Chicago Show - 12/3/16

[Erin]

Some photos I took from tonight's show: https://www.flickr.com/gp/146895310@N04/955x42

I filmed Crying in the Night too: https://www.youtube.com/watch?v=30c6ff-2lt4

[McDoobler]

Great photos
Same set list?

[Danielle]

Thank you, Erin. These are amazing, as always.

[blackcat]

Come on girl! Thank you for the video and sharing your pictures. You got some amazing shots, including some really great ones of Stevie's capes and those beautiful background screens! That coat is stunning, isn't it? Great Waddy smiling shot! Thank you for putting all of this up for us!

[SisterNightroad]

Thank you very much!!!

[SisterNightroad]

Stevie Nicks dazzles at the United Center

Stevie Nicks' recent musical forays may find her mining the past to cast songs in a new light, but in so doing, she's forged a strong path forward, filtered through the wisdom she's gained. At United Center on Saturday, the icon breathed new life into decades-old songs, revisited early underrated treasures and peppered in megahits to satisfy superfans and recent acolytes alike in a two-hour set that reinforced that timeless songwriting endures.

Nicks is currently on her "24 Karat Gold Tour," which features live takes on newly recorded, previously unreleased demos culled from her storied, 40-plus-year career, which appear on 2014's "24 Karat Gold: Songs From the Vault." The set also featured material from her first two solo records, 1981's "Bella Donna" and 1983's "The Wild Heart," which were reissued last month, as well as some of her Fleetwood Mac songs.

And though the latter material, which included an affecting "Gypsy" and a rousing, extended "Gold Dust Woman," were fan favorites, there was a certain freedom to be found in her solo work. Nicks is a perpetual role model: a trailblazer who's had a valiant career alongside her trials, from overcoming substance abuse to tangled relationships, and come out stronger.

Nicks' mystique and bewitching charm permeated the show, from her signature flowing black dress paired with shawls and capes to her trademark twirls and sultry rasp with its enchanting, indelible hue, though time may have slightly compressed her range. She also pulled back the curtain on the origins of many songs, which added a rare, welcomed intimacy to the set.

This gave insight into tunes such as the standout "Starshine," which she wrote in Tom Petty's basement, and the disco-fueled "Stand Back," which was inspired by the late Prince. Her humorous admission about the oldest song in the set, 1973's Buckingham/Nicks song "Crying in the Night" ("At 22, I don't know where these words came from") showcased that her poetic musings don't have to be literal to evoke emotion. "Wild Heart" and a sterling "Rhiannon" were also highlights.

Songs such as the affecting set closer "Landslide" and "Edge of Seventeen" sagely referred to the passage of time. Though written three decades prior, these songs' themes of love and loss seemed to resonate more deeply with age. The soothsaying chanteuse's gifts extended to her choice of collaborators. Chrissie Hynde — whose stunning voice buoyed her rocking opening set with The Pretenders, which also included timeless hits ("Brass in Pocket") and newer gems ("Alone") – joined Nicks for the awesome "Stop Dragging My Heart Around." Hynde also discussed religious tolerance, the only political statement of the night, before performing "Holy Commotion."

In an era that can be rather antagonistic and ageist, particularly towards women, both Nicks and Hynde's performances were empowering. Beyond surviving, they've persevered, and continue to excel at their craft. "Crazy as life is," Nicks advised at the end of the show, "Stay in the path of love."

More pictures at the site:

http://www.chicagotribune.com/entert...204-story.html

[jcalzaretta]

I have seen so many concerts of hers. This is her best set list yet. I know the casual fans hated it. But if you are a die hard, you will love it. So many highlights - Crying in the Night, Moonlight, If You Were My Love, Starshine and Bella Donna for sure. How Wild Heart has never been played is beyond me. She should have done that as a full song. Just amazing. Loved this version of Gold Dust Woman. Great, great show.

[Erin]

I don't know why they are double watermarked, but oh well. Same set list last night. She had a few technical problems with her ear piece and microphone stand and kept saying she was losing her mind. Plus she had a hard time remembering the name of the piano player.

Edit, switched to Flickr: https://www.flickr.com/gp/146895310@N04/955x42

[StevieNicksfann]

Agreed. I just posted on Facebook that this is one of the best shows I have ever seen her do and that's saying a lot since I've been to about 50 more or less over the years. She clearly was having a blast doing songs she probably never thought she'd get a chance to play so hints were fresh. But what I thought was brilliant was the pacing of the show. The dynamics were smart and she had a california rock song into a mystical torch piece into a disco dance and finally into a sweet ballad so it was always exciting. Gypsy being added was a smart move, it's right tone and pace to move the set forward in its placement in song order and the really genius thing is having Gold Dust Woman where it was. Because after so many unknown songs to the casual fan, then hearing opening chords to Gold Dust Woman was a welcome frenzy so the timing was perfect and the energy of it was fresh and thus it also then made it perfect for this diehard as well for those reasons. Same with Rhiannon. While I find it more boring early, having it as the first encore brought out a sentimental reaction of omg- this is a celebration of how long this career has lasted and appreciation for the song that made it happen for us. So now I welcomed those 2 songs that I used to feel were stale. Although I still want The Dealer and I wish Leather and Lace had not been axed, I can't say enough about how wonderful this tour is.

Just brilliant, Stevie. Well done.

P.S. Yes the full version of Wild Heart needs to be done. That's the thing I would change for sure.

[Newzchspy]

Speaking of which. I was not going to go, BUT decided Saturday afternoon to wing it and perused the web for some tickets. Found someone desperate to get rid of two in Floor 2 Center, 6th row for 2 tickets for $75.00. Original asking was $250.00 and I told the guy the clock was ticking. Waited one hour for him to stew till 4:00 PM and knew he didn't have them sold. Negotiated and got 2, Yes 2 for $75 total on the floor, 6th row. I said to myself, HOW CAN I NOT GO?? Except for the typical UC crappy parking (close , BUT expensive) and long traffic lines to get in and out, it was indeed a great show. I loved the set-list and actually enjoyed Chrissie Hynde, although not much a Pretenders fan, she was good.

Just a word of advice for those in the future. If you wait till the very end and really don't want to pay a LOT of $$ for Tickets, then last day there's always tickets for sale because people get sick, need Christmas $$, can't go , whatever?? I've learned NOT to be a pigeon and feel like I have to be the first to buy. This is also true with many other acts in Chicagoland.

BTW, this Chicago concert was by no means sold out nor close to sold out.......

[StevieNicksfann]

Originally Posted by Newzchspy

Just a word of advice for those in the future. If you wait till the very end and really don't want to pay a LOT of $$ for Tickets, then last day there's always tickets for sale because people get sick, need Christmas $$, can't go , whatever?? I've learned NOT to be a pigeon and feel like I have to be the first to buy. This is also true with many other acts in Chicagoland.

BTW, this Chicago concert was by no means sold out nor close to sold out.......

I definitely agree on the ticket purchasing strategy for Chicago shows. This is also what I do. I usually find tickets on ticketmaster the day of and/or I've walked up to the door and gotten excellent seats almost every time. My brother bought the seats for this show or else I would have done the same thing this time as well.

However, I disagree about the attendance. I looked several times into the audience and to my eyes the place was jam packed. There looked to be maybe only the very top row in the upper balcony that had any seats open if that. So as far as I'm concerned the place was pretty much sold out if not sold out. Either way, it was packed. Don't know why Glenn was looking at lol

[Newzchspy]

Originally Posted by StevieNicksfann

I definitely agree on the ticket purchasing strategy for Chicago shows. This is also what I do. I usually find tickets on ticketmaster the day of and/or I've walked up to the door and gotten excellent seats almost every time. My brother bought the seats for this show or else I would have done the same thing this time as well.

However, I disagree about the attendance. I looked several times into the audience and to my eyes the place was jam packed. There looked to be maybe only the very top row in the upper balcony that had any seats open if that. So as far as I'm concerned the place was pretty much sold out if not sold out. Either way, it was packed. Don't know why Glenn was looking at lol

Come on now, the balcony seats had many openings and even the skyboxes for the rich folks were not packed. But I digress.

Yes, I am finding that even on Craigslist (buyer beware) there were many seats still available up until 6:00 PM that night with some downright desperate saying they'd sell for just for the Ticketbastard fees (these were not good seats though). I also went to the sales window at the UC for grins and asked if there were any floor seats available and was told there were in Floor 1, 2 and 3, BUT not first row. They were at face value cost. This was at 6:30 PM.

[SisterNightroad]

Stevie Nicks strikes gold at Chicago's United Center

When it comes to female rock greats, Stevie Nicks is in a category of her own.

Nicks proved she's still a top musical force during a two-hour show on her 24 Karat Gold Tour which touched down Saturday at the United Center in Chicago.

At 68 years old, Nicks, lead singer of Fleetwood Mac, belted out favorites from her extensive catalog and also performed a few newer tunes and songs audience members haven't heard her sing before.

Early on, Nicks told fans she wouldn't be delivering the same concert she usually performs. On this tour, the songstress wanted to delve into songs from her rock vault that people have rarely heard her do live.

Calling her show a "music 101" of sorts, Nicks offered stories about the tunes on her playlist and also shared tales from her life.

She also talked about the craft of singing and how it can be a source of bliss for a entertainer.

"If you sing, you should sing as much as you can because it's joyous," Nicks said. "I sing these songs for the complete joy of singing," Nicks added about her current playlist.

Nicks' repertoire during the sold-out show proved to be "joyous" for her fans as well. She drew audience members into each song as she offered colorful introductions and explanations of most of the tunes. She also talked about her friend Prince and relayed a story about her first meeting with the late musician.

On the playlist were excellent renditions of "Gold Dust Woman," "Bella Donna," the Buckingham/Nicks song "Crying in the Night," and "New Orleans," a song she wrote about the Crescent City in the midst of the Katrina tragedy.

Nicks rocked with enthusiasm on gems "Stand Back," and "Edge of Seventeen." Her concert ended with extreme audience favorite "Rhiannon" and the poignant "Landslide."

Opening for Nicks were The Pretenders. Chrissie Hynde, front woman of The Pretenders, also proved she's still a spitfire of an entertainer. Hynde performed dynamic versions of "Back on the Chain Gang," "I'll Stand By You," and "Brass in Pocket." Hynde also joined Nicks for a stellar performance of "Stop Draggin' My Heart Around."

Nicks is scheduled to bring her 24 Karat Gold Tour to Bankers Life Fieldhouse in Indianapolis on March 29. Tickets for the Indy show go on sale at 10 a.m. Dec. 12. Visit livenation.com for more information.



http://www.nwitimes.com/entertainmen...33e642ff6.html

[SisterNightroad]

Stevie Nicks reaches into her ‘dark gothic trunk of magical, mysterious things’

We take for granted certain inevitabilities in life: the sun rises in the morning and sets in the evening, the world keeps on turning, and Stevie Nicks, clad in black platform boots and a billowy black dress, twirls along with it. The 68-year-old, flaxen-haired icon spun into the United Center Saturday night on her 24 Karat Gold Tour. Variously layered with song-specific shawls and capes (gold fringe for "Gold Dust Woman," crepe-like silk for "Bella Donna"), she assured a similarly dressed crowd—lots of middle-aged women draped in shawls and beads to channel the Fleetwood Mac front woman—that amid life's unpredictability, her bewitching brand remains unchanged.

For Nicks, however, this concert would be a bit of a departure. She informed the audience at the top of the show that rather than do "the exact same songs over and over again from every other tour," she would be reaching into a "dark gothic trunk of magical, mysterious things" and perform some material she's never toured with. "It's gonna be a party," she promised. Among those lesser-heard gems were "Gold and Braid," one of several killer demos dusted off for her 2014 album 24 Karat Gold: Songs from the Vault; "New Orleans," a love letter to the city written in the wake of Hurricane Katrina; and "Moonlight (A Vampire's Dream)," inspired by the Twilight movies and necessitating an outfit change into a luxurious coat of faux fur. "Belle Fleur," also from 24 Karat Gold, about the difficulties of holding onto a relationship while living a rock 'n' roll life on the road, surfaced too, as did "Crying in the Night" from the 1973 album Buckingham Nicks, made before Lindsey and Stevie joined Fleetwood Mac.

Scattered among the never-before-played material, however, were plenty of fan favorites: "Stop Draggin' My Heart Around," featuring the ageless Chrissie Hynde of the Pretenders (the night's opening act) in the Tom Petty part, "Gypsy," "Gold Dust Woman," "Stand Back" (which Nicks revealed was inspired by Prince's "Little Red Corvette"), and an encore of "Rhiannon" and "Landslide." So the magical gothic trunk, the crowd discovered, is not exclusively home to obscure fare. Nostalgia, in fact, is a familiar presence at Fleetwood Mac shows and an undeniable part of Nicks's oeuvre. On Saturday, it was literally part of the backdrop. While the singer relayed anecdotes of various songs' origins (for example, going over to Petty's house with a can of Hershey's chocolate powder and a guitar "which I never played because of my nails," to write "Starlight") and tales about her former collaborators, animated images of said people would occasionally pop up on a screen behind her. During "Enchanted," the backdrop flashed with vintage photos of Nicks from early on in her solo career. As "Edge of Seventeen" galloped along, images of Prince appeared like apparitions while Nicks followed the song's "Just like the white-winged dove" refrain with lines from "When Doves Cry."

There were also familiar faces: Accompanying Nicks on guitar was her longtime musical director and collaborator, the frizzy-haired, bespectacled Waddy Wachtel, who looks like Larry David if he were in Spinal Tap. There were familiar fabrics too: Out came the same cape from a photo shoot for Bella Donna, Nicks's debut solo album recorded 35 years ago, when she was 33. It's so well-preserved, she explained, because she chose the perfect material: "If you're gonna invest in the stock market, my money is on silk chiffon."

After catching Fleetwood Mac twice on recent back-to-back world tours, and hearing the singer dish to the audience about love affairs from decades ago as if they happened yesterday, I've often wondered if such nostalgia is always at the forefront of her personality—"an attitude of romantic readiness," to quote F. Scott Fitzgerald—or if it's trotted out for performative purposes: the sign of a savvy entertainer who knows how to connect with fans. I suspect it's a bit of both. There's no way she could sing "Landslide" thousands of times and approach the same earnestness (if not the exact same notes—Nicks's powerful contralto voice has declined in range since the 90s) without being a deeply sensitive person but especially without the keen understanding that fans really, really want to hear it. One gets the sense that Nicks is most at home onstage and on tour, whether reinterpreting old demos or obligingly singing the hits.

Time makes you bolder, children get older, but onward she twirls, encircling arenas in songs and stories like a great glittering cape.



http://www.chicagoreader.com/Bleader...terious-things

[SisterNightroad]

Live Review and Gallery – Steve Nicks and The Pretenders

By the dates on their birth certificates, Stevie Nicks and Chrissie Hynde could easily qualify for retirement, but rather than tossing in the towel or being satisfied with repeated trips down memory lane, both the longtime Fleetwood Mac member and The Pretenders’ fearless leader are touring together behind compelling new material and kicking some serious arse in the process. For Nicks, now 68, that meant a treasure trove of previously unheard demos that are now properly re-recorded on 24 Karat Gold: Songs From The Vault, while The Pretenders brought tunes from the rugged Alone (produced by The Black Keys’ Dan Auerbach) to a sold out United Center.

“Nice to see all the old faces and I do mean old,” joked Hynde at one point during her band’s blistering hour, who quickly added “f— it. I’m 65!” And age did indeed prove to be nothing more than a mere number as the singer, co-founding drummer Martin Chambers and the latest Pretenders cast plowed rough the current “Gotta Wait” and “Holy Commotion,” alongside the classics “Back On The Chain Gang,” “Middle Of The Road” and “Brass In Pocket.”

Headliner Nicks gradually built her hypnotic groove with the less frequently performed “Gold And Braid” and “If Anyone Falls,” sounding like her distinctive self (despite a more modest range) and enchanting like the ultimate rock goddess. However, she really revved up come “Stop Draggin’ My Heart Around,” which may have originally been cut with Tom Petty & The Heartbreakers, but was transformed into a girl power anthem of indestructibility as Hynde made a ferocious return.

Stevie further projected her endurance with the title track from The Wild Heart (recently remastered and reissued along with 1981’s debut album Bella Donna), which she considered to be the turning point towards her solo success being more than the fluke so many had predicted. In fact, she proved that much-deserved longevity time and time again, whether it was “New Orleans” (a chilling ballad of hope for Hurricane Katrina), the jangly rocker “Starshine” (from a previous Petty session that never saw the light of day) and the gothic grandeur of “Moonlight (A Vampire’s Dream).”

Of course, there was also the synth pop flashback “Stand Back,” which besides its bountiful beats, was accompanied by a story about its main muse Prince swooping into the sessions just fifteen minutes after their first-ever phone call for an impromptu collaboration. And as is typically the case, Nicks also sprinkled in a few Mac favorites, such as twirl-inducing “Gypsy” (though noticeably void of Lindsey Buckingham’s guitar pyrotechnics), the trippy “Gold Dust Woman” (with Mick Fleetwood’s thunderous clashes equally missed), plus the even earlier Buckingham/Nicks standout “Crying In The Night.”

Following the guitar cyclone “Edge Of Seventeen,” Nicks made Fleetwood Mac’s “Rhiannon” entirely her own with an intricate and mystical arrangement, then wrapped her two hour set with the always poignant “Landslide.” As she delivered the endlessly covered lines “but time makes you bolder/even children get older/and I’m getting older, too,” rarely did such a bittersweet sentiment sound so beautiful, while also offering a testament to the legend’s tenacity right up through this authentic and fruitful chapter.



Many nice pictures at the site: http://illinoisentertainer.com/2016/...he-pretenders/