Vancouver: Roll Call, Interviews, Reviews, Photos

[MacMan]

Fleetwood Mac
GM Place Vancouver
FIONA MORROW
Globe and Mail

Things started out a little flat for Fleetwood Mac at GM Place Friday night. The band had cancelled concerts earlier in the week in both Calgary and Edmonton, due to sickness, with unconfirmed media reports suggesting it was Stevie Nicks who was suffering.

Certainly the 60-year-old singer appeared a tad fragile onstage, moving rather gingerly and avoiding the high notes on "Dreams" completely. Not that the enthusiastic crowd seemed to mind — their combined voices made sure the lyrics rang out loud and clear.

If Nicks was under-the-weather, she still brightened up proceedings — a fact made abundantly obvious whenever she headed to the wings to let Lindsey Buckingham have his songs in the spotlight. Somehow we made it through a dreary rendition of "Go Insane" from his solo album, most notable for a thunderous roar of reverb that rattled the stadium's stands. He fairly screamed an acoustic version of "Big Love," beating his guitar into submission, determined to prove he's still a rock star — V-neck and medallion notwithstanding. He positively mangled "Never Going Back Again," turning it into something a drunk uncle might embarrass himself with at a family wedding. Though she was there, Nicks couldn't help him out on that one.

Neither could the pair invoke the spirit or sound of Christine McVie when they ventured into her traditional territory briefly with "Say You Love Me."

Other McVie classics were noticeably absent, but it's hard to imagine the likes of "Songbird" or "You Make Loving Fun" without her anyway. Quite what it would have been like had Sheryl Crow been part of the combo (an early possibility when the tour was being planned) plain boggles the mind.

With a couple of costume changes during a two-hour set, Nicks showed she hasn't relinquished her hippie roots. Bedecked in scarves and fringes, she played with silver chains draped around the microphone stand. For "Gold Dust Woman" she was wrapped in a gold shawl; on "Go Your Own Way" she sported a black top hat.

There was little personal interaction between the band — perhaps to be expected given their tumultuous history — save for an obviously orchestrated lean into each other by Nicks and Buckingham at the closing bars of "Sara." For their parts, Mick Fleetwood bounced around the drums gamely, while bass player John McVie spent the night at the back of the stage in the shadows. In contrast, Buckingham, was in his element, his ego unbridled as he practically climbed into the front row, encouraging them to touch him and his guitar.

But for all the Brit guitarist's pumped-up adrenaline, the show at times felt weirdly sombre. Their best work behind them, there was an air of desperation about this presumably lucrative endeavour. In the end, Fleetwood's bonkers, blissed-out extended drum solo — complete with whoops and howls — on encore track "World Turning" was the most authentic moment of the night. And with it, he more than earned his cut.