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#46
06-18-2012, 07:27 PM
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Pittsburgh PA show
http://www.americansongwriter.com/20...am-cuts-loose/
Lindsey Buckingham Cuts Loose By Michael Rampa June 18th, 2012 at 5:52 pm Lindsey Buckingham Homestead, PA, Carnegie Library Music Hall, Friday June 15 With no new album to promote, Lindsey Buckingham doesn’t really need to tour. Heck, he doesn’t even need a band. His unique finger picking technique allows him to plays bass lines with his thumb while playing the melody with his fingers. The result is a one man wall of sound that overmatches the intimate venues he plays. This time around, he has no accompaniment, even the stagehands exchanging his guitars are out of view. He acknowledged the downsizing over his career, from the heyday of supergroup Fleetwood Mac to carrying only 3-4 members in his early solo career and culminating in this year’s one man show. “This tour I call the ‘Small Machine’” It allows for more creative freedom and risk taking. Obviously, Fleetwood Mac was a juggernaut and creative in a different way.” He began on acoustic, with muscular versions of “Cast Away Dreams,” from 2006’s Under the Skin and Fleetwood Mac’s “Bleed to Love Her.” Throughout the set, the audience jumped out of their seats after nearly every song. The 62-year old’s soulful voice seems to have gotten better over time and he displayed his power by holding notes on ”Not Too Late.” It elicited one of most enthusiastic responses from the sold out theater. Four songs in, he broke out his signature Turner electric axe for “Stephanie” from the 1975 Buckingham Nicks album. The violin shaped instrument sustains high notes like no other and is rarely played by other artists. Ironically, his most famous solo, the scorching five minutes during “I’m So Afraid,” exposed the pivotal role of pounding drums, crashing cymbals and a thumping electric bass only an ensemble can provide. Without a band, it sounds a bit screechy and is ear splitting. Buckingham is a self -described “eccentric.” He is prone to waxing philosophical in the Zen tradition between songs. It is clear that he is intelligent, spiritual and self-aware, but his musings can be distracting and time consuming. His most impressive picking comes on “Big Love.” Originally written as a solo work, Fleetwood Mac turned it into an ensemble piece and a huge hit. Buckingham said he was fearful of love after his break up with Stevie Nicks. He told the audience, “That’s why the lyric is, “Looking out for love.” There’s a reason Fleetwood Mac employed two guitarists in its attempt to equal the firepower of the estranged Buckingham in1990. That experiment produced the band’s worst selling album, Mystery To Me. Upon seeing Buckingham live, it’s easy to understand why the Mac’s attempt still fell short. Just as bizarre is Rolling Stone ranking him dead last on its 100 greatest guitarists list. 
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#47
06-18-2012, 07:37 PM
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Columbus OH review
http://www.dispatch.com/content/stor...-on-stage.html
Concert Review | Lindsey Buckingham: Pop star shines alone on stage By Curtis Schieber For The Columbus Dispatch Sunday June 17, 2012 9:29 AM Lindsey Buckingham performed surely the loudest one-man show ever in the Southern Theatre last night, even when he wasn’t belting out a song. The slavish crowd lapped it up, encouraging him often to ignore the dynamics in his brilliantly crafted songs. Oddly, the three songs of the encore were the most intimate of the evening. During the 80 minutes, he delivered just more than a dozen songs from both his solo recordings and the Fleetwood Mac catalog. He dazzled with his guitar work, elicited shrieks with his passion and proved once again that his compositions are not only fine but flexible. If songs such as Cast Away Dreams seemed to crescendo artificially, bringing the audience to a standing ovation for every song, others including Not Too Late, a wonderfully aging examination of mortality, transcended the delivery. Some were made for just such a treatment, though. The dirgey Mac rocker Come adapted fine with its psychedelic solo, as did a couple other oldies. And they reinforced what the singer said about the solo act (“the small machine”) and the band (“the large machine”) keeping each other creative. Still, the highs of the evening were found in moderation. Go Insane, one of Buckingham’s best songs, not only captivated again with its melody and construction, it was updated cleverly with a couple of major chords inserted, making it shift marvelously from dark to light. The encore set was truly special, though. I’m In Trouble, a gorgeous tune about falling in love, took on a bit of desperation with its relatively loud delivery; Rock Away Blind, from Buckingham’s terrific last studio album, Seeds We Sow, did not sound unrehearsed as the singer claimed; the album’s title track was a fine finish, not only illustrating the composer’s mindset but offering a moral lesson as well. And, of course, it was terrific pop music.
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#48
06-20-2012, 10:24 PM
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[Not for the faint-hearted LB fan]
The Other Paper June 20, 2012 http://www.theotherpaper.com/enterta...9bb2963f4.html by John Petric Lindsey Buckingham is a girly man. A fiery, passionate girly man, but a girly man nonetheless. At the Fleetwood Mac frontman’s solo acoustic show Saturday night at the Southern Theatre, it was raw emotion on top of loud emotion divided by whispered emotion times overwhelming emotion. And between songs, it was a spoken load of New Age therapeutic gobbledygook that would make Carly Simon and Barbra Streisand seem positively masculine by comparison. Bleeech! When I first saw the Mac with Buckingham back in the ’90s at Polaris, I thought two things about the ol’ Buckeroo’s performance: intense, and a bit unseemly. I mean, he’s the kind of singer who leaves no emotional stone unturned. Every performance is not simply cathartic release but is pushed farther into the graceless land of public breakdown. He spills his guts and shoves his love-shattered entrails down our gullets. We’re force-fed Lindsey’s every inner primal scream. Mercifully, he stops just short of sobbing outright. So, Saturday night, right before our eyes, he had a near-emotional breakdown, though this time without a band behind him. Despite his occasional decent turn of phrase and his proven ability to catch a melody and make it his, it ended up being more like a bulimic’s flushing-out purge than a rocker’s solo set. Perhaps this is what comes from being romantically involved with Stevie Nicks. Did they make each other crazy, or were they both already that way? But the real all-emotion/all-the-time giveaway was his clichéd patter between songs about how he was no longer the person he was when he wrote such and such a song, or how “stripping something of its nonessentials is the best way to get to the essential,” yada, yada, me, me, me. Pretty deep, huh? More like totally banal, pal. Who knows, maybe he and Oprah are just a single shape-shifting entity. Instrumentally, he’s an equally obnoxious fingerpicker, with so little finesse that I’m amazed people regard him so highly. Plus, the small mountain of equipment behind him transformed the output of his electrified acoustic guitars into a roaring, clanging, clanking sound. Such voluminous overkill from an allegedly sensitive guy. Artistically speaking, Buckingham is no Andrew Bird, who on the very same stage just three months earlier showed what a genuinely touched-by-the-gods musician can do. In comparison, Buckingham is just an earthbound blowhard with a medium-sized songwriting talent. As he tiptoed like an elephant through the tulips of his considerable solo catalog, he acted like a rock star—bending, howling, emoting, working the stage—and his slobbering fans rewarded him with needless ovations, outstretched hands and virtually religious adoration. Pathetic. Granted, his “Rockaway Blind” is a good song, as is “Trouble.” And, of course, some of the Fleetwood Mac stuff gets into true classics territory. So, class, I have just three things to say about Lindsey Buckingham: 1. I can appreciate him at a distance. 2. I roll my eyes more and more the closer I get. 3. His fans can go to hell.
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#49
06-20-2012, 10:38 PM
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lmao. was just discussing this review with @nickslive. this guy has issues. or he's just trying to be too cool for school. 
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#50
06-20-2012, 10:45 PM
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Well, he writes for what seems to be a free newspaper. I'm sure it's...an honorable job...although, his style of writing is surely not worthy of the near-religious adulation Lindsey bathes in. Must be where he gets his bitterness.
Perhaps if he threw in some new-age gobbledeegoook...as a fanatic on my way to hell, I'd reach out a hand to him (and drag him with me;-)
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#52
06-21-2012, 02:46 AM
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Quote:
Pathetic? Never!!!!  Slobbering? You betcha!!!!!!!!!!!!!!!!!!!!!!! 
__________________
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#53
06-21-2012, 06:54 AM
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Quote:
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#55
06-21-2012, 08:44 AM
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I've been waiting for the John Petric review so I'm glad someone posted it. I have a copy of The Other Paper from the week before in which he called LBs show one of three shows to watch out for. He spoke of the show with high anticpation. I'll have to dig it out later. I'd also like to note that he reviewed 2009's Unleashed tour stop in Columbus and he creamed his pants over LB while calling Stevie a fat washed up loser (in his write up last week before the show, he refers to her as the Wicked Witch of the West). As someone who lived in Columbus for a decade, I'm accustomed to these types of reviews from JP. He's pretty much merciless unless you're like...a blues musician (or Andrew Bird apparently). He gets off on writing bad reviews and the hate mail he receives as a result. Susan
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#57
06-21-2012, 12:36 PM
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Quote:
He's happy with himself. I'm happy with him. And it's all good. I just feel that I don't need to encourage ham, um, him. Michele
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#58
06-21-2012, 01:29 PM
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Quote:
That batting his eyes thing, even when he's talking to someone - it's not at THEM.......it's because he knows it's making HIM cute!!!!!  
__________________
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#59
06-29-2012, 12:43 PM
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Pop Matters
http://www.popmatters.com/pm/review/...wilmington-de/ Lindsey Buckingham: 11 June 2012 - Wilmington, DE By Jason Henn 29 June 2012 Have you ever heard of this band Fleetwood Mac? Apparently they’ve sold several dozen million albums in the past 40 years. An average Goodwill crate-digger has probably only touched more records by Herb Alpert, and by a narrow margin. But for pop fans born after the group’s creative and commercial peak, that ubiquity is exactly what makes giving them a fair assessment something that’s easily put off till later. For any conscious person in America, however, having “never” heard Fleetwood Mac really means having at least heard every song on Rumours and half of the band’s self-titled 1975 album literally hundreds of times—in the car, at the grocery store—but perhaps never feeling prompted to dig deeper. The hipster rediscovery of the challenging 1979 double-album Tusk has been easy to ignore, too, as another case of post-irony appropriation. But when a copy of Tusk finally floated my way back in February, I wasn’t prepared for the ease and totality of my conversion. And as good as the Nicks and McVie songs are, it’s particularly Lindsey Buckingham’s inscrutable, genuinely experimental songwriting and production that take so many newcomers from zero to disciple in such a short time. During a period of intense work, I listened to the album in its entirety as many as three times daily. This fixation actually put me in the unusual position of searching for a clean vinyl copy of Rumours (which, in a karmic move that couldn’t have been better scripted, somehow took weeks). It’s also what led me and one lucky guest on a road trip from Philadelphia to the front row of World Cafe Live in Wilmington, Delaware, on June 11th to lay our own eyes on the mad scientist who was able to make the guitars on “The Ledge” sound like a bunch of rubber bands, employed MIDI dog barking noises on the fade-out of “Holiday Road,” and, finally, after years of pop-phobic neglect, landed on Rolling Stone’s 2011 list of best guitarists of all-time. World Cafe Live’s Queen Theater in downtown Wilmington is the centerpiece of a well-funded revitalization, a beautifully rehabbed former hotel with lots of uncovered original guts, exposed concrete and ghostly layers of paint. The night was billed as “An Intimate Evening with Lindsey Buckingham”, which in many cases, for many performers, could suggest a few things—subdued, maybe low energy, maybe entirely acoustic. From the moment he emerged, though, Buckingham beamed a concentrated intensity. He looked lean and healthy in jeans and a leather jacket, emitting a sort of cool, new age dad vibe. He stared straight up to the lights and out at the audience a few times, clasped his hands in a yoga pose to show thanks for the applause, and launched directly into straight-forward, athletically finger-picked readings of “Cast Away Dreams” and “Bleed to Love Her”. After a few songs and as many guitar changes (there were no less than nine during the main set, nearly one for every song), Buckingham addressed the elephant in the room, namely his stadium-sized self and the small, informal downstairs space at the Queen. He described the two halves of his musical life—his ongoing second act with Fleetwood Mac and his solo appearances—as “the big machine and the small machine”. He explained a bit how they inform each other, how the small machine allowed him to “keep growing and keep taking risks,” and reminded us that we were seeing the small machine. His stage moves, though, both vertically and horizontally, between-song ecstatic screams, gestures toward the audience, and massive vocal projection were all stadium-sized, like he was straining to give us anything less than late ‘70s classic rock maximalism. He kept the dynamics shifting constantly between dramatic and subtle, electric shredding and delicate finger-picking, yelled melismas and soft whispers. The one nod to the Buckingham Nicks era was a sweet rendition of the instrumental “Stephanie”, followed by the late-era Mac song “Come” and the radically deconstructed “Go Insane”. After a playfully extended “Never Going Back Again” and an especially energetic “Big Love”, by which point Buckingham was dripping with sweat, the show reached its dynamic height during “I’m so Afraid”, as Buckingham took a swelling, extended guitar solo. At one point, trying to pin down just what sonic territory he was meandering into, I scribbled on a page in a notebook and showed it to the friend who had originally played me Tusk. “Kirk Hammett?” That was a stretch. He crossed it out and decisively wrote, “Manuel Göttsching / later Ash Ra.” Exactly! Buckingham spent these long moments channeling a sound right at the intersection of guitar store show-boating and, whether actually informed by it or not, Kraut meditation. And as the speed and intensity of his soloing climaxed, the way he brandished the guitar—extending the neck toward the audience—and expressions of transcendent zone-out became increasingly sexual. I had to shift a bit in my chair and occasionally pretend to check the time, especially as the whole thing terminated in an accelerating upward spanking motion across the guitar strings followed by heavy panting as Buckingham bent over, rested his hands on his knees and let his guitar swing. He then blasted through “Go Your Own Way” and “Trouble,” took one of the most cursory pre-encore walk-offs I’ve ever seen, and drew our collective energy back down to Earth with two songs from the fall 2011 solo album Seeds We Sow. “You make the small machine very happy,” Buckingham assured us. Where many pop stars’ later career solo appearances can be filed into two categories, call them, say, the dignified elder statesman move and the embarrassing oldies circuit crawl, Lindsey Buckingham, by virtue of his sheer Lindsey Buckingham-ness, somehow landed in his own third category: playing a balanced, career-spanning set, not grinding an ax of too much new solo material, not leaning too much on obvious crowd pleasers from any one era, indulgent and self-satisfied but also a little self-effacing and very fun to watch. Like he was playing for his own fulfillment, but we were invited to look in. It was an intimate evening that could have only been improved by a rendition of Tusk‘s title track, perhaps featuring Wilmington’s Cab Calloway School of the Arts marching band. Maybe next time.
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#60
06-30-2012, 03:58 AM
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I love the last paragraph of this review. The whole thing was full of praise but putting Lindsey in his own third category for his "sheer Lindsey Buckingham-ness" made me chuckle. He's getting some great reviews for this tour (as always!).
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