Who Expects This Band To Carry On After This Week?

[David]

Originally Posted by cbBen

Is this the end of the line?

If you’re talking about this lineup, I don’t think there’s anything else they can or need to say. They’ve been doing their Vegasy shows for about a year and a half — unless they want to continue bringing the circus to a “town near you” for years to come, or plant themselves in Vegas for a very long engagement.
Otherwise, they seem to be done. What would they do while Stevie Nicks is on the road for 2020—21?

The only thing I can think of (and I’d rather not) is Fleetwood Mac morphing yet again into another lineup — to do what, I don’t know. You need names to tour big league the way they’ve been doing for two years, so if you’re going to hire more people, you’d better find names. This band seems to have no further interest in a studio life, so all they can do is be year-round entertainers. I used to cringe when they’d saturate the market, but no more — every show they do is a supersaturation point.

Fleetwood Mac is life-supported to the boomers. “Buckingham McVie” doesn’t seem quite the right way to go out for a titan such as Fleetwood Mac. Melodic as it is, that album is kind of inconsequential, breaks no new ground, and musically retreads 1980s high points. Its a genteel little album whose purpose seems to be dipping its dainty little feetsies in a hot tub of nostalgia.

[aleuzzi]

Originally Posted by David

“Buckingham McVie” doesn’t seem quite the right way to go out for a titan such as Fleetwood Mac. Melodic as it is, that album is kind of inconsequential, breaks no new ground, and musically retreads 1980s high points. Its a genteel little album whose purpose seems to be dipping its dainty little feetsies in a hot tub of nostalgia.

You're probably right. More than anything else, "Buckingham McVie" serves as a reminder of one aspect of its participant's legacy--elegant, effervescent pop-songcraft. It is, in part, a tribute to MIRAGE and some portions of TANGO; it is also a testament to the collaborative powers of its two leads. But the overall effect of the album feels boutique-y, deliberately minor in scope and scale, as if through coy modesty two richly talented singer-songwriter-instrumentalists remind the world that they are as hooky and clever as kids 45 years younger. Stevie's refusal to participate and the remaining four's fear to call it Fleetwood Mac in her absence meant the pressure was off and they could simply play together. It's all very creative and fun, but a certain intensity is lacking.

I do think the album might also have felt more substantial had it not really been blending of two distinct projects: the first a collaboration between Lindsey, John, and Mick meant to entice Stevie to return to the studio for a suitable follow up to SAY YOU WILL; the second a near-as-Mac-as-you-can-get suite of Christine songs sans Stevie. Christine's absence on Lindsey five tracks is my only real beef with the project. That, and the "freedom in my mouth" line from the collection's otherwise best song.