, Okla. – For over 40 years, the Fleetwood Mac front-woman has managed to charm her way into the lives of anyone with two ears and a heart. Past the tales of cocaine binges and rock and roll excess lies an artist responsible for some of the most enduring music of the 20th century. How else do you explain the fact that in the year 2016, Stevie Nicks feels just as relevant today as she did when she released Bella Donna back in 1981?
Nicks has essentially raised her own coven of gold dust women, with acts such as Charli XCX, Haim, and Taylor Swift all openly citing her as a large influence. When she recently appeared on American Horror Story: Coven, you were just as excited as your parents were at the image of the 68-year old Nicks still kicking it, top hat and all. And would Florence + The Machine, with their mystical imagery and love-lorn lyrics, even exist today if it weren’t for the guiding influence of the original White Witch?

What it all boil’s down to is Nicks’ downright lovability. While her contemporaries focused on experimental sounds and forced musical intellectualism, Nicks has always been an unabashed softie. Her music is from the heart, often shamelessly emotional, and always sincere. You’re not just spinning a record when you put on Stevie Nicks, you’re listening to a woman bare her soul and asking you to do the same in return. That confessional style of music is universal, whether you’re young or old, male or female, a hopeless romantic or an eternal pessimist.
These attributes and more were all on display Sunday night when Nicks took the stage at the American Airlines Center as a part of her 24 Karat Gold Tour. I may have been just one of 20,000 adoring fans packed into the arena, but the intimacy and spirit Nicks performed with made you feel like it was a one-on-one experience.

And there was no better way to whet the crowd’s appetite than with special guest The Pretenders. Fronted by punk-rock goddess Chrissie Hynde, the recently reunited group has lost none of the grit or spunk that made them one of the best rock outfits to come out of the ‘80s.
You could almost say there were just as many fans there for The Pretenders as there were for Nicks. It was certainly hard to keep your eyes off of Hynde, outfitted in a pink cowgirl hat and graphic tee declaring “Everything’s Bigger In Texas.” The set was composed of a lot of tracks off their newest album Alone, which were definitely well received by the enthusiastic crowd.
But I think it’s fair to say that it was the classic Pretenders tracks that received the loudest responses, ignited sing-alongs, and got the audience dancing in the aisles. “My City Was Gone” was delivered with old-school showmanship, “Stop Your Sobbing” was a punk-rock sight to behold, and “Back On The Chain Gang” sounded just as good now as it did back in 1982.
Hynde herself seemed in a joyous mood, even playful at times. She’s never been known as particularly light-hearted, especially when her live shows became known for scenes featuring her screaming at concertgoers who had their phones out. But here she regularly stated how good it felt to be onstage and how much she appreciated Nicks, the crowd, and the opportunity to perform in the first place.
She even lit up during The Pretenders biggest hit “Brass In Pocket,” a song that Hynde has repeatedly stated she doesn’t care for. But you wouldn’t have known that watching her writhe around the stage as she belted out the classic tune: “I’m special, so special. I gotta have some of your attention, give it to me!”

But as wonderful as The Pretenders were, it wasn’t until Stevie Nicks took the stage that the entire arena burst in pure euphoria. With a stage design that looked like something out of Practical Magic, Nicks emerged wearing what’s now become her iconic look: a flowing black dress and knee-high suede boots. I could barely catch my breath at the sight of The Welsh Witch before she launched into “If Anyone Falls,” the 1983 hit from her sophomore album The Wild Heart. I’d be lying if I said tears didn’t start rolling down my face as Nicks lit up the stage with her godly presence, swaying to the beat and beaming from cheek to cheek.

And that was only a taste of what was yet to come. This tour is in support of Nicks’ most recent release, last year’s 24 Karat Gold. While plenty of fans were likely looking forward to a night filled with all of the usual hits, Nicks made it clear early on that this tour was going to be a little different.
“I thought it was about time I do something fun with the stuff I never do,” she exclaimed, mentioning how over the years she’s received endless letters asking her to perform various B-sides, deep cuts, and other overlooked tracks.

But that doesn’t mean there weren’t plenty of chances to sing along to all the classics. The set had barely begun before Stevie brought Chrissie Hynde back out to cover Tom Petty’s part on the duet “Stop Draggin’ My Heart Around.” It was the ultimate girl power moment, culminating with the two engaging in a passionate stare-down as they belted out the final notes and embracing with a hug.
While it would be easy for Nicks to twirl around the stage a few times, sing “Landslide,” and collect her check, she’s too passionate about her work to go for cheap entertainment. She didn’t simply perform songs more than she bared her soul before a crowd of thousands, giving music we’ve heard countless times layers of new meaning in the process.

As Fleetwood Mac’s sole Billboard #1 hit, “Dreams” is a soft-rock radio staple that’s about as perfect as music can get. When the lesser-known “Outside The Rain” transitioned into the heartbeat-like drumming of “Dreams,” the reaction from the crowd was immediate. Nicks’ vocals sounded lush and pristine on this gem of a tune that sums up everything her music represents: broken hearts, introspective lyrics, and unbeatable melodies.
A cautionary tale if there ever was one, “Gold Dust Woman” is essentially a song about drug use that is akin to experiencing an exorcism. With lyrics that bite (“rulers make bad lovers”) as well as mystify (“take your silver spoon and dig your grave”), “Gold Dust Woman” is interesting on record but electrifying when experienced live. Writhing around the stage while contorting her body in various positions, I can’t think of another time I’ve been so entranced by a performer becoming one with the music.

But even if you’d never heard the songs Nicks chose for the evening, it didn’t do anything to dispel their magic. She would often start each song with a little story explaining their origin, such as how Hurricane Katrina inspired the heart-wrenching “New Orleans” or “Starshine” is about “leaving your boyfriend behind when you’re a rock and roll star and driving away in a big black limousine!”
And just in case the candle-lit stage and fringe-covered microphone stand weren’t “Stevie” enough, she pulled out all the stops for her performance of the criminally underrated “Moonlight (A Vampire’s Dream).” Between her white fur coat and the images of snowy mountaintops and wolves onstage, it had to be the most melodramatic stage performance I’ve ever seen. And yes, I loved every damn second of it.

As if the night weren’t already packed with emotion, Nicks made sure to hit that dial up to 11 in the latter half of the evening. It’s no secret that Stevie was a close friend of the late Prince, who passed away earlier this year. She recounted the role he played in the creation of her hit “Stand Back” and how “it’s simply not fair that he’s no longer with us to share his beautiful music.” It’s always emotional seeing one artist pay tribute to another, and I about lost it when ghostly images of Prince popped up when Nicks sang the “Just to hear the call of a nightbird singing” lyric during “Edge of Seventeen.”

Another definite standout of the evening had to be during the encore when Nicks slinked onstage to the iconic opening guitar riff of Fleetwood Mac’s “Rhiannon.” Delivered with Nicks’ coppery vibrato, this track about a Welsh witch was a perfect cap to an evening filled with all manner of magic and mischief. From the slithery baseline to its striking lyrics (“Dreams unwind, love’s a state of mind”), the song is a perfect showcase for what makes her such an engaging performer. If there was ever a song more perfect for twirling around to while wearing a patterned shawl than “Rhiannon,” I’ve yet to find it.

But like all good things, the 24 Karat Gold Tour had to come to an end at some point. After nearly two hours of singing, dancing, and story-telling, Stevie professed her gratitude one last time.
“Stay wild, I’ll never forget this night,” she said. “I’m so glad you spent this time with me. Stay away from television, play some music!” The words were simple, but like everything Nicks does, it was delivered with the utmost sincerity.

Over the course of her storied career, Stevie Nicks has experienced the ups and downs of love, lust, heartache, success, and broken dreams. After seeing her convey those experiences onstage Sunday night, I think we should realize how lucky we are that she managed to write her life down and pack it into music so resonant, even the most hardened music snob can’t help but be moved by it.

http://www.reddirtreport.com/rustys-...e-stevie-nicks