2012 tour reviews
 

http://www.grammy.com/blogs/lindsey-...-kavli-theatre

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Lindsey Buckingham At The Fred Kavli Theatre

MAY 07, 2012 -- 5:43 PM

Photo: Michael Tullberg/Getty Images
Lindsey Buckingham

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Welcome to The Set List. Here you'll find the latest concert recaps for many of your favorite, or maybe not so favorite, artists. Our bloggers will do their best to provide you with every detail of the show, from which songs were on the set list to what the artist was wearing to which out-of-control fan made a scene. Hey, it'll be like you were there. And if you like what you read, we'll even let you know where you can catch the artist on tour. Feel free to drop us a comment and let us know your concert experience. Oh, and rock on.


By Crystal Larsen
Thousand Oaks, Calif.

In a recent exclusive interview with GRAMMY.com, GRAMMY-winning producer/engineer Ken Caillat discussed the "musical brilliance" of guitarist and singer/songwriter Lindsey Buckingham. "Lindsey was the accent king," said Caillat, referring to Buckingham's ability to create meaningful rhythms out of guitars, drums and even chairs. And in his recent book, Making Rumours, Caillat notes it was Buckingham's "brilliant guitar playing" that led Mick Fleetwood to invite him to join Fleetwood Mac.

The widely heralded musical brilliance of Buckingham was put on incredible display during an intimate performance Sunday evening at the Fred Kavli Theatre in Thousand Oaks, Calif. Armed with an impressive arsenal of custom guitars that he would switch out between each song, Buckingham took the stage at 8 p.m. a black blazer to perform the subdued "Cast Away Dreams" from his 2006 album, Under The Skin. Following the performance and a welcoming applause from the audience, Buckingham gave us his own welcome of sorts, beginning with a mention of how "lovely" he found the venue to be, and ending with a point that would in turn influence the entire spirit of the night — the power and importance of change.

Dividing his musical career into two parts, Buckingham described how his experience with Fleetwood Mac (the "big machine") and his subsequent solo career (the "small machine") have combined to create something greater than either one, and that what he's learned as a result of both paths has defined who he is today. "But the small machine keeps getting smaller," he joked, referring to the one-man show he's currently taking on tour.

Though the evening featured just one man, Buckingham's seemingly endless rhythms were enough to fill the 1,800-capacity theater, mesmerizing audience members from the front row all the way to the balcony. When Caillat speaks of Buckingham's accents, he must also be referring to his facial expressions, which are truly a show on their own. From trying to understand how he's making his guitar sound as beautiful and delicate as a harp (and at times with only one hand), and watching the emotion drip from his face with each song in both expression and beads of sweat, to listening to him belt out lyrics to his songs with such fervor and sometimes in a spastic manner, Buckingham's performance had me mesmerized while simultaneously making me feel as if I'd lose control at any moment. It was like a Buckingham fever. He had the audience in a tight grip for the full 90-minute show.

The evening drifted from songs from the big machine to tracks from the (still perfectly well-oiled) small machine, with each performance garnering Buckingham a rousing applause from the audience, and a couple of his own excited shouts of "yeah!" The rush that came with his guitar solos, which were plentiful and almost unreal to watch, was clearly mutual between Buckingham and his adoring observers.

Being a fan who has never seen Fleetwood Mac live, I was ecstatic to find songs such as "Come," "Never Going Back Again" and "Go Your Own Way" on the docket. The way Buckingham annunciated each lyric on "Come" was haunting and completely hypnotizing. There was magic in that performance, but this magic was much more abrasive, the kind that catches you and attempts to knock you unconscious, making you forget where you are. It was at this point that Buckingham's emotional quotient was pushed near the limit, and everyone in the front row felt it as we all sat at the edge of our seats, thinking if we got just a little closer the pound of his guitar would hit us harder.

Buckingham took a slower, softer spin on "Never Going Back Again," wanting to give the crowd a different experience with a song they've likely heard many times. Shifting between soft whispers and loud vocal yells, and paired with his delicate acoustic guitar picking, Buckingham proved this is a song that will never grow old. A driving stripped-down performance of Fleetwood Mac's "Big Love" was next, a song Buckingham said served as a template for many things to follow. "Discard what is not essential," he encouraged, emphasizing the power and importance of change again. Fleetwood Mac's "I'm So Afraid" and "Go Your Own Way" followed, capping a set of performances that showcased Buckingham's vulnerability, with each song representing a previous period of himself.

The evening came to an end with an encore featuring what I found to be the perfect goodbye song, "Trouble," from 1981's Law And Order, followed by the title track to his most recent release, 2011's Seeds We Sow.

Leaving the crowd with one last piece of inspiring advice, Buckingham said he hopes "we will all do our best to infuse good into a world that seems to have lost perspective of that." And the crowd seemed to take this oath in unison as we all stood in a respectful yet widely crazed applause as the musical brilliance of Buckingham left the stage.

Set List
"Cast Away Dreams"
"Bleed To Love Her" (Fleetwood Mac)
"Not Too Late"
"Stephanie" (Buckingham Nicks)
"Come" (Fleetwood Mac)
"Shut Us Down"
"Go Insane"
"Never Going Back Again" (Fleetwood Mac)
"Big Love" (Fleetwood Mac)
"I'm So Afraid" (Fleetwood Mac)
"Go Your Own Way" (Fleetwood Mac)
"Trouble"
"Seeds We Sow"

To catch Lindsey Buckingham in a city near you, click here for tour dates.

you know, LB has always had incredible live shows and reviews but what's happening now seems way beyond even his usual high performing standards.

this review is stellar, and all the tweets and FB posts from people who were at any of the first 4 shows were like that too.

i've gained bunch of twitter followers in the short succession over the last 3 days, all obviously interested in LB-related info. that did not happen - nor with nearly this kind of speed - when SWS tour started. people are completely flabbergasted.

can't wait to experience this show in person!

http://forum.audiogon.com/cgi-bin/fr...&zzMartykl&4&5

Once again: Lindsey Buckingham Live

He's touring again - this time without a band - and I caught his show this past Sunday.

It was a short set that featured eight or nine of his solo tunes, a half dozen Fleetwood Mac songs, and one instrumental that I couldn't identify. It may have been a cover (some of LB's interpretations can be nearly unrecognizable) or a new composition.

The show featured mostly LB singing while accompanying himself on acoustic guitar. IMO, he's a pretty fantastic tunesmith and he played a well chosen set. The solo material varied between his brand of meticulously crafted pop and choices that allowed him to really show off some crazy fingerpicking. It seemed like every song involved a combination of some bizarre tuning scheme and a capo. The result was a collection of really quirky and (for me) riveting guitar tones. The combination of great tunes, great and distinctive playing, coupled with his extremely intense singing made for a memorable evening. (Then again, if you hadn't yet noticed, I'm a fan.)

Among the Fleetwood Mac numbers, he included both of his extended electric guitar solos from the band's shows ("Come" and "I'm So Afraid"). He was accompanied by a very simple, droning rhythm track and managed to pull off both rhythm and lead parts simultaneously. It was a fine night for guitar geeks.

If you're a pop-rock-guitar fan, this is a show worth catching.

Marty

http://www.kprifm.com/05/08/12/bcomm...D=8475&qv=1#bp


Lindsey Buckingham - Live at The Belly Up

Written by Rick Ostop

Towards the end of his show at the Belly Up Thursday night, May 3, Lindsey Buckingham explained how Fleetwood Mac is the “big machine” and what he is doing now is “just me - the little machine.” Though the “machine” might be smaller--just him and his multitude of guitars--the results were grandiose.

Buckingham, taking the stage for his hour and a half set by himself, seemed a slight bit tentative as he started working on a simple chord pattern. He wrestled with it over and over, before slipping into the first song of the night “That’s The Way Love Goes” from his new album Seeds We Sow The new song was an interesting choppy choice for an opener and left the room kind of flat. The familiarity, though, and the crowd response to the second number “Bleed To Love Her” was a whole different story. The fire and intensity Buckingham put into the performance seemed to awaken any apprehension he might have carried. Buckingham drove the Fleetwood Mac song hard, soaring his vocals and intensely working his amazing finger picking guitar playing. To be able to carry off a full show by yourself, you have to display a confidence and talent level that can hold and captivate an audience. And when Buckingham finished “Bleed To Love Her,” he had everyone in the palm of his hand.

And here’s where the Belly Up truly shines. To be able to be no more than 10 feet away from a legendary musician, who you usually see playing an arena, is what this venue is all about. Being able to experience an artist with such stature and clout that close gave the audience a rare glimpse at Buckingham’s fascinating finger-picking guitar stylings.

After breaking a sweat on the first couple of numbers, Buckingham seemed relaxed with his solo performance, gaining momentum as he went along, even to the point of yelling out to the crowd after finishing an incredible version of “Big Love.” The song seemed not only to fire up Buckingham, but also the Belly up crowd. He continued his high energy assault, stalking the stage with his guitar pyrotechnics and even high-fiving the crowd after obliterating the Mac classic “Go Your Own Way."

Even though it was one of the shortest shows I have seen at the Belly Up, clocking in at 1 hour and 20 minutes, it was no doubt the best show I have seen there in the last few years. After the first song, Buckingham was on complete fire building and building momentum throughout the night and leaving the crowd with a jaw-dropping performance. His absolutely electrifying guitar work was what I was looking forward to the most and Buckingham completely surpassed my intentions with his unique abilities and intense over-the-top guitar playing. And once it started rolling, Buckingham’s “little machine” steam rolled the Solana Beach audience leaving an impression that is sure to last for years to come.

Oh, Lindsey. If you're worried just don't use it as the opener. Push it back. Even use it as an encore. The room won't stay flat, I bet you.

Michele

and of course the song was CAD, not TTWLG, the reviewer just has no clue :laugh:

maybe it was b/c it was just first song of a completely alone show, ever. was he tentative in Wiltern too (after he already knew that Belly Up went great)?

Well, he certainly got directly into the song without hesitation. So it wasn't as described in this review at the 2nd show. As for his demeanor ... I can't say he was tentative. Lindsey tends to act a little too. So, I'm not sure if what the reviewer sees is what we would make of it. Michele

from some listserv / music forum:

http://www.stevehoffman.tv/forums/sh....php?p=7693590

Saw Lindsay Buckingham last night at the Tower Theater Fresno, 5/9/12
Bought LP versions—original, scuffed—of the two 'Big Mac' LPs, last week. Last night, saw Lindsay Buckingham, early on a solo tour that will expand into some kind of a cross-country marathon.

Got through the front door with my ticket for row 'W', center as the lady locating our seats murmurs "This will be an Extremely loud concert." She wasn't kidding. It was just Lindsay Buckingham, about 12 very different guitars, a roadie/tech handing Lindsay the guitars, a sound crew and enough audio gear to properly load the Save Mart Center @ 100 db. However, the Tower Theater only holds a little under a thousand people. I'm not sure why it was so loud, though it must be noted that Lindsay milked the pure volume for all it was worth. As an Iggy Pop-like display of raw power, it was very impressive. As a concert experience it was painful. I unfolded and broke up a paper towel that was in my pocket, rolled the two mini-wads into earplugs and twisted them into my ears. Pity, because his guitar playing is absolutely extraordinary. He has one of the most awesome picking techniques I've seen from anyone and I've recorded a fair number of awesome pickers in the realm of classical music. I suspect that Lindsay Buckingham fans will want to catch this tour. My wife brought some good earplugs. She loved it, noted that it was a long time since she heard real Rock 'n' Roll guitar. I couldn't help but note, as a 'fingerstyle' picker, how he uses his hands so fluidly, how you can see left and right hands churning along very slightly different paths, producing very 'Baroque' rhythms and patterns.

I have to wonder how long his vocal chops can hold out if he forces it that hard, that long. I have never heard/witnessed such extremity of expression from such a 'popular' musician before. If you like this sort of thing, you will love this sort of thing.

But next time I'm bringing real earplugs.

[This is more about the venue than about Lindsey]
San Luis Obispo Tribune
http://www.sanluisobispo.com/2012/05...s-fremont.html

By Patrick S. Pemberton | [email protected]

Performing hit songs from his band Fleetwood Mac, along with tunes from his latest solo album, Lindsey Buckingham kicked off Tuesday night what is expected to be a semi-regular series of concerts at the historic Fremont theater in downtown San Luis Obispo.

The theater was mostly full for the show, which local club SLO Brewing Co. put on with Numbskull Productions.

While the Fremont has hosted concerts before — Los Lobos, Toots and the Maytals, Steel Pulse and John Hiatt — the last concert staged there was a series of shows put on by progressive rockers Yes in 1996.

Todd Newman, co-owner of SLO Brewing Co., has been negotiating with King Ventures, which owns the Fremont with developer Rob Rossi, for a couple of years about hosting concerts there.

“The dialogue between Todd and I has been going on for quite a while,” said J.G. King, of King Ventures. “And it didn’t really pick up any steam until the last six months. I think when Todd saw he had a chance for somebody like Lindsey, he started calling me a little more often.”

The art deco Fremont is San Luis Obispo’s oldest movie theater. Its opening gala in 1942 was attended by several celebrities, including actor Jackie Cooper, boxer Max Baer and comedy duo Laurel and Hardy. That history, plus the theater’s charm, will appeal to artists, Newman said.
“It’s just an iconic piece of real estate in downtown San Luis Obispo,” Newman said.

Known for its neon sign and ceiling mural, the theater can seat about 850 people for concerts. That’s bigger than SLO Brew’s club on Garden Street, but more intimate than a venue such as the Performing Arts Center at Cal Poly.

While concerts at the Fremont have been rare, Yes — reuniting its classic lineup for the first time in 15 years — memorably recorded songs for two live albums during three shows that attracted fans from around the world.
“Their Yes fan club was so involved, they were flying over here to see the shows,” said King, who attended the shows himself.

The Movie Experience rents the theater to screen current films, but the lease allows the Fremont owners a few days a year to use it for other purposes, such as the San Luis Obispo International Film Festival.

For future concerts, King said, he will work with Newman to determine which SLO Brew acts might best work for the Fremont.

“If we did two to four shows a year, that would be great,” said King, whose father, John, bought the Fremont with Rossi. “We think the shows at the Fremont will get a pretty good following.”

For their first show, Newman said, they had hoped to bring in a significant act.

“Lindsey Buckingham — Fleetwood Mac, the historic Fremont — that seemed like a perfect fit,” he said.

Performing a one-man, acoustic show, Buckingham promoted his latest album, “Seeds We Sow.” But the guitarist also performed songs from his mega-band Fleetwood Mac such as “Big Love,” “Bleed to Love Her,” “Never Going Back Again” and “Go Your Own Way.”

http://www.musicmurmur.com/blog/2012...uckingham.html

When older bands or artists tour, sometimes it’s easy to think they’re doing it for the money and in some cases they very well may be. Watching how much passion and emotion Lindsey Buckingham exuded at the Sunset Center in Carmel proved that without a doubt he’s still at it for his love of music, not to make a quick buck. One of the sure advantages of still touring at his age is that he’d never run out of music to choose from, especially for someone like him who not only has decades of his solo career to choose from, but Fleetwood Mac too, with even a little bit of Buckingham Nicks, all of which he included in his fourteen-song set. I’d of course heard Fleetwood Mac songs over the years but wasn’t familiar with anything past their biggest hits and knew even less of Buckingham’s solo work, and though the lack of familiarity can sometimes hinder how much I enjoy an artist’s performance, it had no negative bearing on what I took from his. The understated way in which he performed had something to do with it, and it wouldn’t have been too much to expect a larger and louder stage show from a member of the Rock and Roll Hall of Fame, but all Buckingham needed was a variety of guitars that he and his tech would trade each other between songs.

One of the most impressive things to me was that despite nearly forty-five years of doing it, his singing voice wasn’t worse for wear and in fact was more powerful on a few of the live versions of songs compared to their recorded ones. “Go Insane” was the shining example of this, him growling and screaming the chorus as opposed to its quieter studio version. It was amazing to see that regardless of how old some of the songs were and that they were written when he was at different stages in his life, he played them with just as much, if not more fervor and there was nothing artificial about it. A unique moment that proved he wasn’t phoning it all in was when he encountered some sound troubles and threw the guitar he was currently using down, smashing it in the process and joking during the net song he intended to use that guitar but obviously couldn’t anymore. The aforementioned sound problems were the sole downside, the acoustics bouncing off the wall of the balcony in such a way that the music sounded distorted and was painfully loud to my ears sometimes, but this was likely a problem of the venue and not Buckingham’s. If you get the chance to see him, no matter whether you’re a big fan or know a few songs at most, I highly recommend catching a show of his!

Sacramento!! (great great show!)
 

Lindsey Buckingham at The Crest Theatre | Sacramento, CA | 5/13/2012

MAY 14, 2012 BY JASON DEBORD

Epic performance from a legend. Indeed, a very special Mother’s Day for some of the ladies in the audience, Lindsey Buckingham rocked the sold out, historic Crest Theatre in downtown Sacramento tonight. Alone on the stage, with an endless arsenal of guitars, Mr. Buckingham put on an amazing performance, and more than anyone, he has such a deep emotional connection with his music that his passion truly drives his live show unlike any artist. He is simply an amazing musician. Quite honestly, he could put on an entire showcase of just his peerless guitar playing, or, alternately, stand at the microphone all night a capella, and either would be captivating. Having enjoyed both in perfect harmony, it was a night I will not forget.

Who: Lindsey Buckingham
Venue: The Crest Theatre
Where: Sacramento, California
When: May 13, 2012
Seating: Floor Row C, Seat 9 (front floor section to left, second row); encore standing at front of stage left

I usually provide a bit of a preface about the artist and his/her/their work, but in this case, Lindsey Buckingham needs little introduction. He is a member of the Rock and Roll Hall of Fame and a Grammy® Award winning artist, known both for his solo work and his role as guitarist and vocalist of Fleetwood Mac. Buckingham is a native of California, and and Stevie Nicks were famously a package deal when made part of the otherwise UK group, Fleetwood Mac, who are one of the most successful bands of all time, and each member is extremely talented both collectively and as individual artists.

Funny enough, I was supposed to see Lindsey Buckingham perform in England back in December (in which I saw and reviewed many shows across England and France), but he had canceled the shows due to an injury. I was really disappointed to have missed him (and the package for that show included meet and greet as well), so I was thrilled to learn he was coming to the States for a new tour, and even playing in Sacramento, where I was born. More, the Crest Theatre is a cool venue with a unique history that holds many memories for me, so it was nice to make some new ones with this event.

Lindsey Buckingham released a new solo album last year, Seeds We Sow, though the set list for tonight’s gig covered a wide range of material across his solo career and a few Fleetwood Mac tracks as well.
Having been to a show last weekend that skewed extremely young, this show was the exact opposite – I felt extremely young at just under 40 (whereas at the other show, some I was talking to had no real frame of reference or familiarity with Nirvana for crying out loud). Given this, and the “seated” atmosphere of the venue, I expected a pretty sedate crowd. I could not have been more wrong. The minute Mr. Buckingham stepped on stage, the more vocal among us could not contain their enthusiasm. It was really just an awesome crowd to be part of in every way, and the warmth seemed to immediately be recognized and appreciated by Mr. Buckingham, and I’m confident it contributed at least in part to his amazing performance.

Seeing him for the first time, Lindsey Buckingham struck me as very genuine and humble, and really had a way with the crowd in-between songs – like we were on this journey together, and song by song, he had more and more people out of their seats, like it was his mission to get everyone up by the end of the gig (and if so, he succeeded).

He provided some nice insights into his work, his perspectives on his body of work overall, and some anecdotes about some of the songs, and their meaning (as well as meaning today compared with meaning at the time written). He also talked about the “big machine” (Fleetwood Mac) and the “little machine” (solo work) and how they interrelate and feed one another.

What was fascinating to me was his true passion – he was absolutely baring his soul, and his art, on the stage. But really interesting for me is how this manifested song to song. Many artists, when performing, move about the stage, and interact with the audience with their eyes, catching glances and giving their own. With Lindsey Buckingham, for many songs, he is truly in a world all his own, not looking at various members in the audience, but feeling the music, the lyrics. I don’t know if he’s inside himself, projecting out, or taking us somewhere else entirely. Whatever it is, in each instance, it’s really an experience.

I’ve always been a huge fan of Buckingham as a vocalist, and in my opinion, he’s always been under-appreciated for his unique and amazing voice. Of course, he is world renowned for his unbelievable guitar playing – truly a genius with the instrument, and was so cool to see him playing in his unique, bare-handed style with such an array of styles, both acoustic and electric.

The show was fantastic. After the first set, some in the front row moved up to the foot of the stage, which seemed like a good idea, so I joined in, as did others (having had a chance to peek at the set list prior to the show, I knew two more songs were left). This was an awesome, highly interactive experience, as some of us got to chatting with Mr. Buckingham when he returned to the stage; graciously, he shared in the fun and shook some hands, etc. One gentleman, upon getting a firm handshake, exclaimed “I shook your hands 25 years ago”, which even surprised Mr. Buckingham, who responded with a cheery “really?!?”.

Truly it was a special night, and a special event. I know some new east coast dates have recently been announced, so I’d highly recommend attending one of these shows if you are able to – seeing him live is such an honor and watching DVDs and videos and listening to CDs cannot compare with watching the man perform his art live on stage, with your naked eyes.

Below are a few videos I shot during the performance:

http://rocksubculture.com/2012/05/14...to-ca-5132012/

^Love the "genuine and humble" part.

Michele

Survival of the Fittest
 

http://www.inlander.com/spokane/arti...e-fittest.html

Survival of the Fittest
Lindsey Buckingham beat the odds and is still making music.

Steve Labate

Lindsey Buckingham marches on without Fleetwood Mac

From the beginning, Lindsey Buckingham seemed destined to ascend the throne of rock stardom. In the late 1960s, the already talented guitarist’s first band Fritz — for whom he’d recruited a gorgeous young singer named Stevie Nicks — was opening for the likes of Jimi Hendrix, Janis Joplin and Creedence Clearwater Revival at all the hippest Northern California music halls. When Fritz broke up, Buckingham and Nicks got together, both musically and romantically, sticking it out through some lean times and eventually signing with Polydor Records for a self-titled 1973 LP. The record flopped and the pair were subsequently dropped from the label, but it wasn’t all for naught.

Drummer Mick Fleetwood — founding member of London blues-rock veterans Fleetwood Mac — was in Los Angeles scouting studios in late 1974 when producer Keith Olsen played him “Frozen Love,” a track he’d recorded with Buckingham-Nicks two years prior. It was a moment that would forever change the course of the band and the lives of all those involved. Fleetwood loved the guitar work on the song, and on New Year’s Eve he asked Buckingham to join the band. Buckingham — true to Nicks, who’d waited tables at a Bob’s Big Boy so he could stay home, write and hone his guitar chops — said that he and Nicks were “a package deal,” that he’d only join if she could, too. Mick accepted the conditions and before the year was out, the all-new Fleetwood Mac’s eponymous record had climbed to No. 1 on the Billboard charts.

But as soon as this astounding success had arrived, the foundation of Buckingham’s new palace was shaken. The confessional songwriter was headed down a paradoxical path, bound to suffer for his art, which would move the masses as the heart on his sleeve fractured under suffocating weight. Toward the end of 1975, as sessions began for Fleetwood Mac’s next record, the now legendary Rumours, Buckingham and Nicks were breaking up, badly. To add to the tensions, so was the band’s other couple, John and Christine McVie. And it probably didn’t help that drummer Fleetwood was having an affair with Nicks as his own marriage, to model Jenny Boyd, was on a crash course for divorce. But out of the pain and confusion of this time was born a masterpiece — one of the biggest selling, most enduring albums ever recorded, which, to date, has sold more than 40 million copies worldwide. Along with McVie’s optimistic “Don’t Stop” and Nicks’ wounded, hypnotic “Dreams,” Buckingham’s pot-stirring kiss-off “Go Your Own Way” was one of the album’s most memorable tracks.

In the wake of Rumours, Buckingham stuck it out with the band for 10 more mind-boggling years of chaos, excess and anxiety, somehow making some great records in the process, including the critically revered, noticeably minimalist, punk-and New Wave-influenced double-LP, Tusk. The first of Buckingham’s six solo albums, Law and Order, arrived in 1981, and soon thereafter he became a go-to artist for blockbuster-movie soundtracks, penning “Holiday Road,” the theme from classic 1980s comedy National Lampoon’s Vacation, and placing his sultry track “Time Bomb Town” in Robert Zemeckis’ Back to the Future. With Buckingham’s penchant for catchy, cinematic songcraft, the role was a natural fit.

Though the singer/guitarist has been bonafide pop-rock royalty for decades, his output has been uneven, both with Fleetwood Mac and as a solo artist. Part of the problem is that Buckingham has always been either the beneficiary or victim of the hottest new production techniques, which means his work can sound horribly dated. Just as often, though, his poetic lyrics and understated musicianship transcend whatever era he’s recording in.

“I’ve always believed that you play to highlight the song, not to highlight the player,” he told Acoustic Guitar magazine in 2003. “The song is all that matters.”

Buckingham’s latest album, 2011’s reflective yet rocking Seeds We Sow, finds the 62-year-old artist exploring the depths of quiet after the storm of a life intensely lived. The breathtaking, classical-guitar-anchored title track cascades like a waterfall — stark, vulnerable, wide open. It’s some of the best picking he’s laid down since Rumours’ “Never Going Back Again.” On “In Our Own Time,” he keeps it fresh, channeling experimental indie rockers Animal Collective on the song’s prog-y chorus, and the tender “Rock Away Blind” is the perfect showcase for Buckingham’s moody tenor. Though lushly produced, the material on Seeds We Sow feels tailor-made for a solo acoustic reading, which is exactly what Buckingham’s got planned for his upcoming show in Spokane: an intimate evening focusing on what has always mattered most, especially amidst all the incendiary drama — the songs.

Lindsey Buckingham • Mon, May 21, at 8 pm • Bing Crosby Theater • 801 W. Sprague Ave. • $55-65 • ticketswest.com • (800) 325-SEAT

Lindsey Buckingham stands alone at the Fillmore
 

http://www.sfbg.com/noise/2012/05/16...comes-down-one

SFBG › Noise ›
Lindsey Buckingham's live show comes down to one
05.16.12 - 3:32 pm | Sean McCourt |

Lindsey Buckingham stands alone at the Fillmore.
PHOTO BY ALAN SNODGRASS

With an arsenal of a dozen guitars and several amplifiers lined up behind him, Lindsey Buckingham wasted no time delving into his extensive catalog of songs Monday night at the Fillmore.

Striding up to a lone microphone stand wearing his signature blue jeans, v-neck t-shirt, and black leather jacket, the singer and guitarist launched into an hour and 15 minute set that spanned a broad spectrum of his career, covering a wide swath of solo material in addition to some of the mega hits he created as a member of Fleetwood Mac.

After running through the first couple of tunes and warming up his formidable finger picking skills, the 62-year old Buckingham took a short break to talk about his current tour across the country, contrasting the differences between performing with what he called the “big machine” — Fleetwood Mac — and “the small machine” — his solo outings.

Remarking that when he started out on his own, he would often take a sizable backing band with him, but over the years he has decreased the number of players, with his last major tour featuring a trio, and that this trek finds him venturing out by himself.

Aside from a few songs that he played along with to a pre-recorded backing track, such as “Go Your Own Way,” it was just Buckingham, his stellar guitar playing, and his still-powerful voice providing the sonic soundscape that filled the historic auditorium, proving beyond a doubt that he was capable of carrying the show all on his own, with a highly vocal and appreciative audience to encourage him.

At times, it felt strange to look at the stage and see only one person performing with the amount of energy and excitement being generated. During songs such as “Big Love” and “Go Insane,” Buckingham made a variety of impassioned facial expressions while playing, and yelled and clapped at the crowd when he finished.

When the Palo Alto native came back out for an encore, he walked along the front of the stage, high-fiving and shaking hands with his fans, before telling the audience that it “you guys really do make it feel like home here.”

Then adding, “There’s so much history in this place, and with all the music that has come out of this city, I’m just proud to be a small part of it.”

With Monday’s show in the books, Buckingham can be assured that he is still very much a vivacious and viable contributor to that ongoing legacy.

Fillmore Lindsey Buckingham Live Review Music

review of TO show
 

http://jammagazineonline.com/cr20120...uckingham.aspx

Lindsey Buckingham
Date: May 6, 2012

Venue: Thousand Oaks Civic Arts Plaza
City: Thousand Oaks, CA

Review and Photos by Scott Dworkin

Many things have been said and written about the history and legacy of Fleetwood Mac and especially Lindsey Buckingham. One thing you commonly don't read is the word underrated.

For those who play guitar, Buckingham plays a very peculiar, hybrid style technique that's extremely difficult to perform. He doesn't use a pick, instead preferring to use his fingers and fingernails, playing the guitar like one might play a banjo. Some refer to this method as 'chicken pickin''. His self taught style is something not typically seen in rock, and his distinctive sound helped set him apart from the many Fleetwood Mac guitarists before him. Never taking any formal guitar lessons, nor bothering to ever learn to read music, Buckingham's accomplishments - over 100 million albums sold - aren't too shabby.

"The small machine keeps getting smaller," joked Buckingham to the crowd gathered at the Thousand Oaks Civic Arts Plaza. He was making reference to the size of the audiences he's performed to over the years. "The Big Machine" obviously was Fleetwood Mac, which routinely sold out arenas and stadiums worldwide. "The Small Machine" was the many successful solo tours he has undertaken over the years with first a backing band, and tonight, just himself. With just a few amps and an array of acoustic guitars behind him, the machine was indeed, getting smaller.

There may be no better setting in which to witness the truly solo Buckingham than the Civic Arts Plaza. The cozy confines of the venue gave one and all the chance to appreciate the true talents Buckingham possesses. Not only is he an incredibly gifted guitar player, but a powerful vocalist and incredible songwriter as well. Throughout his 90-minute set, he alternated between the songs he made famous and his own intimate material. Classic rock staples like, "Never Going Back Again," "Big Love" and "Go Your Own Way" were seamlessly woven in with material from his solo outings, like "Trouble", even dipping back into the Buckingham Nicks catalog with "Stephanie". None of songs lost any of their power in the setting they were presented in. "Discard what is not essential," he encouraged the audience to do when listening to the music.

The true highlight of the night was the mesmerizing soaring guitar solo during the moody "I'm So Afraid". It brought the crowd to its feet. Buckingham ended the evening with a track from his latest solo effort "Seeds We Sow" to rousing applause. When it was all said and done, there was no doubt this bare knuckle approach by Buckingham, to present his music, was an excellent way for the audience to get an insight of his creative genius. Truly great songs start with a chord here or a tone created there. Tonight's audience was treated with a rare glimpse into how music is made before any type of machine, big or small, gets its hands on the material to transform the sound into something else. There was no better mind to 'mine' for this information than one of the great songwriters of our time.

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Lindsey Buckingham: Alone and Kicking
 

http://dailyvault.com/article.php5?id=281

Lindsey Buckingham: Alone and Kicking

Sunset Center, Carmel, CA, USA, May 10, 2012

by Jason Warburg

Alone on a bare stage decorated only with an area rug and a sizable amp rig, two songs into a taut 90-minute set that epitomized words like “intensity” and “masterful,” Lindsey Buckingham paused to contemplate the long, twisting trail that has led the Palo Alto native to the top of the rock world, around the globe and back to Carmel's 800-seat Sunset Center as a still-vital solo act.

The “big machine”—the musical juggernaut Fleetwood Mac, of which Buckingham has been a part for 27 of the last 37 years—and the small machine—solo recording and touring—nourish and feed off of one another. After a long struggle to achieve balance between the two, Buckingham has concluded that both are necessary and each has a vital role to play in fueling his growth as an artist.

This sort of semi-obsessive self-examination lies at the heart of Buckingham’s work both inside and outside of the Mac. His songs, both solo and with the band, almost always navigate those critical moments in which life-altering choices are made, sometimes at great cost.

All of which was in ample evidence Thursday night at the Sunset Center, but so was this simple fact: dude can play guitar like nobody’s business. I wouldn’t exactly call being named one of Rolling Stone’s Top 100 Guitarists of All Time a badge of honor—like most things RS does these days, the list was driven more by sales than merit—but Buckingham has surely earned a place on any such list imaginable.

Snapping off notes like little firecrackers, executing and repeating complex strummed figures on a small army of acoustics—he changed guitars after every single song, thrashing each within an inch of its life and killing one dead onstage in a moment of frustration—Buckingham put his virtuosity on full display from the opening notes of “Cast Away Dreams,” a pretty, somewhat contemplative number from 2006’s Under The Skin.

Buckingham’s well-paced show alternated between solo and Mac tunes, deftly drawing the audience into his less familiar solo catalog while sprinkling the set with old friends and FM radio classics. “Cast Away Dreams” was followed by “Bleed To Love Her” from FM’s 2003 comeback album Say You Will, both full of Buckingham’s trademark drive.

After another pair of solo tunes—the gorgeously rendered “Not Too Late” and a very pretty instrumental that might have been “This Was Nearly Mine”—Buckingham paused again to introduce “Big Love.” In one of several revealing monologues, Buckingham described how this particular Mac tune was intended quite differently from the way it’s generally been interpreted by audiences, the phrase “looking out for love” having been intended as a defensive hunkering down against love’s onslaught. Hearing the backstory definitely changed the way this listener heard the song—the sort of insight and interaction you can only get from an intimate evening like this.

The gorgeous “Never Going Back Again” from Rumours followed to huge response, though Buckingham chose to make numerous changes to its arrangement, altering tempo, build and vocal phrasing throughout. The crowd, to its credit, rolled with the changes and rewarded Buckingham with a standing ovation.

Returning to solo tunes (including the suitably manic “Go Insane”) Buckingham showed a tendency to execute the same sort of vocal/instrumental build on every song, soft to medium to furious to soft again, in an almost-verse-verse-chorus-verse arrangement. His delivery at times felt a bit overcooked and repetitive in that respect, but you can’t fault his intensity; the guy brings it 110 percent every time he steps up to the mike. Amazingly enough, the 62-year-old Buckingham’s voice sounds, if anything, better than it did ten years ago—richer, stronger, and under his complete control.

On a couple of tunes mid-show Buckingham accompanied himself with prerecorded, rather subdued rhythm tracks. At the close of the main set, he brought out a pair of electric guitars and used full prerecorded backing tracks (bass, drums and acoustic rhythm guitar) to pull off powerful, extended versions of Mac classics “I’m So Afraid” and “Go Your Own Way,” bringing the crowd to its feet once again. As one of our party put it afterwards: “That man loves to play guitar.”

Encores of solo tunes “Trouble” and “Seeds We Sow” were well met and the evening ended with a sense of wonder and satisfaction at seeing an artist of unique intensity and focus bare his soul on a naked stage. The little machine and the big machine roll on, both filled still with life and power and a remarkable, timeless catalog of music. Long may they run.

Glad the reviewer noticed one of Lindsey's best talents: making those faces.

Michele

http://blogs.kusp.org/bergalert/2012/05/10/buckingham/

Mac’s Lindsey Buckingham Goes Solo at the Rio

Podcast: Play in new window | Download

By Eric Berg

(Listen to some soundbites and my comments about Fleetwood Mac guitarist Lindsey Buckingham’s last three excellent solo albums by clicking on the above audio link. The middle album, Buckingham’s GIFT OF SCREWS was cannibalized, retooled and released several years after it was originally recorded, because Warner Bros Records wanted some of the songs for use on Fleetwood Mac’s 2003 SAY YOU WILL comeback album.)

Anybody who went to see Lindsey Buckingham’s packed Friday night’s May 11th “Smallest Machine” performance (as he calls it) at the Rio in Santa Cruz, expecting to hear Fleetwood Mac’s greatest hits, must have blown away by the wealth of under the radar material he’s penned over seven solo ablums in 20 something years. I forgot to take my notebook pen and my iPhone, but Buckingham did perform two of the Big Machine’s hits. After a very tidy 90 minute set, the guitarist left no doubt that the Stevie Nicks-Buckingham edition of Fleetwood Mac was really “Lindsey Mac” eighty percent of the time. Track down a copy of Buckingham-Nicks from 1974 on the Polydor label and give it a listen. You’ll see how those two saved a run out of gas Mac from going to the junkyard permanently, the minute they joined the band.

Standing alone in front of a small bank of amps with a covey of his custom made guitars to one side, Buckingham successfully walked “the kiss of death – one guy with the electric guitar plank”. Although Buckingham is exceptional at playing rhythm and lead simultaneously, he did flesh out a band sound with some very ultra subtle sample and hold loops and beat tracks manipulated by his guitar tech who also swapped out a different custom axe on every song. Buckingham is a very precise guitarist with few wasted notes and a total perfectionist in the studio and so it goes on stage. His tenor voice still hits those wonderful high notes that are at times buried by his tendency to attack his guitar strings at a much higher volume than called for.

Buckingham culled a mix of songs from all seven solo albums on acoustic and electric guitar. I was a bit disappointed he did not do a few more from his brilliant Under the Skin or any of the Rolling Stones covers he does so well. Buckingham ended the evening with the title song from his latest, the highly recommended Seeds We Sew. A thoroughly enjoyable show from one of the most innovative guitarists and songwriters in rock.

Lindsey Buckingham Is Gracious and Youthful at the Neptune Theatre on Saturday Night
 

http://blogs.seattleweekly.com/rever...medium=twitter

Concert Reviews

Lindsey Buckingham Is Gracious and Youthful at the Neptune Theatre on Saturday Night

By Erin Thompson Sun., May 20 2012 at 7:00 AM
Categories: Concert Reviews

Lindsey Buckingham
Saturday, May 19
Neptune

Lindsey Buckingham appeared on stage at the Neptune on Saturday night in a black leather jacket, ankle boots, and skinny jeans. Buckingham is now 62 years old; with the years he's gotten rangier and his hairline's receded, but his voice and his vitality appear not to have aged--to the point that he's able to sound completely dynamic on stage by himself, just him and about eleven guitars he cycled throughout the set. Buckingham spent some time talking about the Big Machine (Fleetwood Mac) versus the Small Machine (his solo career), how neither would exist without the other, and how when he first started playing solo, he'd tour with a ten-piece band. "Tonight, it appears it's just me," he said. "So it looks like the Small Machine is getting smaller."

Buckingham does everything with flair. He shakes his head as he sings, like he's willing the notes out. He paws at his guitar strings like a dog, picks at them like a pianist. He pumps his guitar up in the air and soaks in the applause. After playing a few midtempo songs--2006's "Cast Away Dreams"; Fleetwood Mac's "Bleed To Love Her"--someone in the audience shouted, "kick it up a notch!", which was rude, but as if on cue Buckingham switched to electric for "Come" and heated up the room bawling out the chorus ("Think of me sweet darling every time you don't come/Can you feel the fever?"). He followed "Come" with a slowed-down, solemn, acoustic version of his 1984 synth-pop hit "Go Insane," which he ended on an astoundingly strong belting note. His voice never broke.

Buckingham received standing ovations for his fervent performances of "Come" and "Go Insane," but the audience erupted once he started in on the familiar open lines of "Never Going Back Again." After he closed his set with "Go Your Own Way," he shook hands with every person standing in front of the stage, left just briefly, and came back for an encore of two songs from the Small Machine. His performance of his very first solo hit, 1981's "Trouble," bore little in common with its cutesy, cheesetastic music video. Like "Go Insane," Buckingham slowed it down, drew out the vocal melody--"I really should be saying goodnight/I really shouldn't stay anymore"--so that it stretched and shimmered, transforming the song into something softer, more romantic, more mature.

Setlist:

Cast Away Dreams
Bleed To Love Her
Not Too Late
Poor Little Raven
Stephanie
Come
Shut Us Down
Go Insane
Never Going Back Again
Big Love
I'm So Afraid
Go Your Own Way

Encore:
Trouble
Seeds We Sow

Don't you try to get that out of the setlist, Elle.:p

Michele

Is Dancing ("Poor Little Raven") back in?

no. just keeps staying in the setlist for some reason. maybe he's superstitious and doesn't want to have 13 songs?!

add Rodeo in Lindsey and you'll be back at 14!!

Oh, ok. Thanks, elle.

It was intriguing. I thought it could have went on SWS nicely. It would have been interesting to hear it more.

^^ Keep meaning to tell you, CAD, how much I love your sig .gif :)

Shows I’ll Never Forget: Lindsey Buckingham, May 19, 2012
 

http://networkedblogs.com/xSODC

Concerts, Pop Music, Rock Music, uncategorized — May 20, 2012 10:21 pm

Shows I’ll Never Forget: Lindsey Buckingham, May 19, 2012

Posted by
Glen Boyd


At Neptune Theatre, Seattle, Washington: “The small machine appears to have just gotten a little smaller,” was how singer-songwriter, and Fleetwood Mac guitarist Lindsey Buckingham described it during the Seattle stop of his current solo tour this past Saturday night at the Neptune Theatre.

Buckingham returned to this topic again and again during the show. Comparing what he does with the “big machine” of Fleetwood Mac, to the more left-of-center music he plays as a solo artist — both with smaller groups, and now, as a virtual one man band — Buckingham talked about how the two seeming extremes are a necessary compliment to one another. Performing songs from a setlist which drew equally from his solo work (from “Trouble” to the recent “Seeds We Sow”), his platinum smashes with Fleetwood Mac (“Go Your Own Way,” “I’m So Afraid”), and even the relatively obscure, pre-Fleetwood Mac Buckingham-Nicks album (“Stephanie”), Buckingham made a very convincing case for how these individual pieces form a more complete artistic whole.



But more than that, on this night Lindsey Buckingham demonstrated why that in addition to being a great songwriter with one of the better ears for a great pop hook in the business, he is also such a world-class guitar player. Performing in the same solo, but not always acoustic, format that Neil Young used to such great effect on his recent Twisted Road tour (and backed by his own small army of acoustic and electric guitars lining the wall behind him), Buckingham pretty much tore the house down at the tiny, 900 seat Neptune Theatre on Saturday night.

The only major complaint, was that at a scant ninety minutes, the set could have been just a bit longer.

Even so, he used the time very well. The small venue also gave the audience a rare and intimate opportunity to view Lindsey Buckingham’s guitar technique — and especially his unique style of finger picking — up close and personal from just about any seat in the house. For those in the first few rows, this also made for plenty of glad-handing between audience and performer, which Buckingham himself seemed to genuinely enjoy doing.



But mostly, the intimate setting provided Buckingham with the perfect place to show off his guitar chops, which he did with considerable passion and vigor. On the quieter songs, like the instrumental “Stephanie” (reportedly written for his then lover and musical partner in Buckingham-Nicks, Stevie), “Seeds We Sow,” and a beautifully reworked “Trouble,” Buckingham’s marvelous overhand picking technique — where he plucks the strings like a bass guitar — was on full display with a variety of acoustic guitars. This was equally matched by the power of his voice, which he routinely took from a whisper to a scream pretty much at will.

But the real fireworks came when he strapped on the electric. For Fleetwood Mac’s megahit “Go Your Own Way,” Buckingham was able to effectively duplicate the sound of his self-described “big machine,” by looping the rhythm parts he had just finished playing, once it came time for the big guitar solo. For a song that he has probably played something like a million times, Buckingham attacked this with venom too — the song sounded as fresh and new here, as it did the when the world first discovered it on the Rumours album.

The hands-down stunner of the evening though was a scorching, eight minute take on the Big Mac’s “I’m So Afraid.”



Here, the dark foreboding power chords that open the song were matched by a vocal where Buckingham held nothing back. As his voice slowly rose in intensity to an anguished cry, the song’s tension built to a thunderous crescendo which soon exploded into a blistering guitar solo. Buckingham’s fingers and hands were simply all over the place here — a blur of light and shadow flying up and down the fretboard, even as he slapped away at his axe ferociously.

It was at this point, that the concert crossed a line into greatness. Flying completely solo at this late stage of the game, Lindsey Buckingham is definitely playing like he is “all-in” right now.



Setlist, Seattle, Washington, May 19, 2012:
Castaway
Bleed To Love Her
Not To Late
Dancing
Stephanie
Come
Shut Us Down
Go Insane
Never Going Back
Big Love
I’m So Afraid
Go Your Own Way

Encore:
Trouble
Seeds We Sow


Author: Glen Boyd
Glen Boyd is the author of Neil Young FAQ, released in May 2012 by Backbeat Books/Hal Leonard Publishing. He is a former Music Editor at Blogcritics Magazine, and a longtime music journalist whose work has appeared in SPIN, The Rocket, The Source and other publications. You can read more of Glen's work at The World Wide Glen (http://theglenblog.blogspot.com) and The Rockologist (http:www.therockologist.com).

ISA bringing down the house. Insane after all of these years. Makes me wish I was there when they performed it for Bill Clinton. I wonder how long it ran. I hope Lindsey was especially good that night.


Michele

:) Thanks!

http://www.ssgmusic.com/live-review-...ptune-theatre/

Live Review: Lindsey Buckingham at the Neptune Theatre
Fleetwood Mac's Main Man Pares Down to the Essentials for an Awed Seattle Crowd

Posted by Levi Fuller on May 21st, 2012

If the name Lindsey Buckingham means nothing to you, and yet you are a human possessed of the ability to hear, I can just about guarantee that his unique voice and brilliant pop songcraft are in fact quite familiar to you. As a key songwriter and singer in Fleetwood Mac from 1975 on, Buckingham penned and sang some of the most recognizable and enduring tunes to grace the FM rock radio airwaves, including “Go Your Own Way,” “Second Hand News,” and “Never Going Back Again” (and that’s just from side 1 of Rumours).

Buckingham has had a relatively prolific solo career for decades – during Saturday’s concert he referred to it as the “small machine” to Fleetwood Mac’s “big machine” – probably the most recognizable product of which for the casual listener would be “Holiday Road,” the theme from the 1983 movie “National Lampoon’s Vacation.” That little pop gem aside, Buckingham’s solo career has generally been about experimenting as an artist and letting himself be creative without worrying about hits. He spoke on Saturday about the importance of having these two elements in his life, and it was plain that his work with the “small machine” brought him much joy. By all appearances the audience at the Neptune was here not to witness a slice of the big Fleetwood Mac machine, but to revel in the brilliance of the small machine on a small stage. And revel we did.

Lindsey Buckingham walked out on stage a few minutes past 9, embodying L.A. cool in tight dark jeans and boots, a black shirt, and black leather jacket that he never removed despite what must have been quite toasty conditions on stage. The packed house screamed and cheered, and Buckingham bowed and hopped around and cheered back, mugging and smiling as he strapped on his acoustic guitar – a routine he repeated between pretty much every song, soaking up the audience’s adulation as we soaked up his music. He opened with “Cast Away Dreams,” from his 2006 solo album Under the Skin, starting us off softly with lightly strummed chords and his distinctive voice – in its soft, raspy mode for the verses and opening up for the chorus’s high, full-throated melody.

Up next was “Bleed to Love Her,” a lesser known Fleetwood Mac song. Here Buckingham’s impeccable finger picking (he never once held a guitar pick for the entire night), commanding voice, and powerful dynamics set the tone for the evening. All that was on stage was a man with an acoustic guitar (and, OK, a handful of effects pedals and several amps), but with these simple tools he could bring the audience from hushed reverie to foot-stomping cheers within a single song, as he did again and again through the night. For a few songs later on in the night he was supported by some simple backing tracks, usually just percussion or a basic guitar part that could back him up as he launched into the occasional blistering guitar solo (and if the idea of a man in his 60s standing on stage belting out a guitar solo over backing tracks sounds somewhat lame to you I get that, but Lindsey Buckingham can pull it off in such a way as to make the most jaded and cynical among us drop our jaws and shake our heads in wonder).

But the heart of the evening was the man, his voice, and his guitar, and that’s really all we needed. He played a couple of familiar Fleetwood Mac songs – “Go Your Own Way,” his last pre-encore song, had the floor audience standing and cheering insanely, of course – and a couple of solo songs I recognized from his darkly beautiful 2011 album Seeds We Sow, but much of the set was composed of songs that were new to me, or only vaguely familiar. It didn’t matter, as the genius of these songs, his near perfect performance of them was enough to captivate and delight, perhaps even more so than a rehashing of a long-beloved song such as “Go Your Own Way.”

Introducing the song “Big Love” (originally slated for his third solo album, but ultimately released on the 1987 Fleetwood Mac album Tango in the Night), Buckingham said that this song embodied an important element of his musical philosophy, and what I think makes him such a compelling songwriter, producer, and performer: “Seek out what is essential, seek out the center, and discard what is inessential.” It’s a simple enough credo, but one that is very hard to get right, and one that that Lindsey Buckingham has mastered. As far as I could tell, everyone leaving the Neptune Theatre on Saturday had decided that, whether with the big machine or the small machine, Lindsey Buckingham was most definitely essential.

nicely said! there you go all you complainers :p:p

:nod::nod::nod::nod::nod:

And preferably as Small Machine :nod:;)

Concert Review: Lindsey Buckingham at the Neptune Theatre, Seattle, WA, 5/19/12

Author: Dusty Somers — Published: May 22, 2012 at 1:19 pm 0 comments

Fleetwood Mac singer and guitarist Lindsey Buckingham brought his solo act to Seattle’s Neptune Theatre Saturday, delivering a tight 80-minute set to an adoring audience. Spontaneity and surprises were in short order — just take a look at the track listing for Buckingham’s latest live record, and you’ll nearly find this show’s setlist — but there was no questioning his commitment to his musicianship, as intricately picked guitar solo after guitar solo brought waves of standing ovations.

In the intimate confines of the Neptune, Buckingham played songs from what he called the “small machine” as opposed to the “big machine” that is Fleetwood Mac. Alternating solo work with Fleetwood tunes he’s penned over his long career with the band, Buckingham offered up fan favorite after fan favorite — a few opening chords all that was necessary to evoke thunderous applause.

Armed only with a massive arsenal of guitars, Buckingham made it clear his wide-ranging vocals haven’t degraded over the years at all — the soulful, searching pop vocals of “Trouble” and the increasingly throaty, yelping rock strains of “Big Love” both rang out crystal clear.

When introducing “Big Love” — originally meant to be a solo work, but used as a Fleetwood Mac single — Buckingham’s explanation that the song was written in 1987 was met with an enthusiastic cry of “I wasn’t even born yet!” from an obvious mega-fan near the front. Elsewhere, Saturday’s audience certainly skewed baby boomer-ish, but Buckingham is no mere nostalgia relic. One only needed to witness the blistering, extended guitar solo that capped off “I’m So Afraid” to confirm his abilities remain vital.

Despite the show’s fairly rigid setlist construction, Buckingham mostly managed to avoid any sense of staleness, except perhaps for a rather perfunctory rendition of “Go Your Own Way,” which pretty much gets by on its massive appeal and name recognition alone. Nevertheless, Saturday’s performance was an impressive display of talent.


Read more: http://blogcritics.org/music/article...#ixzz1vXQqPccZ

yes, Small Machine all the way!! :thumbsup: :thumbsup:

we don't need another 3 year wait for a new FM album and another hits tour, paying big bucks for tickets from scalpers to see one show in some huge arena while all macsters are getting ancient as the years go by...

especially when we can instead have LB touring with several different sets of all his great solo stuff (tons we still need to hear!), and spoiling us with his phenomenally energetic solo shows in intimate venues.

Big Machine can tour in very very short legs off and on if they have to, but we need Small Machine!! :nod::nod:

Agree with all that 100% (as you know ;)) - couldn't have put it any better!

http://www.metro.us/newyork/entertai...-small-machine

Lindsey Buckingham revs up 'the Small Machine'

MICHAEL TULLBERG/GETTY IMAGES

With the aid of only his guitars and voice, Lindsey Buckingham turned in an impressive set at the Wilbur in Boston on Tuesday night.

PAT HEALY
Published: May 30, 2012 2:58 p.m.
Last modified: June 01, 2012 4:18 p.m.

When Lindsey Buckingham treated the half-full house at the Wilbur Theatre to "Go Insane," something remarkable happened. Though the Boston crowd was affectingly vocal on Tuesday night, it was impossible to overlook the empty rows on the floor and the unused third-floor balcony of the 1,200-capacity venue. But with his performance of his biggest solo hit (and frequent Fleetwood Mac live tune), a seismic shift of sympathy occurred, where instead of feeling badly for a performer who should be able to fill such a small hall, one could instead feel badly for every person who didn't buy a ticket for any of those unoccupied seats.

Standing alone on an oriental rug in front of a Jenga-like assembly of amps, Buckingham delivered a set that included material from what he calls 'the Small Machine,' (his solo work) as well as a few classics from 'the Big Machine,' (Fleetwood Mac). The set was paced perfectly, as he warmed up and let himself indulge in the amazing guitar intricacies that he makes look so effortless.

When he presents these Big Machine songs in the Small Machine format, it's almost difficult to imagine there being a need for any additional instruments, because Buckingham fills the sound so well with just six strings. On some of these numbers though, he did cue up a prerecorded rhythm track. It's odd to hear a recording of his voice, humbly counting in the beat to "Go Your Own Way," when one considers how notoriously expensive it was to record "Rumours," the album that houses this song. The earnest backing rhythm here sounded like he programmed it on an outdated computer. But there is a definite charm in all of this, and to watch him rip that famous solo is just as inspiring as it would be in a sold-out arena in 1977.

In the quiet after Buckingham had completed the Fleetwood Mac song, "Come," from their 2003 album, "Say You Will," a fan shouted out a request for "Tusk." Buckingham's response was as good-natured as Bill Hader's impersonation of him on "Saturday Night Live" as the guest who host Deandre Cole just never has enough time to get to on the "What Up With That?" talk show. When presented with a request for a song that has come to represent the Big Machine overindulgence that is so distinctly the opposite of what Buckingham is doing on this tour, the singer joked, "That was as close as you're going to get to 'Tusk' ... unless you brought a marching band with you."

Maybe that was the reason behind the multiple empty rows in the front; the dude who requested the song had planned to bring a marching band with him, but they never showed up. Regardless, Buckingham never appeared fazed by the small turn-out. He had no problem tapping into the passion of his compositions, and rendering these songs with whatever energies they required, whether it be whispering, shouting until his veins popped out or playing solos with his mouth open and his eyes closed.

"Boston, you were an absolute pleasure," said Buckingham as he took a final bow goodnight. The pleasure was all ours, Lindsey.


More about Lindsey Buckingham , Fleetwood Mac , Stevie Nicks , Bill Hader , Saturday Night Live , What Up With That



weird about first rows being empty - those tix were showing up as sold on TM - must be the scalpers who were not able to get what they wanted.

http://www.masslive.com/entertainmen...owd_at_ca.html

Lindsey Buckingham pleases crowd at Calvin Theatre

Published: Sunday, June 03, 2012, 9:19 AM
Updated: Sunday, June 03, 2012, 10:09 AM
By George Lenker

There are only a few ways to review a concert, but let me try what I think is a different method for Lindsey Buckingham's Saturday night show at the Calvin Theatre in Northampton: giving you the good and the not-so-good in separate doses.

Before we start, let's acknowledge that the former Fleetwood Mac member did nothing but wow the enthusiastic crowd which filled about 3/4 of the venue. But fans are fans and performers have to be pretty bad for their faithful to turn on them.

This is not to imply Buckingham wasn't good. He was. But there were (admittedly subjective) aspects to the show that weren't wonderful.


Good: Buckingham's masterful fingerpicking
Not-as-good: His too-long guitar solos

Buckingham's talent as a finger piker is nearly unrivaled in rock music–and maybe in any genre of music. The barrage of notes that come arpeggiating off the fretboard is truly jaw-dropping. On songs such as "Not Too Late" and "Big Love" (which featured a beautiful, slower reworking of his 1987 hit with Fleetwood Mac.) He also effectively employed a looper (a device that allows you to layer parts live, or use prerecorded ones as backing tracks) to create wonderful textures.
But on several tunes, notably "I'm So Afraid," the guitarist indulged his rock-star sensibilities to get the better of his judgment. While lengthy guitar solos may be fine when jamming with a real band, shorter, tastier ones would have served Buckingham in this setting. The repetitive and sonorous solo at the close of "I'm So Afraid was at least four minutes. The crowd liked it, though.


Good: His impressively strong vocals
Not-as-good: His earnest between songs philosophical patter.

When Buckingham opens his mouth to sing, (what he's there for) amazing things happen. If anything, his voice seems to have gotten better with age. His ferocious roar on some songs was more grittier than ever. On the Fleetwood Mac hit, "Go Your Own Way," added an extra vocal oomph that isn't on the single. On his solo 1984 hit "Trouble," he held some notes for almost 10 seconds. Not too shabby for a 62-year-old.
But while his singing vocals were near-amazing, his speechifying was a little too guru-ish. There is no doubt Buckingham is a thoughtful and introspective guy, but a little of this goes a long way in a concert setting, especially when not tempered with a lot of humor. There was nothing wrong with what he said, but last time I checked, we already have a Dalai Lama.


Good: The overall show
Not-as-good: The length of the show.

He played the hits. (the above-mentioned ones as well as "Never Going Back Again"). He played them well. He slipped in a few great new songs. He put on a show. He acknowledged the audience. In the end, I'd give it a B+.

But not counting the two-song encore, he played just an hour. While that's plenty for the likes of me, I can't help think some fans may have felt shortchanged. But everyone seemed really happy, so maybe it was good for everyone.

Lindsey Buckingham creates orgasmic moment onstage
 

(this is a review article from the woman that shared those great photos from Lupos - especially that b&w one)

http://www.examiner.com/article/lind...moment-onstage

LINDSEY BUCKINGHAM
June 4, 2012

Lindsey Buckingham creates orgasmic moment onstage


Phyllis Pascazio
Providence Concert Photography Examiner
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The night had finally arrived. Lindsey Buckingham was scheduled to perform at Lupo's Heartbreak Hotel. With the work day over, it was time to head into the city for an evening of food, photography and glorious music. I gathered my photo equipment, hopped into the Hyundai, drove up the street to pick up my assistant and headed for Providence.

The downtown area was alive with university students and couples out for the evening. The streets were not crowded by any standard, but it was nice to see the current resurgence of activity in the downtown area.

View slideshow: Images of Lindsey Buckingham 2012
Here and there, Providence's homeless community was represented as well, leaning against shadowed walls or standing in the open air. They had at least one thing in common with the students and the couples this evening: everyone was enjoying the pleasant weather after so many days of unbearable heat and intermittent rain.

It took a few minutes of circling around, but eventually I found a parking spot on the street, just two blocks from Lupo's. Although I was already in a good mood, the free parking spot put a touch more spring in my step.

As fortune would have it, I had parked directly across the street from a Japanese/Korean restaurant. When the culinary aroma wafted across to us, my assistant and I simultaneously realized we were hungry. Happily, we were both suddenly in the mood for Japanese/Korean food, so we crossed the street and entered the restaurant.

Since neither of us had been there before, we scoured the ample menu, discussed what some of the more obscure items might be, and finally asked for assistance from our very helpful server.

We chose a few items that sounded interesting, and decided to split one meal rather than stuff ourselves or deal with leftovers. After all, we were there on assignment. We ordered spicy seaweed salad, a crunchy tuna/salmon sushi roll and a dish neither of us had tried before, then relaxed with our hot tea and discussed the evening ahead, planning our attack while we waited for the food to arrive.

First came the seaweed salad. The spiciness pleasantly surprised us both. Conversely, the wasabi that came with the sushi roll did not provide that "punch in the mouth" that always makes me grimace and act like I'm on fire, theatrics that never fail to amuse my assistant whenever she witnesses it.

The meal was superb. I paid the bill, and we made our way back to the car to get the equipment.

I chose two digital camera bodies, one housing my "nifty-fifty", the other attached to a telephoto lens that always accompanies me to such events. It's not the fastest lens in the bag, but it does the trick.

We walked the two blocks fairly quickly, and arrived at the box office just minutes before the doors opened. There were two people ahead of us on line, if you can call that a line. Soon, others started arriving, and by the time the show began, the place was filled with Buckingham fans.

My assistant and I chose a safe spot off to the side, where we wouldn't be jostled or be in anyone's way. I got set up, made some test shots and waited for the show to begin.

On stage, the spotlight illuminated a lone guitar and a mike. When the announcer introduced him, Lindsey gently appeared from out of the shadows beyond the spotlight's reach, like a long anticipated lover.

Judging by the reaction of the crowd, he is indeed adored by his fans. The feeling is obviously mutual, as the first thing he did after entering the glow of combined spotlight and adoration was to place his palms together in a gesture of thanksgiving. It seemed to me that he was honoring his source, his audience and himself with that one gesture.

He needed no warm-up band, no accompaniment. It was pure Lindsey, as he strummed and sang songs old and new, touching now and then on his days with Fleetwood Mac, and filling in the rest with tunes from his solo career. It was glorious.

My favorite moment happened about half a dozen songs into the set. The room suddenly went quiet. We all knew something good, something holy was about to happen. When the familiar guitar riffs of "Never Going Back Again" gently teased their way into our psyches, the entire audience responded, then seemed to hold its breath. An act of lovemaking was about to begin.

The words came hesitantly, almost in a whisper.

"She broke down... and let me in..."

Another soft riff tease floated around us. There were some quick affirmations from the crowd, then silence again.

"Made me see where I've been..."

More responses. More silence. It was magic.

"Been down one time..." We were transported.

"Been down two times..." Release was imminent.

"Never goin' back again." Waves of ecstasy washed over the room. We were fulfilled.

You can be sure, if Lindsey Buckingham returns to Providence, I will go back again. And again. And again.

------

Phyllis Pascazio also writes about local and national happenings in her column on Providence genealogy. Her national column on Lyme disease helps to spread the word about this growing concern and the issues surrounding it. She hopes that you will visit and subscribe to these pages as well.

Lindsey Buckingham At B.b. Kings
 

wow - another stellar review (i didn't know venue was sold out both nights?):


http://www.localbozo.com/2012/06/lin...oncert-review/

LINDSEY BUCKINGHAM AT B.B. KINGS: A LOCALBOZO.COM CONCERT
REVIEW

MusicReviews — 06 June 2012
Lindsey Buckingham
B.B. Kings, New York, NY
June 5th, 2012


Whenever you go see a member of a landmark band out on the road in a solo setting there exists certain expectations on both sides of the fence. For the singer-songwriter it’s hope that the audience will support their current work apart from the entity which made them notable. On the flip side, some members of the audience anxiously wonder whether the talent will omit certain hits from the set that connected them to said artist in the first place. On Tuesday night, Fleetwood Mac founding member Lindsey Buckhingham took to the stage of Manhattan’s B.B. King’s Blues Club for the second of two sold out nights and literally bull-dozed any of these expectations immediately. LocalBozo.com was front and center for a show that beautifully married his prolific work with Fleetwood Mac and his much beloved solo efforts.

At 9pm on the nose, Buckingham walked onto a bare bones stage which included a few amps, guitars, and a mic stand. The capacity crowd roared with excitement as Buckingham greeted them with an overly gracious bow and subsequent wave. And without wasting a moment he launched right into “Cast Away Dreams,” an opener from his solo work that managed to be touching, while also making us all rock out like we were teenagers again. Almost immediately, it was easy to see how Buckingham compensates for not having a full backing band on stage with him. His progressive style has armed him with an innovative collection of foot pedals that allow him to loop his own guitar playing in order to round out any song. This allows Buckingham the ability to explore the space with jams that seriously moved the New York City faithful.

The wide breadth of Buckingham’s solo career became more evident when he launched into “Not Too Late,” which demanded the audience to sit and listen to every lick which could only be played on an acoustically. Buckingham howled each heartbreaking yet reaffirming lyric as he expertly finger plucked the guitar. As the song concluded, fellow audience members were moved into one of many standing ovations throughout the set.

Buckingham is first and foremost an entertainer and one who knows exactly what the audience craves. And after receiving tons of love with all the solo tracks played, he launched into some tremendous renditions of Fleetwood Mac classics. Right before he began playing the familiar chords of “Never Going Back Again” and “Big Love,” addressed the band’s rich history and current state, describing them as the “Big Machine” an allusion to Fleetwood Mac and the “Small Machine,” a reference to his solo work. Both classic tunes made members of the crowd sing along and dance in the aisles. Although it would certainly have been incredible to see longtime stage partner Stevie Nicks harmonize with him, Buckingham’s raw ability allowed him to own the stage with the depth of a full band standing beside him on the intimate stage.

The hour and a half set time blew right by. It was just that good. Buckingham had easily won us over with his solo work that sounded on par with the great tunes of the “Big Machine.” But as a perfect cherry on top to a perfect evening of classic rock n’ roll, Buckingham surprised many in attendance by bursting into the Fleetwood Mac super-hit, “Go Your Own Way.” The song was an instant face melter for the audience. We sang it word for word, while looking on in awe to an artist who gave us everything we wanted and then some.

- Jay Rubin

http://www.examiner.com/review/linds...-42nd-street-1

LINDSEY BUCKINGHAM
June 7, 20121 COMMENT

Lindsey Buckingham: Going Solo on 42nd Street


Katie Handlon
NY Music Scene Examiner

Tuesday night, Fleetwood Mac singer/guitarist, Lindsey Buckingham graced the stage at B.B. King Blues Club for an evening of intricate and powerful solo work, sprinkled with a dash of Fleetwood folk-rock.

Buckingham is currently touring the Northeast region, playing to small crowds for an intimate effect. His vocal strength and superior musicianship make for an unforgettable experience. The sold out crowds cheered him on throughout his two-day run at the mid level capacity, Times Square nightclub.

With a simple stage; a few amps, a couple of monitors and a mic, Buckingham glided onto stage and launched into “Cast Away Dreams,” an airy, mellow piece. His 75-minute set included various solo pieces like, ”Rock Away Blind,” “Trouble,” and finished with, “You Can Go Your Own Way,” of Fleetwood Mac fame.

Buckingham described his career-long musical relationship between Fleetwood Mac to his solo material as, “The big machine is Fleetwood Mac and the small machine is the solo stuff. The small scale projects allow you to keep growing and keep taking risks.”

Buckingham’s superior skill as a guitarist may go overlooked within Fleetwood due to his being ‘part of a whole,’ but his solo performance highlights his self-taught classical technique, using finger-picking rather than a pick to create lush, multi-layered pieces. As one of Rolling Stone’s 100 Greatest Guitarists of All Time, Buckingham stands firmly as a virtuoso and showman.

http://www.examiner.com/review/linds...udience-ithaca

Lindsey Buckingham captures the audience in Ithaca


David Garlow
Syracuse Local Music Examiner

8 photos
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Lindsey Buckingham romanced a small crowd in Ithaca at the State Theater on Friday, delighting those in attendance. His set lasted about one hour and featured a mix of new and old as well as some Fleetwood Mac songs. As I was ready to make the trek, I was unfortunately unable to actually do so, but I did have a talented photographer there to take some photos and asked him about the evening.

Mr. Jack Bocchino is not only a top quality person first and foremost; he is exceptionally honest and a gem in the area with his eye for the scenes, support of local music, and a contributing writer for our local Syracuse area Table Hopping magazine. In short, one hell of a guy! Here is what I asked and what he had to say.

View slideshow: Lindsey Buckingham captures the audience in Ithaca
Dave- I have friends that tell me it’s a tight fit in that venue, old school; what were your observations?

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Jack - Tight squeeze? Size of seats seemed typical for an old venue. Number of seats? It’s about 1600. His audience filled less than half, perhaps 400 to 500.

Dave- Normally these places have excellent acoustics, was that true?

Jack - Acoustics were good. I think that maybe a slight less volume would have led to a warmer sound, but I don't think it was overpowering by any means.

Dave – What were some of the highlights of the show in your opinion?

Jack - Highlight? His style of guitar picking was impeccable and his vocals were spot on; unmistakably Lindsey Buckingham. He did have some nice stories to accompany his songs; at one point he talked about the importance of change and another he mentioned solo versus Fleetwood Mac and how he doesn't think one could exist for him without the other. Another highlight was when he took a moment to shake a few hands and sign some autographs, just before his encore.

Dave – Do you remember what he played as the encore?

Jack - I honestly cannot remember which songs he played in the encore.

Fair enough, and thank you Jack for these wonderful photos and being my eyes and ears in a pinch, you sir are a gem!

While Jack O Bocchino has become established as a strong supporter of live and local music scene, he prefers to consider it partial payment to the local music community for the support and entertainment they have given him over many years. He dabbles in amateur photography and posts many photos of local musicians on his Facebook page, which can be found by searching on his name. He can be reached at [email protected]