Bucked Up 8/3

[michelej1]

Originally Posted by CADreaming

This one is my favorite! Look at me trying to be all Alicia Bailey!

Yes, it's very nice because he's slanted, but his guitar is nearly upright. The focal point.

Michele

[michelej1]

Here, he looks two dimensional. Like an LB cardboard cutout. The guitar seems to have more depth and heft than his body does. Michele

Originally Posted by elle

[CADreaming]

Originally Posted by elle

from the venue FB page, seems like the owner is a big fan... so she may have been successful in getting him there somehow even if the venue is not really set up for the show like his.

I did sort of think that. Lindsey was very friendly with her. I wondered if maybe they knew each other back in the day.

probably. seems that he had no tour manager with him during most of the west coast leg, and some new guy was hired for the east coast leg - possibly to handle m&gs. probably still the same guy .

Tall bald guy.

he's usually interactive when he sees people filming during his shows, i've never seen him being bothered by that... so i wouldn't be worried about that . same with close crowds.

I hope not. I heard they don't like it. I remember Stevie even told someone last year to stop filming her, she said it was distracting.

But, if that's true I think they need to be a little more open-minded and embrace more social media. It's free promotion and I think it helps create interest.

thanks again for sharing all these little details!

Sure, I'm glad to do it. I always enjoy reading everyone else's experiences too.

Originally Posted by michelej1

Yes, it's very nice because he's slanted, but his guitar is nearly upright. The focal point.

Michele

I'd like to say I was letting the inner artist in me come out, but really that was the inner scaredy cat. After the photographer incident, I tried to be more nonchalant.

Originally Posted by michelej1

Here, he looks two dimensional. Like an LB cardboard cutout.

You know, his face is "so chiseled."

[michelej1]

Originally Posted by CADreaming

I hope not. I heard they don't like it. I remember Stevie even told someone last year to stop filming her, she said it was distracting.

I remember during the UTS tour, they really cracked down on the "no pictures" thing. So, I didn't take any until the Holiday Road encore, when I figured that no one cared. Lindsey looked at me and he wasn't smiling. I think he did care. And I was just thinking, "It's Holiday Road, man. You're almost home. It's no skin off your nose and how much concentration are you really putting into that song anyway?" An usher came over to me and told me to put the camera away and I got so flustered that I lost the camera. I thought I put it in my purse, but it just totally disappeared altogether. My Leica.

But I think their views on cameras have evolved a lot since then. Lindsey must know what a big splash all the Stephanie videos have made on Youtube. I mean, even if there's no one else in his life to tell him, surely his kids might google Dad's name once in awhile, while watching other videos online.

Michele

[CADreaming]

Originally Posted by michelej1

But I think their views on cameras have evolved a lot since then. Lindsey must know what a big splash all the Stephanie videos have made on Youtube. I mean, even if there's no one else in his life to tell him, surely his kids might google Dad's name once in awhile, while watching other videos online.

Michele

I was pleasantly surprised they had no policy about cameras at this show at all. I sincerely hate sneaking a camera in and have resorted to the phone in recent months even though my camera takes the best pictures and video. I guess if I was in their shoes, I can understand after 40 years of doing this it can be totally distracting when you have a ton of phones or cameras being held up in front of you, when it used to be just a handful of people with an instamatic - and you thought the people were there to listen to your songs. Suddenly, everyone's a photographer/videographer and no one experiences the performance the artists have worked hard to present because they're too busy documenting.

That being said, I didn't think this show would be documented and I felt it was my civic duty as a fan to do so.

[elle]

Originally Posted by CADreaming

I hope not. I heard they don't like it. I remember Stevie even told someone last year to stop filming her, she said it was distracting.

Originally Posted by michelej1

I remember during the UTS tour, they really cracked down on the "no pictures" thing. So, I didn't take any until the Holiday Road encore, when I figured that no one cared. Lindsey looked at me and he wasn't smiling. I think he did care. And I was just thinking, "It's Holiday Road, man. You're almost home. It's no skin off your nose and how much concentration are you really putting into that song anyway?" An usher came over to me and told me to put the camera away and I got so flustered that I lost the camera. I thought I put it in my purse, but it just totally disappeared altogether. My Leica.

But I think their views on cameras have evolved a lot since then. Lindsey must know what a big splash all the Stephanie videos have made on Youtube. I mean, even if there's no one else in his life to tell him, surely his kids might google Dad's name once in awhile, while watching other videos online.

that's too bad about your camera Michele .

i can't tell about the previous tours, solo or Mac, or what SN thinks about filming (didn't she say she wouldn't do new songs before the album is out so they don't end up on youtube? i suspect LB was well aware his 6 yet unreleased songs were on youtube for months before SWS came out. if anything, it was free advertising.)

maybe he (but not necessarily they) did change his mind about filming some time between UTS and GOS?

the only thing i do know is that last fall and this summer everybody was filming at most of his shows, and i was filming right at the stage several times (for example, RAB at 2 different shows!). and in some cases he makes faces, smiles, and poses when he sees you filming, especially if you try to catch his interactions with the audience between the songs. in fillmore, half of the front row had cameras just sitting on the stage so we could film nice and still. i've never seen him being annoyed by any of it.

he did look at me somewhat strange when i was filming his backstage m&g with Abbi in DE (like "can you give it a rest?" ), but that may have been just my perception since i did feel a bit bad about it at the time. but he didn't say anything, and he could have just told me to stop if he wanted to.

[elle]

Originally Posted by CADreaming

That being said, I didn't think this show would be documented and I felt it was my civic duty as a fan to do so.

and you did well!

i find with the way today's cameras and phones are set up you can easily watch the show and film at the same time without it being too distracting. the only time i feel it's like a chore is when i want to dance or sing, or when i have to hold a camera high.

there were several venues that sent emails before the show saying no photos or filming allowed, but i would just take in my little camera and was obviously filming and nobody ever said anything. then there were other venues that would make sure nobody's filming. so at least at LB's shows, this seems to be completely dependent on the venue.

EDIT: Nico had a more professional looking camera and i think somebody did tell her to stop filming at one point. so maybe they don't usually care about phones and small cameras but larger / more professional cameras are a different story?

[elle]

Originally Posted by CADreaming

Tall bald guy.

hmm. must be yet another [new] manager. the east coast leg guy was relatively tall, but definitely not bald.

[michelej1]

Originally Posted by elle

EDIT: Nico had a more professional looking camera and i think somebody did tell her to stop filming at one point. so maybe they don't usually care about phones and small cameras but larger / more professional cameras are a different story?

Yes, they told me to stop when I had a camera that was a little larger. It didn't have a special lens or anything, just the built in zoom. But I guess it might have looked professional to them. But even though they did say stop and I wept all night afterwards, when it came to Sara I was going to take pictures. When Stevie left her mic to go to his, I was taking photos and would brook no orders to the contrary.

Michele

[vivfox]

Originally Posted by CADreaming

Look at me trying to be all Alicia Bailey!

This is THE classic quote for August.

[elle]

Originally Posted by CADreaming

I did sort of think that. Lindsey was very friendly with her. I wondered if maybe they knew each other back in the day.

explanation from someone just now on Fleetwood Mac News And Reviews FB page:

That is Marilyn Ingram the talent buyer for Bucked Up. Her sons are the ones that actually own the venue - Landon Ingram and Wade Ingram. Marilyn toured with her own band AURA3 opening for and also on BV's for Peter Tork (the Monkees) and Shoe Suede Blues. She was formerly Peter's manager/publicist. She loves FWM and all of the members various solo projects as well.

[elle]

review [apparently] from one of those 2 photographers that LB kicked out at the start of the show:


@YESRyan
Lindsey Buckingham personally kicked me out of the photo pit @BuckedUpSSaloon. I'm not mad at him. http://www.yesweekly.com/triad/artic...essential.html

Wednesday, August 8,2012
BUCKINGHAM LIVE, ALONE AND ESSENTIAL

By Ryan Snyder

It was supposed to be a week in music storyboarded around rock’s most sordid romance saga: solo tours by Stevie Nicks and Lindsey Buckingham were to cross wakes only 48 hours apart in an unlikely place. As Buckingham’s small machine rolled along with uncompromised efficiency, it was Nicks’ big machine that faltered — co-headliner Rod Stewart fell ill and their Greensboro show was canceled, a decision perhaps aided by slow ticket sales. That wasn’t an issue for Buckingham, who’s packed show on Friday at Bucked Up Super Saloon in Kernersville provided for all the intimacy of a coffee house open mic night.

The nature of those machines was one of Buckingham’s favorite topics of conversation on Friday. He noted how shows like this one — in a small town at a country bar unaccustomed to hosting performers of his caliber — were only made possible by the big machine that is Fleetwood Mac. Rather than an an oversized, idling tour bus, it was Buckingham’s silver Mercedes L Class that sat immediately outside the door from where he took the stage to the unconventional, yet stunning venue for his purposes. The club’s dancefloor was transformed into a makeshift theater with foldout chairs, but the ambiance created by the sparse lighting and hardwood construction possessed all the warmth of a more traditional venue.

Buckingham looked the part of a rock star as he entered alone, clad in a leather jacket and what could have been women’s jeans, his greying hair emphasizing his gunmetal look. His approach to his solo set is almost theatrical; he was flanked by a dozen guitars and a busy tech, the setlist taped to the floor, but he didn’t need it as requests for the little pop gem “Holiday Road” fell unacknowledged. His show hasn’t changed from city to city and neither has his stage banter as he engaged the same stories as previous nights in Carrboro and Wilmington. He reminisced about his initial invite to join Fleetwood Mac, only agreeing if Mick Fleetwood accepted his girlfriend into the band as well.

He spoke of focusing on only the essentials of songwriting during a breathy, finely wrought interpretation of Fleetwood Mac’s “Never Going Back Again.”

There’s a safe assumption that most of the room wasn’t fully briefed on his personal catalog, and the sounds of a solo Buckingham are hardly that of the numinous blues of the Fleetwood Mac. He sought out the boundaries of his guitar and his voice, from the gentle strumming and hushed tones of opener “Cast Away Dreams,” to the sheer violence with which he imbued the zenith of set closer “Go Your Own Way.” Ever the poptimist, Buckingham transformed his biggest solo hit “Go Insane” from a very dated bit of ‘80s ear candy into thoughtful, methodical folk-pop with a manic climax whose impact would have only been diminished by the biggest rooms.

As Buckingham dug deeper into both his personal repertoire and Fleetwood Mac obscurities, so too did he engage the cache of instruments accompanying him. His Gibson Chet Atkins Acoustic made an appearance for “Go Insane” and a meditative “Big Love,” while much of the show was an endorsement for his array of flat-bodied Turners. Not at all given to spontaneity, Buckingham’s guitar skills are nonetheless peerless within his sphere. He executed the unorthodox chord structure of “Shut Us Down” with impeccable fingerpicking, always preferring his natural tools over plastic or wood plectra.

The only unnatural incursions into his set came in the form of the occasional loops and a generic, but sympathetic backing beat to the 21-year old “Trouble,” possessed of the kind of sound that nourishes the Dan Bejars and Jonathan Wilsons of contemporary folk and pop. Unlike them, Buckingham is ultimately a part of a whole greater than himself, but sometimes, when there can be only one, he’s essential.