Categories
Buckingham McVie

Lindsey Buckingham, Christine McVie share songs new and old at Bass Concert Hall

Three songs into Lindsey Buckingham and Christine McVie’s performance at Bass Concert Hall on Wednesday evening, you might have guessed they’d turned the set list on its head and put an encore number near the beginning. “Never Going Back Again,” one of the most memorable songs from Fleetwood Mac’s generation-defining 1977 album Rumours, was spectacular, delivered mostly by Buckingham alone on acoustic guitar.

McVie eventually joined in with subtle accordion-like keyboard accents, but mostly this was a showcase for her touring partner’s considerable talents as both a guitarist and singer. Plucking the strings gently with careful deliberation, Buckingham wrapped the song’s lyrics around the tune in dramatic fashion, bringing his voice down to a near-whisper before ending with a flourish of full guitar strums as the enraptured crowd went from dead-quiet to a rousing ovation that brought many out of their seats.

It was a magical moment, but one that underscored a somewhat unfortunate aspect of this unlikely partnership between two of Fleetwood Mac’s five musicians in the twilight of their careers. While neither Buckingham nor McVie hold the arena-level draw of their bandmate Stevie Nicks — who played the much-larger Erwin Center this past March — they’re both brilliant musicians in their own right. When they teamed up to make a duo album this year, it was a welcome and intriguing development. In concert, though, this feels more like the Lindsey Buckingham show, with McVie in a significant but ultimately supporting role.

That’s not necessarily a bad thing. Buckingham did a lot of solo tours during the years that McVie was on the sidelines, before she rejoined Fleetwood Mac in 2014, so it makes sense for him to be in the bandleader role. But although they clearly made a conscious effort to balance the set list between material from the new collaborative record and songs that each of them wrote in their Fleetwood Mac days, it was hard not to come away wishing for more of McVie’s best work with that band: “Warm Ways,” “Over My Head,” “Say You Love Me,” “Over and Over” and “Songbird,” just for starters.

They did play McVie’s Rumours standout “You Make Loving Fun,” plus two songs each from the Mirage and Tango in the Night records (highlighted by “Hold Me,” a top-5 hit from Mirage). But the most well-received selections from the Mac catalog were Buckingham’s: That early “Never Going Back Again” marvel, a full-throttle mid-set romp through the epic title track of Tusk, and the main-set closing smash “Go Your Own Way.”

A terrific acoustic version of “Trouble,” Buckingham’s first solo hit in 1981, proved a great show-starter and was one of two songs taken from his own records. We heard nothing from McVie’s three solo albums, even as her 1984 self-titled record was a solid seller that produced two top-40 singles.

To their credit, the duo pointedly focused much of the show on their new record, performing eight of its 10 tracks. Frequent calls for various favorites from the crowd (and, in one boorish fan’s case, simply “more Fleetwood Mac!”) didn’t deter them as they delivered excellent renditions of new tunes such as their co-write “Red Sun” and Buckingham’s “In My World” and “Sleeping Around the Corner.”

Perhaps the most intriguing move was their decision to forgo a big-bang encore for a more soft-and-sweet letdown. McVie got more of a spotlight here, singing “Everywhere” from the Tango in the Night album — one of a half-dozen Fleetwood Mac songs in the set that the band also performed during their last visit to Austin in 2015 — and the tender ballad “Game of Pretend,” one of two tracks from the new record that McVie wrote on her own.

And while it might have been nice to hear more from McVie in the occasional banter between songs, Buckingham did a lovely job of expressing his appreciation for this late-career rejuvenation of the duo’s songwriting partnership. Though they’d written together in the band before (including “World Turning” from the 1975 self-titled album and three tracks from 1987’s Tango in the Night), this new connection was special. “We knew there was a spark right away,” Buckingham said. “A wonderful circular karmic gift had been bestowed on us.”

Buckingham also used the encore to give extensive and much-deserved introductions to the duo’s backing crew. Guitarist Neale Heywood, guitarist/keyboardist Brett Tuggle and bassist Federico Pol all contributed backing vocals on many songs as well, while drummer Jimmy Paxson’s colorful personality and superb playing — alternately thunderous and subtle as needed — made him a clear crowd favorite.

Los Angeles pop band Wilderado played a short but well-received opening set, even if the crowd was partly held captive to hear them. No opener had been listed on the venue’s website; those who arrived early and scrambled to get to their seats by 8 p.m. would have had a hard time returning to the lobby to stand in long drink lines, thanks to Bass’s confounding floor plan of rows around 50 seats long with no middle aisles. Still, the four musicians made the best of it, playing harmony-rich original tunes and thanking the crowd profusely for the opportunity.

Set list:

1. Trouble
2. Wish You Were Here
3. Never Going Back Again
4. Shut Us Down
5. Sleeping Around the Corner
6. Feel About You
7. In My World
8. Too Far Gone
9. Hold Me
10. Little Lies
11. Tusk
12. Love Is Here to Stay
13. Red Sun
14. You Make Loving Fun
15. I’m So Afraid
16. Go Your Own Way

Encore:

17. Everywhere
18. Lay Down for Free
19. Game of Pretend

Scott Moore / Austin American-Statesman / Thursday, November 16, 2017

Categories
Article Buckingham McVie Concert Reviews

REVIEW: Buckingham & McVie go their own way

One of the laws of the universe is that galaxies cluster and are bound together by gravity.

They rarely escape from each other, and such is the case in the unlikely, but thoroughly lovely, gravitational attraction between Lindsey Buckingham and Christine McVie.

The legendary Fleetwood Mac members — McVie rejoined the once-volatile fold in 2014 after a 15-year hiatus — brought their acclaimed Buckingham/McVie tour to the Majestic Theatre on Tuesday. They are on the road promoting a new duo album.

Both were in incredibly good voice – Buckingham much more powerful and emotional than on record; McVie as velvety voiced and wistful as ever — and their pairing is a reminder of what they brought to Fleetwood Mac in its heyday.

Buckingham is all about kinetic passion and exquisite precision. McVie adds simmering soul and something of a genteel British hippie vibe.

Some 1,500 fans took it all in.

The show opened with the two walking onstage and performing a slowed down, acoustic version of Buckingham’s “Trouble.”

Buckingham finger-picked the familiar hook. At times, like the Byrds’ Roger McGuinn used to do, he managed rhythm and melody simultaneously.

McVie, standing behind her keyboard rig, added the faintest hint of synth behind the muscular vocal. Then it was her turn on Fleetwood Mac’s “Wish You Were Here.”

The two were setting the stage to introduce the new material. But Buckingham was not going quietly into the night, easing the crowd into the show. His take on Fleetwood Mac’s “Never Going Back Again” achieved a new level of defiance.

It garnered the first standing ovation of the night.

The first new song, the chiming “Sleeping Around the Corner,” was song number five in the set and was performed with four additional musicians.
Buckingham talked about the duo’s album.

“It’s not something we saw coming,” he explained, describing it as an unlikely but “very happy occurrence.”

Obviously, it’s impossible not to conjure Fleetwood Mac with the new songs. It’s in the bounce, the arrangement and the Buckingham sheen.

But other elements sneak in. There is a poppy Talking Heads/Blondie/R.E.M vibe to “Feel Around You,” and “In My World” recalls, at times, Foster the People’s “Pumped Up Kicks” with a little Hall & Oates.

McVie stepped out from behind her keyboards to shake maracas and belt out the blues rocker “Too Far Gone.”

The two kept the energy up with “Hold Me,” a reminder of how their vocal blend was a touchstone of mid- and late ’70s pop.

“Little Lies” and a raucous take on “Tusk,” with McVie on keyboard accordion, found Buckingham singing as if under a spell.

The new “Love Is Here to Stay” made the case that the duo’s pairing was, as Buckingham put it, a karmic gift.

These are adult love songs of the highest order, and evidence that the project was collaboration of music and emotion.

Buckingham and McVie prove that it’s possible to follow one’s muse, take a chance and make some great pop and folk-pop music. That they’re also able to gift-wrap it with monster hits like “You Make Loving Fun” and “Go Your Own Way” is part of the magic and history of their universe.

Hector Saldana is curator of the Texas Music Collection at The Wittliff Collections at Texas State University.

Hector Saldana / My San Antonio / Wednesday, November 15, 2017

Categories
Buckingham McVie

REVIEW: Buckingham, McVie warm as the night goes on

Christine McVie and Lindsey Buckingham have been bandmates in Fleetwood Mac off and on for better than four decades. Some of it has been glorious, some of it rocky.

That’s kind of what their show Sunday night at the Times-Union Center was like, sometimes jaw-droppingly good, sometimes a little rough.

The two are touring behind an album they released earlier this year, Lindsey Buckingham/Christine McVie, that they put together during breaks with Fleetwood Mac. They played most of it Sunday night. A few of the songs — “Sleeping Around the Corner,” “Red Sun,” “Game of Pretend” — wouldn’t sound out of place on a Fleetwood Mac album. Others — “Lay Down for Free,” “Love is Here to Stay” — were a lot poppier than you’d expect from the duo. And one, “Too Far Gone,” was a straight-out rocker with tribal drum breaks.

People, of course, weren’t really there to hear the new songs anyway. Despite 40 percent of Fleetwood Mac being on hand, it wasn’t a Fleetwood Mac concert, and that freed Buckingham and McVie up to play what they wanted. The setlist included eight Fleetwood Mac songs (the same amount of songs they played from the new album), but they weren’t necessarily the songs people were expecting or played note-for-note, and that’s where the fun was to be found. (They actually played nine Fleetwood Mac songs. —Ed.)

Sure, they played “Go Your Own Way” (and played it quite well, backed by a four-piece band). And “You Make Loving Fun” sounded just like you remember it from Rumours.

But “Never Going Back Again” was slowed a glacial pace, with Buckingham whispering the lyrics and enunciating every word to, frankly, a pretty creepy effect. They dug deep and pulled out gems like “Little Lies” and “Wish You Were Here.” “Tusk” was the highlight of the evening, with McVie taking the horn parts originally played by the USC marching band and playing them on accordion.

At first, it seemed the chemistry between Buckingham and McVie wasn’t working at all. They were five songs into the show before they both sang at the same time. But they warmed up as the night progressed, until he was leaning on her shoulder while holding a long note during a guitar solo.

McVie, who retired from music for 15 years before returning in ’13, sounded great, particularly on “Hold Me” and the first encore, “Everywhere.” The format of the show allowed her to step away from behind her bank of keyboards to sing a few songs.

Buckingham, as is his history, was all over the place. He can find the quiet moments in a song better than just about anyone, but he can also rage with the best of them — and sometimes it’s all during the same tune. Early on, during songs McVie was singing, he made little eye contact with the crowd and simply played. But he was howling and stalking the stage like a madman during “Tusk,” and holding nothing back as he poured everything into his guitar on “I’m So Afraid.”

The crowd was disappointingly small, with the entire upper deck of the Moran Theatre closed and a smattering of empty seats on the floor. That may be due to the sold-out Chris Stapleton show the night before and the Jaguars game that ended just hours earlier. There’s only so many entertainment dollars to be spent in one weekend, but for those who chose Buckingham and McVie, it was money well spent.

Tom Szaroleta / Florida Times-Union / Sunday, November 12, 2017

Categories
Article Buckingham McVie Concert Reviews

REVIEW: Lindsey Buckingham, Christine McVie revive Fleetwood Mac magic, minus the drama

Lindsey Buckingham, Christine McVie revive Fleetwood Mac magic, minus the drama, at Ruth Eckerd Hall in Clearwater.

Here’s the beautiful thing about a concert by Lindsey Buckingham and Christine McVie, as opposed to a concert by Fleetwood Mac: There’s no drama. There is no forced theatricality, no overwrought play-acting, no nostalgic dance to dance for the graying, paying Boomers in the crowd.

Instead what you get is two old friends playing music – some of it old, some of it new, and all of it, more often than not, with a smile.

“This is not something we really saw coming,” Buckingham said during their Thursday at Ruth Eckerd Hall in Clearwater. “It was kind of a surprise.”

Indeed it was, McVie’s return to Fleetwood Mac in 2014 after a 15-year-absence. Rejoining the band rekindled McVie’s creative spirit, and she and Buckingham – two of the Mac’s primary songwriters, along with Stevie Nicks – paired off for this year’s album Lindsey Buckingham/Christine McVie, and a smaller-venue tour as a duo. Call it Halfwood Mac – not the full experience, but pleasantly different and fulfilling.

Buckingham, 68, and McVie, 74, opened with four acoustic duets, him on guitar and her on keys, an intimate staging that showed off the husky humanity in their voices. There was Buckingham’s delicate solo number “Trouble”; Fleetwood Mac’s rarely played 1982 track “Wish You Were Here,” the newer Buckingham single “Shut Us Down” and the iconic Rumours single “Never Going Back Again,” with Buckingham’s voice flaring from a whisper to a snarl in an instant. Together they harmonized with the ease of old partners, every so often you’d catch one grinning or clapping for the other.

Certainly, Buckingham’s showiest tendencies at times overwhelmed the stage – “I’m So Afraid,” for example, which ballooned and bloated into a monstrous, bluesy shredfest, with the singer kicking, vamping and screaming until he was left hunched and panting at the end. But when it works, it definitely works. “Tusk,” that furious, tribal freight train of an anthem, got people dancing in the aisles down front, so much so that an accordion-rocking McVie shimmied over to dance with them.

McVie’s voice bore a touch of rust from her years off the road, but she wore it honestly on “Little Lies,” “Everywhere” and “You Make Loving Fun,” gamely enlivening their sweet, springy spirit. And it fared better on songs from the new album. Two of the album’s best – the sock-hoppy “Feel About You” and gentle, California-coastal “Red Sun” – sounded like classic McVie.

“Exchanging ideas across the ocean,” Buckingham said of the demos that led to their dual album, “we knew right away that there was something, that there was a spark.”

Watching McVie and Buckingham play together, it seemed like that spark hadn’t dimmed. Buckingham sidled up to McVie on the spry and springy “You Make Loving Fun,” and she gave him a happy little pat on the back. He did so again on “Go Your Own Way,” leaning into her until they embraced in a brotherly-sisterly hug.

This tour may be the only time Buckingham and McVie play their new duets live, but when Fleetwood Mac reconvenes for what could be its farewell tour in 2018, they should bring that camaraderie with them. All the drama gets old after a while. Just a few good songs and a few genuine songs between old friends, well, that could be a beautiful thing.

Jay Cridlin / Tampa Bay Times / Friday, November 10, 2017

Categories
Article Buckingham McVie Concert Reviews

Lindsey Buckingham, Christine McVie feature plenty of Mac

Review: In Clearwater Lindsey Buckingham and Christine McVie’s attack features plenty of Mac at Ruth Eckerd Hall (w/photos + setlist). They’re both every bit as charming as ever, too.

The impact of a popular, beloved rock and roll band is felt when its solo members have the pull to draw large crowds to see them perform alone, and the mighty Fleetwood Mac is no exception. Whetting the appetite of dedicated Mac fans while the band is on what appears to be an indeterminable hiatus is the fine, sleek, pop-driven collaborative album that two of its key members released earlier this year, Lindsey Buckingham/Christine McVie. In light of the record’s unpredicted creation and success, this duo embarked on a limited run of tour dates to support the record and, luckily, Clearwater’s exquisite Ruth Eckerd Hall was included as a tour stop and hosted the pair (alongside its magnificent backing band) on Thursday night.

Kicking things off early, after an abbreviated set from up and coming California rock outfit Wilderado, Buckingham and McVie quietly walked out together onto the expansive, dark stage to begin their performance. Both clad in black, the pair emerged and quietly jumped into a hushed version of Lindsey’s solo hit from 1981, “Trouble.” With the aid of the acoustic guitar he’d strapped on and some subdued keyboard work from Christine, the poppy, rockabilly-inspired tune took on a darker, more somber edge but sounded magnificent. Buckingham is an ace guitarist and an emotive singer (which he’d more than prove for the duration of the 100-minute set) and he made that more than known right from the get-go. Utilizing the duo-only format for the first four songs of the set found the pair touching on some classics from its Mac days as well as on another Buckingham solo track. The focus was on the two headliners for the night’s prologue and McVie certainly made her presence known with her lovely, delicate reading of “Wish You Were Here,” the ballad that closes Fleetwood Mac’s 1982 album, Mirage.

Before shifting gears into full-band mode, Buckingham spoke at length of how this duo project came together and how wonderful it was to have Christine McVie back in the spotlight after her extended decade-and-a-half break from music and a live concert stage, a statement that drew wild applause. And, with that, the full ensemble consisting of hard-hitting drummer Jimmy Paxson, and three guitarists rounded out the sound and added flourish to the performance. Diving head first into selections from their collaborative album, Lindsey and Christine instantly served up the two opening selections from the album, the catchy “Sleeping Around The Corner” and “Feel About You” back-to-back while sharing lead vocal duties and harmonizing together. A superb mix and the hall’s impeccable sound made the songs really come alive and, although some in attendance seemed unfamiliar with the material, the new stuff seemed to go over well.

But the audience really showed its appreciation when the long-missed McVie came from around her bank of keyboards to the front of the stage to show off her still sweet and soothing vocal abilities for the upbeat “Too Far Gone” on which she shook a pair of maracas while crooning. Though her vocals are a little aged and not quite able to reach the highest notes she used to hit, McVie, now 74, is still a gifted player and performer, and she can still belt out a hit song like few other veteran singer/songwriters can. And speaking of hits, the fierce reactions for the Mac mini-set that followed sure served to engage the nearly sold-out hall. The pair’s vocal harmonies were in fine shape for its reading of the pop classic “Hold Me.” A fever pitch was hit when the band tore into a ferocious version of quirky 1979 rocker “Tusk.” McVie strapped on an accordion and Buckingham nearly stole the show with his almost psychotic, desperate delivery of the song’s opening lines which helped to accentuate its deep, dark paranoia. His maniacal laughs throughout and his frantic pacing while playing made this the first of many show-stopping moments.

McVie ran into some vocal troubles during her solo spotlight on early Mac classic “You Make Loving Fun,” but quickly recovered and made the song a truly memorable part of the program. Another Buckingham jaw-dropping moment came on his extended, super-charged version of “I’m So Afraid,” a track from the first Fleetwood Mac album he appeared on in 1975. Showing off his indescribable skill and prowess as one of the most gifted and unique guitarists to ever play. and under a flood of beaming red lights, Lindsey entered other-worldliness with his passionate and possessed reading of the claustrophobic rocker.

A moment of heartfelt levity came during an inspired rendition of another Fleetwood Mac classic, the cutting, callous sentiment enveloped in a guise of a catchy pop song, “Go Your Own Way.” Buckingham worked his way to behind Christine’s keyboards and lovingly wrapped his arm around her shoulder and the two shared what appeared to be a sentimental smile which could have served as a nod to the collective fine job they’ve done of carrying on their musical legacy with this, their newest project.

A three-song encore included thorough, detailed individual band member introductions courtesy of Buckingham and closed with “Game Of Pretend,” one of McVie’s best ballads from the pair’s recent album and, arguably, her finest and most delicate and gorgeous vocal performance of the night. The hushed, shimmering beauty of the tune reminded everyone in the hall of the pop elegance she’s still capable of conjuring and how sorely missed she’s been missed from a live concert stage. It made for a fitting close to an enjoyable night filled with familiar classics, some surprises, and a hint of the fine material this talented pair of artists can still produce.

See more photos from the set below. Listen to a playlist featuring songs Buckingham & McVie played here. Read an interview with McVie here.

Setlist

  1. Trouble
  2. Wish You Were Here
  3. Never Going Back Again
  4. Shut Us Down
  5. Sleeping Around The Corner
  6. Feel About You
  7. In My World
  8. Too Far Gone
  9. Hold Me
  10. Little Lies
  11. Tusk
  12. Love Is Here To Stay
  13. Red Sun
  14. You Make Loving Fun
  15. I’m So Afraid
  16. Go Your Own Way
  17. Everywhere (encore)
  18. Lay Down For Free (encore)
  19. Game of Pretend (encore)

Gabe Echazabal and Tracy May / Creative Loafing Tampa Bay / Friday, November 10, 2017

Categories
Article Buckingham McVie

Lindsey Buckingham, Christine McVie talk Fleetwood Mac’s ‘dysfunctional family’

Lindsey Buckingham and Christine McVie talk Fleetwood Mac’s ‘dysfunctional family’ before Clearwater show

Certainly, you are advised against it before hopping on the phone with Lindsey Buckingham and Christine McVie, the singer-songwriters who were — all due respect to Queen Stevie Nicks and the founding rhythm section of Mick Fleetwood and John McVie — the primary architects of the classic Mac sound.

Keep the focus on the new album and tour, you are urged by a publicist. Not on the old days.

Which is, of course, much easier said than done. Forty years after their all-time breakup album Rumours, the mythology and romance — literal and otherwise — of Fleetwood Mac still towers over the band’s imposing legacy. You cannot discuss Buckingham and McVie’s new album, and the tour that brings them to Ruth Eckerd Hall Thursday, without breaking it down through the lens of Fleetwood Mac.

And, it turns out, neither can they.

“Obviously, there’s been so much written about Stevie’s and my relationship, and the underpinnings of the romance that go along with that and create that part of the musical soap opera that was Fleetwood Mac,” said Buckingham, 68. “Unlike with Stevie — with whom I did have a romantic relationship, and with whom we had a great vocal blend — Christine and I had the kind of bonding that comes from both of us being grounded in our craft as musicians.”

“It’s a strange one, really, because we’re not really the best of chums,” McVie, 74, said in a separate call a little later. “We don’t really hang out very much together. But we have a really strong musical bond with each other. Once we’re in the studio, we work as a team really well. We inspire ideas with each other. It is quite amazing, really, that I can listen to something he’s playing and tooling around on, and then we link up off each other very well. It’s been like that over the years — we come up with different ideas, and cooperate in a very natural way.”

Cooperation? Bonding? Working together as a team? This is Fleetwood Mac we’re talking about, right?

Not exactly. It’s Lindsey Buckingham/Christine McVie, the title of their new album and the one coupling within the band left mostly unsullied by discord. That they found harmony with one another in the year of Fleetwood Mac’s golden anniversary is probably not a coincidence.

• • •

It was 1970 when the former Christine Perfect married Fleetwood Mac bassist John McVie and joined the band as a singer, songwriter and keyboardist. She was instrumental in the band’s evolution from a British blues-rock combo to a transcontinental pop-rock phenomenon — as were Buckingham and Nicks, who joined in late 1974.

The next year, Fleetwood Mac’s breakthrough self-titled album featured seven songs written by McVie and/or Buckingham, including “Say You Love Me” and “Monday Morning,” and nine where they traded lead vocals.

“I think it was from Day 1,” McVie said. “When we got into the studio, it was like, I get what he’s playing, and he gets what I’m playing.”

Buckingham, an assiduous studio wonk known for sonic perfectionism, fleshed out and spit-shined McVie’s indelible melodies. While they rarely shared songwriting credit, between them, they penned many iconic hits — Buckingham’s “Go Your Own Way,” “Never Going Back Again” and Tusk; McVie’s “You Make Loving Fun,” “Everywhere” and “Little Lies.” They shared lead vocals on “Don’t Stop,” a McVie composition that became their signature, show-closing hit.

Over time, Nicks, Buckingham and McVie all found themselves pulled in different directions away from the band. McVie, long divorced from John, quit for good in 1998 out of a crippling fear of flying and a desire to stay closer to family in England. The band soldiered on, with Nicks handling her vocals. But in 2014, after years of self-imposed isolation, McVie asked to come back.

“It catapulted Fleetwood Mac back into another kind of stratosphere, really, because then the original Rumours five were back onstage again,” she said. “The chain was complete, if you like.”

McVie met with Buckingham in the studio to jam out some new demos, partly as “a great welcoming gesture to get her into another familiar arena,” he said, “prior to just getting dumped into rehearsals with all the politics that exist within the band.”

“Fleetwood Mac is absolutely a dysfunctional family, but it is a family.”

What he means by that isn’t explicitly clear — but it is true that Fleetwood and John McVie were in on some of those sessions, and for a time, at least, it looked like Fleetwood Mac might be working on its first classic-lineup LP since 1987’s Tango In the Night.

“As far as Stevie’s involvement, there was never really a clear-cut time where she said, ‘No, I’ve got other commitments,’” Buckingham said. “In the same way we weren’t saying it was a Fleetwood Mac album, I don’t think anyone was saying it wasn’t a Fleetwood Mac album. But Christine and I recognized this enhanced rapport, this unbelievable sort of connection that seemed to have only gotten better over time, and we did get protective over it rather quickly.”

McVie quibbles with that word, “protective” — “It’s not quite the word I would use,” she said. But, she adds, “One had to wonder what Stevie would have sung, and where she would have sung. … It sounded like me and Lindsey singing duets. It just sounded lovely.”

That it does. Lindsey Buckingham/Christine McVie isn’t Rumours or Tusk, but it’s a collection of sweet songs that show off the singers’ easy chemistry. For McVie, who spent all those years off the road, it was such a fun experience that she’d like to do it again — either with Buckingham or with all of Fleetwood Mac.

“One lives in hope, but I just have no idea,” she said. “I’m no spring chicken. But hey, I feel pretty darn good, so yeah, I see no reason why not.”

• • •

For all the positive vibes Buckingham and McVie are feeling in 2017, the politics of Fleetwood Mac still do come into play at their shows, which are split about evenly between new songs and old. Picking the latter has led to some curious choices (like the 1982 rarity “Wish You Were Here”) and omissions (like their iconic duet “Don’t Stop”).

“Even though it’s Lindsey and I singing on the record, I think we just thought, Nah, that’s very Fleetwood Mac. We can’t do that,” McVie said of “Don’t Stop.”

Fleetwood Mac will tour in 2018, but it’s unknown how that will play out. A lesser band, one without so much pre-existing baggage, might split over two members — or four, if you count Fleetwood and John McVie’s studio contributions — splintering off on their own. Buckingham doesn’t think it’ll happen here.

“Fleetwood Mac is absolutely a dysfunctional family, but it is a family,” he said “There may be a time when people start wanting to pare down that part of their lives. That hasn’t really happened yet.

“It is nice to know that Christine and I are having such a good time,” he adds. “One of the things I think has been so eye-opening for her about the tour is that she had gotten used to the dysfunction of Fleetwood Mac, and the politics being so convoluted within the band, as the norm. And then we got out there and she saw this group of people who had no issues with each other, who all wanted to be doing the same thing for the same reasons. She saw that there was this sense of family that doesn’t really exist in that way with Fleetwood Mac.

“So who’s to say? It would surprise me if she and I didn’t want to do this again in another year or two. I don’t think it’s necessarily an either/or with Fleetwood Mac. I think Fleetwood Mac will have the life it has until people start dropping out.”

He laughed. The band has survived much tougher times than this. At this point, they’re likely all in it for life. Two of them, at least, sound sure of it.

Contact Jay Cridlin at cridlin@tampabay.com or (727) 893-8336. Follow @JayCridlin.

Lindsey Buckingham and Christine McVie
Wilderado opens at 7:30 p.m. Thursday at Ruth Eckerd Hall, 1111 N McMullen Booth Road, Clearwater. $63.25 and up. (727) 791-7400. rutheckerdhall.com.

Jay Cridlin / Tampa Bay Times / Tuesday, November 7, 2017 

Categories
Article Buckingham McVie

REVIEW: Fleetwood Mac’s Lindsey Buckingham, Christine McVie go their own way

NORTHFIELD, Ohio – Lindsey Buckingham and Christine McVie may just be two-fifths of Fleetwood Mac, but the pair are dandy as both halves of Buckingham-McVie.

Stevie Nicks, John McVie and Mick Fleetwood don’t need to practice fetching carts for Walmart shoppers just yet, but the fact of the matter is that guitarist and co-lead singer Buckingham and keyboardist and singer/background vocalist McVie are just fine as a duet.

More than fine, actually. The two wowed a nearly sold-out Hard Rock Rocksino Friday night, rocking through eight of the 10 songs on their new collaborative album, along with nearly a dozen Mac attack hits.

In a large way, the 2,600-seat venue was a perfect place to showcase the “new” old sound from the Rock & Roll Hall of Fame band mates. I say new because the album Lindsey Buckingham / Christine McVie is all songs written by the pair, and I say old because on the recording, the rhythm section is bassist John McVie and drummer Mick Fleetwood. On top of that, the union of their voices is reminiscent of the pairing first heard on “Hold Me” nearly four decades ago.

And yet, you can’t call this hybrid “Fleetwood Mac Lite,” because while the MacDNA is clearly evident, songs like “Sleeping Around the Corner,” “Feel About You,” “In My World” and “Too Far Gone” are anything but “lite.” Buckingham kept saying it is a newfound chemistry, but really, it’s more like post-graduate chemistry, the kind that only comes from time and experience.

To be fair, the electricity and pizazz of the full band is irreplaceable, so this new pairing just doesn’t have time to eclipse the marks that the group has set in a career that began 1967 and really jelled with the addition of Buckingham and Nicks in the mid-’70s.

That doesn’t belittle in any way, shape or form what McVie and especially Buckingham have done.

The Rocksino is an interesting venue, largely because of its clientele. Few fans stand throughout an entire show – something commonplace at arenas and amphitheaters. The comfy seats get a lot of action, so to speak. Add that the calendar usually boasts legacy acts (frankly, like the two Fleetwood Mac stars) and you come up with a concert hall that’s just right for “veteran” music lovers who prefer to listen, remember and relive rather than party.

To their great credit, while Buckingham and McVie are touring to promote their new duets album, they still gave Fleetwood Mac aficionados plenty of opportunities to “listen, remember and relive,” too.

McVie’s voice at 74 isn’t as strong as it once was, but her unique delivery scored in turns as lead vocalist on “Wish You Were Here” and “Little Lies,” and her underneath alto added just the right seasoning to 68-year-old Buckingham’s frontman vocals on “I’m So Afraid.”

It’d be kind of tough to pick a highlight in the short evening, not because there were no highlights, but because there were so many. But “Go Your Own Way” and especially “Tusk” showed off just why the band was inducted into the Rock Hall in 1998. And any time Buckingham went into a lead guitar riff with his finger-picking style — why on earth did he even bother to put picks in the holder on his mic stand, anyway — we all knew we were getting a master class in guitar virtuosity.

Because of that, none of the night would’ve worked with a lesser band. Bassist Federico Pol perfectly captured John McVie’s celebrated, driving bass line for “Go Your Own Way,” and Jimmy Paxson could be Mick Fleetwood’s drummer brother from another mother. Guitarist Neil Heywood and multi-instrumentalist Brett Tuggle rounded out the band, with background vocals from Pol, Heywood and Tuggle providing the lushness the Fleetwood Mac tunes required.

In dandy fashion, natch.

Chuck Yarborough / The Plain Dealer / Friday, November 3, 2017

Categories
Article Buckingham McVie Concert Review Concert Reviews

Buckingham-McVie show they’re head, heart of Fleetwood Mac.

Stevie Nicks may be the face of Fleetwood Mac, and likely its most recognizable voice.

But Lindsey Buckingham is clearly the band’s head — author of many of its biggest hits, player of its distinctive guitar, master behind its sound with his production.

And Christine McVie may be its heart — the warm, welcoming vocal counter to Nicks’ emotional gypsy.

So you would expect that even though Buckingham and McVie’s current duo tour is to support their new self-titled, Top 20 album, they would carry many of Fleetwood Mac’s attributes into concert with them.

And indeed they did Friday at Sands Bethlehem Event Center in Bethlehem, on the last date of the tour’s first leg — to the point of playing almost as many Fleetwood Mac songs (nine) in the 19-song, hour-and-40-minute set than they did the new songs (10).

The songs weren’t always Fleetwood Mac’s biggest hits, but they displayed the pair’s contributions to the band.

And the concert also showed how distinctive Buckingham and McVie are as solo artists.

That talent was on display immediately as the concert opened with Buckingham doing a slow, studied and acoustic version of his solo debut single hit, “Trouble” before being joined by McVie singing the deep Fleetwood Mac cut “Wish You Were Here,” warm and lovely.

Then Buckingham did the Fleetwood Mac song “Never Going Back Again” as a pained lament that was simply stunning. And he followed with an also-acoustic but angry and aggressive version of his “Shut Us Down.” His guitar work was as impressive as his voice.

For the rest of the show, the duo had a four-person band.

Saying she wanted to do older material “from the second century,” McVie kicked into Fleetwood Mac’s wonderful “Hold Me,” sounding more mature and mellow than the original arrangement — as if it had been seasoned over time.

“Little Lies” was still a great song, but McVie seemed to struggle with her higher range. Buckingham made up for it by growling on the chorus and playing great lead guitar. “Tusk” was as pretentious as ever, but darned if it still doesn’t have the power to make you move.

The middle of the set showed McVie at her Fleetwood Mac best, on “Hold Me,” the intense fleeing-love song hit from “Mirage.” And while it was McVie’s song, it also show how much Buckingham contributed with simply his high counter-voice.

Then “Little Lies” again showed how much the combination of McVie and Buckingham’s voices mean to Fleetwood Mac.

The Fleetwood Mac song that suffered most was McVie-voiced “You Make Loving Fun,” which felt weighted down by age, as McVie again fell short vocally.

The songs from the new disc were surprisingly strong. As Buckingham said, clearly the pair still can capture that band magic.

Early in the set, the chiming “Sleeping Around the Corner” sounded like Rumours-era Fleetwood Mac, both musically and vocally. Same for “Feel About You,” except for additional muscle. Buckingham’s masterful melody work was evident. The disc’s first single, “In My World,” was more the kind of song McVie did for the group.

The harder “Too Far Gone” sounded impressive, with heavy percussion and Buckingham’s searing guitar, but was a bit too obvious.

Later in the set, “Love is Here to Stay” was very much a Buckingham tune — lovely guitar and voice over a swirling melody, it’s an unusually hopeful love song. But the wistful, left-love “Red Sun” also was too obvious — saved only by Buckingham’s echo-y guitar.

It was something of a disappointment that McVie didn’t sing perhaps her best Fleetwood Mac song, “Over My Head.” The duo instead offered its B-side, “I’m So Afraid” — which made for a fine Buckingham guitar centerpiece (and his playing got a standing ovation from the near-sellout crowd). But the song was leadened under its own weight.

The duo made up for it by closing the main set with Buckingham’s kiss-off song “Go Your Own Way” — which still carries a beautifully bitterly sting after all these years, and was even stronger and meaner now.

And McVie got her chance, opening the encore with the beautifully bubbling “Everywhere,” which she sang great.

In an odd move, Buckingham-McVie closed with two new songs. “Lay Down for Free” sounded a lot like “Hold Me” — in a good way, clearly from Buckingham’s head. And the closing “Game of Pretend” was very much the kind of song to which McVie gave warmth — and heart — in Fleetwood Mac.

Sands Bethlehem Event Center
August 11, 2017

John J. Moser | The Morning Call | August 11, 2017

Categories
Buckingham McVie

Leg 2 announced

Official Press Release

LINDSEY BUCKINGHAM AND CHRISTINE McVIE ANNOUNCE SECOND LEG OF NORTH AMERICAN TOUR

2 ADDITIONAL STOPS BEGINNING IN SAN JOSE, CA  
DUO ALSO ANNOUNCE NEW SINGLE THIS WEEK “LAY DOWN FOR FREE”

Lindsey Buckingham, Christine McVie, June 9 2017

On the heels of a sold-out critically acclaimed summer tour, longtime Fleetwood Mac members Lindsey Buckingham and Christine McVie announced today the second leg of their North American tour. The pair will hit an additional 22 stops on this leg of the tour beginning in San Jose, CA and wrapping in Sugar Land, TX.  Tickets will go on sale Friday, August 18th to the general public except for Louisville which will go on sale Friday, August 25th.   American Express pre-sale for cardholders will begin Tuesday, August 15th at 10am local time. The duo also announced a new single going to radio this week “Lay Down For Free.”

“Lindsey Buckingham & Christine McVie Introduce Vibrant New Material at Sold-Out L.A. Show…It’s not often that rock legends depart their comfort zones and pair off for experimentation…..and in this current 19-song show with McVie, there is just enough of it – plus enough of the familiar – to create a truly intriguing evening.” – Billboard

“Lindsey Buckingham, Christine McVie mix new songs with Fleetwood Mac classics at the Greek …over 90 minutes of performance, delivered one strong moment after another.” – Orange County Register  

“Buckingham McVie Brought Down the House in Downtown Phoenix” – Phoenix New Times

“…The gusto with which Buckingham and McVie approached the night animated both their new material and classic cuts” – The Boston Globe

Simply titled LINDSEY BUCKINGHAM/CHRISTINE McVIE, the 10-song album is now available on CD, LP, and all digital and streaming services via Atlantic Records. The North American tour began on June 21st in Atlanta, GA. A full itinerary of newly added dates for the tour can be found below.

Of the album, NPR writes “The marvel is that these two longtime band mates can simultaneously stand on their own and exert a gentle pull on each other, expanding our appreciation of them as living, breathing artists…”

The collaboration began three years ago, when McVie rejoined Fleetwood Mac for the group’s “On With The Show” tour.   The pair went in to record new material prior to rehearsals for the tour and their natural creative chemistry was reignited.  According to Buckingham, “We were exploring a creative process, and the identity of the project took on a life organically. The body of work felt like it was meant to be a duet album. We acknowledged that to each other on many occasions, and said to ourselves, ‘what took us so long?!!’”

Working their natural singer songwriter skills together came easily for the duo.  Said Christine McVie, “We’ve always written well together, Lindsey and I, and this has just spiraled into something really amazing that we’ve done between us.”

Sessions for the album took place at The Village Studios in Los Angeles, which is where Fleetwood Mac recorded several of their classic albums, including Tusk. Buckingham and McVie were joined in the studio by fellow bandmates Mick Fleetwood and John McVie, who supplied much of the dynamic rhythmic engine.

NORTH AMERICAN TOUR DATES

10/14/2017 – San Jose, CA @ City National Civic
10/15/2017 – Paso Robles, CA @ Vina Robles Amphitheatre
10/17/2017 – Santa Barbara, CA @ Arlington Theater
10/19/2017 – San Diego, CA @ Humphrey’s
10/20/2017 – Indio, CA @ Fantasy Springs Resort Casino
10/22/2017 – Midland, TX @ Noel Wagner Performing Arts Center
10/24/2017 – Irving, TX @ Irving Music Factory
10/25/2017 – Little Rock, AR @ Robinson Center Music Hall
10/27/2017 – Indianapolis, IN @ Murat Theater
10/28/2017 – St. Louis, MO @ Fox Theater
10/30/2017 – Minneapolis, MN @ Northrop Auditorium
10/31/2017 – Milwaukee, WI @ Riverside Theatre
11/2/2017 – Charleston, WV @ Clay Center for Arts & Sciences
11/3/2017 – Northfield, OH @ Hard Rock Live
11/5/2017 – Louisville, KY @ Palace Theatre
11/7/2017 – Orlando, FL @ Dr. Phillips Center for the Performing Arts
11/9/2017 – Clearwater, FL @ Ruth Eckerd Hall
11/11/2017 – Hollywood, FL @ Seminole Hard Rock Hotel & Casino
11/12/2017 – Jacksonville, FL @ Moran Theater
11/14/2017 – San Antonio, TX @ Majestic Theater
11/15/2017 – Austin, TX @ Bass Concert Hall
11/16/2017 – Sugar Land, TX @ Smart Financial Centre at Sugar Land

Categories
Album Reviews Article Buckingham McVie

REVIEW: Lindsey Buckingham / Christine McVie

Fleetwood Mac – Stevie Nicks = Buckingham/Mcvie. Typical Fleetwood Mac math, yet somehow it adds up to a pretty-good album.

Lindsey Buckingham, Christine McVieOver past few decades, a couple of would-be Lindsey Buckingham albums have been co-opted into Fleetwood Mac albums. Tango in the Night (1987) and Say You Will (2003) both began as Buckingham solo projects, but fate, not to mention the record company, intervened. This time, though, things have worked out the other way around, sort of.

Since Christine McVie rejoined Fleetwood Mac in 2014 after a 16-year absence, the band have talked excitedly about a new era and a new album, and have been recording new material. All of them except Stevie Nicks that is. Nicks has been doing Fleetwood Mac and solo tours but apparently, has little interest in recording.

Apparently, the rest of the band got tired of waiting for her. Lindsey Buckingham / Christine McVie also features the Mick Fleetwood/John McVie rhythm section. So that’s four-fifths of Fleetwood Mac. Though Buckingham and McVie have claimed their album was not intended as a Fleetwood Mac record, that’s only because Nicks precluded the idea. It is safe to say that any new Fleetwood Mac album would have featured much of the material on Lindsey Buckingham / Christine McVie. All this makes it difficult to listen to Lindsey Buckingham / Christine McVie without thinking of it as a companion piece to Say You Will, which featured all involved save McVie.

Even after all these years, it’s never simple with Fleetwood Mac.

Still, Lindsey Buckingham / Christine McVie commands some attention in its own right. McVie has not released anything since her 2004 solo album. Save a low-key Mac EP, Buckingham has not been heard from since 2011. Do the pair, who between them have written some of the most enduring radio hits of the last 40 years, still have it? Do they, at their ages (Buckingham is 67; McVie turns 74 this year), have anything new to say, and can they still sing, even?

This is a “duet” album, which is not to be mistaken for a “duets album”. Each of the ten songs alternates between a Buckingham vocal and a McVie vocal. There are no duets. Not surprisingly, Buckingham fairly dominates affairs, writing or co-writing nearly all the tracks and co-producing with Mitchell Froom. The sound is crisp, clean, and slightly DIY, in the manner of Buckingham’s last several solo albums.

And the songs?

Buckingham still has it, because he never really lost it. He still has a way with an incisive-yet-catchy, quirky-yet-charismatic melody and arrangement. He is more straightforward here than on his solo releases, keeping his trademark fingerpicking filigree at a minimum and his eccentricities in check. His “Sleeping Around the Corner”, a years-old, remodeled solo outtake, has one of those classic, giddy choruses he is so good at, and it would be a great opener on any album. Single “In My World” is nearly as good, with Fleetwood and John McVie laying down their trademark, rock-solid, less-is-more groove. In fact, one of Lindsey Buckingham/Christine McVie ‘s true pleasures is Fleetwood’s drumming, deft as ever.

“Love Is Here to Stay” is a breezy, fingerpicked ray of sunlight. All the effortless “Lay Down For Free” is missing is some Nicks harmonies. “On With the Show” seems to address her absence, with Buckingham proclaiming, “I will stand with my band / There’ll come a day / When we all feel the same.”

As for McVie, well, her method has not changed much, either. She still deals in sweet, guileless romance. She has lost something, though. Time has taken a substantial toll on both singers’ voices, but McVie seems to struggle just to sound like herself. More importantly, often there is not enough of a pure pop rush to make up for her simplistic lyrics and phrasing. “Red Sun” gets some good vibes out of her familiar rolling piano sound, and the hard-boogying “Too Far Gone” just barely manages to avoid being an embarrassment. Only the beautifully stark piano ballad “Game of Pretend” stands on its own without the production propping it up.

A curious album to be sure, Lindsey Buckingham/Christine McVie could just as well have been released as two separate EPs. In particular, it is difficult to hear McVie in the Buckingham-fronted songs. Still, in the end, an almost-Fleetwood Mac album turns out to be a pretty good Fleetwood Mac album, especially this late in the game.

LINDSEY BUCKINGHAM / CHRISTINE MCVIE
Rating: 6/10

John Bergstrom / Pop Matters / Wednesday, July 12, 2017

Categories
Album Reviews Article Buckingham McVie

Bright and breezy

ALBUM REVIEW: Lindsey Buckingham and Christine McVie – Buckingham/McVie

***1/2 (3 and a half stars out of 5)

If you’ve ever wondered what a golden era Fleetwood Mac album might sound like without Stevie Nicks, here’s your answer. From 1975’s self-titled effort to ‘87s Tango in the Night, the Mac’s transatlantic reinvention and huge global success was built on the potent creative relationship between the British trio of Mick Fleetwood, John and Christine McVie and American pair Nicks and Lindsey Buckingham. Boasting a unique combination of interpersonal friction and natural musical understanding, the quintet crafted some of the finest, most emotionally raw pop-rock songs ever made.

In particular, Buckingham and McVie struck up an immediate rapport, elevating each other’s songwriting as his idiosyncratic musicianship melded perfectly with her penchant for penning melodic, romantic gems. That was most apparent on Tango in the Night, a record that, with Nicks largely absent, was largely shaped by the duo and went on to shift 15 million copies.

Fast forward three decades and the circumstances surrounding the genesis of this release are somewhat reminiscent of that period. After McVie re-joined the band in 2014, she and Buckingham swiftly realised their collaborative spark still burned bright.

A new Fleetwood Mac album might have been in the works, but Nicks was again on solo duty. So, instead we have Buckingham/McVie.

Stylistically speaking, this is a simple sounding record full of immaculately produced, easy listening vignettes that are incredibly bright and breezy. McVie’s musical aesthetic forms the blueprint, with her gifted co-creator reining in his experimental tendencies to complement her easy going pop sensibilities.

“Feel About You” is a bubbly ‘60s bijou with instrumental nods to “Everywhere” and the exquisitely tuneful “Red Sun” offers a relaxed gospel-style chorus that has the air of a soothing nursery rhyme. “Lay Down For Free” finds the pair’s vocal interplay as enchantingly timeless as ever, while “Too Far Gone” echoes “You Make Loving Fun.” Its electronically swaggering groove, brilliantly clipped chorus and tribal drum bursts are an absolute blast.

With Mick Fleetwood and John McVie also playing on the LP, strands of Fleetwood Mac’s DNA are, understandably, woven into the fabric of these songs. “Love Is Here To Stay” recalls a slower, more optimistic “Never Going Back Again” and the sparse piano and guitar strains on “Game of Pretend” immediately bring to mind “Songbird.” “Carnival Begin” is a hazy dream-like number that could have featured on Tusk, with Buckingham’s closing solo his most intense contribution.

Where the simmering undercurrent of love and hate betwixt Buckingham and Nicks always gave their music a certain spikiness, the collaborative vibe here is noticeably more relaxed, enjoyable and carefree. The only downside to such harmony is that these songs are very middle of the road and some will find them far too bland and beige. If you’re looking for a little edginess in your life, feeding ducks at the local park or eating a non-organic apple with the skin on will offer more than this record.

It won’t wipe away the frustration with Nicks for potentially depriving us of a final album from Fleetwood Mac’s classic line-up, but without her presence the dynamics at play on this classy, mature and well sculpted offering do present another fascinating portal into the inner workings of music’s longest running soap opera.

Simon Ramsay / Stereoboard (UK) / Monday, June 26, 2017

Categories
Buckingham McVie

Buckingham, McVie announce Los Angeles, New York shows

Highly-Anticipated Dates At Storied Venues Added To The Duo’s Special Engagement Of North American Shows

Los Angeles – August 2 at Greek Theatre
New York City – August 10 at Beacon Theatre

Longtime members of Fleetwood Mac, Lindsey Buckingham and Christine McVie, are currently bringing their first-ever album as a duo to audiences across the country and have announced shows in Los Angeles at the Greek Theatre and New York City at the Beacon Theatre on August 2 and August 10, respectively.

American Express cardholders will have access to presale tickets beginning Tuesday, June 27 at 10 a.m. local time. Tickets go on sale to the general public starting Friday, June 30 at 10 a.m. local time.

Click HERE for a full list of 2017 tour dates.

Categories
Article Buckingham McVie

A long-lost Fleetwood Mac album?

Fleetwood Mac’s Lindsey Buckingham tells all about his collaboration with Christine McVie: “We didn’t have an idea what it was going to be, we just wanted to welcome her back,” Buckingham says. “Less than a week in we were like, ‘Oh, my god, this is better than it’s ever been.'”

Before Christine McVie rejoined Fleetwood Mac in 2014 after a 16-year hiatus, she reconvened with guitarist Lindsey Buckingham, bassist and ex-husband John McVie and drummer Mick Fleetwood in the studio. Buckingham was working on a solo album and, before rehearsals began for Fleetwood Mac’s upcoming tour, the four — sans Stevie Nicks — played around with some songs. “We didn’t have an idea what it was going to be, we just wanted to welcome her back,” Buckingham says. “Less than a week in we were like, ‘Oh, my god, this is better than it’s ever been.’ ”

They recorded for a few weeks and then put things on hold until the tour wrapped. The resulting album, Lindsey Buckingham/Christine McVie, released this month, sounds like it could be a long-lost Fleetwood Mac album. It’s all there (except for Nicks): Buckingham’s jangly guitar and pop sensibility, Christine’s breathy vocals and melodic piano playing, the classic rhythm section. Express spoke with Buckingham ahead of the duo’s first tour, which stops at Wolf Trap on Monday.

Correct me if I’m wrong, but this album is the first time that you, Christine, Mick and John worked together in the studio since 1987’s Tango in the Night.

That is true. We did do a Fleetwood Mac album, [2003’s] Say You Will, without Christine. I’d never really thought of it that way.

For this album, it had been almost 30 years since you four had worked together in the studio.

Jeez, did you have to say that? Oh, my god, that’s scary.

Did it feel strange to be working together in this context again?

Well, no, not really.

It helped that you recorded the album at the same studio where you made 1979’s Tusk.

Yeah, that was a very conscious decision to sort of revisit a piece of our past. And that was a studio that, not only we’d helped to design, but we’d also spent almost a year there, and the Tusk album obviously represents a life choice for me. …

I had this conversation with [Christine] before formally saying, “Yes, come on back and rejoin the band,” which was basically, “Chris, we’d love you to come back, but you know if you do come back you can’t leave again.” I didn’t want it to be a whim for her or a knee jerk into something she felt she was missing but wasn’t willing to be grounded in and put in the discipline for. And she said, “No, no, no — I’d never do that.”

Do you feel like your creative relationship with Christine is stronger now that you’ve made this album?

Generally speaking, it kind of feels like there was always this mutual respect and always this mutual regard for each other’s artistry. But we never really tapped into it on this level. In retrospect, we’re sitting around going, “Gee, what took us so long?” So, we’ll just have to see where it goes. I have a solo album waiting in the wings that’s probably going to come out in January and of course the big machine [Fleetwood Mac] will come calling sometime next year as well, so I can’t really say what it all means other than we had a hell of a time doing it.

[Fleetwood Mac welcomed Christine McVie back to Verizon Center on Halloween]

What do you admire about her as a songwriter?

I love her sense of rhythm and her sense of melody. I love how she infuses her piano playing through the body, the fabric of the song in a way that’s really supportive and atmospheric. Just her ability to craft lyrics that are really strong rhythmically was brought to the forefront on this album because we did a lot of co-writing.

We’d done very occasional co-writing [in the past] — “World Turning” [for example]. I took great liberties with her songs and ended up sharing the writership on a couple of things she had. I gave her tracks that I had done in my studio that were all blocked out in terms of arrangement and chord changes and even melody. … And it was really fascinating to have her take the idea of the melody but then make it her own.

Do you have examples from the new album?

“Red Sun” is one of those. “Too Far Gone.” She would take the melody as it was expressed as a guitar line and be true to it and yet change it up and make it conversational and make it go with the pauses in her lyrics that would enhance the rhythm, and it was just really a nice thing to see evolve.

Is the plan for the tour to mix Fleetwood Mac songs with the new album?

Obviously, you can’t get away without doing some of the body of work. I think they’d probably run us out on the rail, so you try to find a balance. We’re going to possibly open up with a few things with just the two of us, maybe on acoustic and piano, and then by the time we get to the encore I think we’re doing eight of 10 songs from the new album. Then of course you have to throw in a few chestnuts. And that’s fine. I think it’s going to be a nice, fresh show.

Next month, you’ll play a couple of Fleetwood Mac festival dates, then next year is supposed to be a farewell tour, maybe?

Well, I’ve been hearing that, “farewell tour.” Where did that come from?

I read it in another article about the new album. Are you not ready to say goodbye to Fleetwood Mac?

It’s not a question of being ready or not ready, but we’ve never as a band talked about this being our last tour, so I’m a little curious about that.

You don’t see it as a farewell tour?

I certainly don’t. And given how long people seem to keep going and how we all feel individually, I would be shocked — but stranger things have happened.

Wolf Trap, Filene Center, 1551 Trap Road, Vienna; Mon., 7:30 p.m., $45-$95.

Rudi Greenberg / Washington Post [Express – Blogs] / June 22, 2017

Categories
Buckingham McVie

Buckingham McVie album among Top 50 albums of 2017

Lindsey Buckingham, Christine McVie, June 9 2017Lindsey Buckingham Christine McVie is one of the 50 Best Albums of 2017, according to Rolling Stone. The magazine says the following about the duo’s debut album:

“Well, here’s an album nobody thought would happen – the first-ever collabo from Lindsey Buckingham and Christine McVie. It’s full of surprises, considering we’ve all spent years already listening in on both their private worlds. But these two Fleetwood Mac legends have their own kinky chemistry. When McVie jumped back in the game for the Mac’s last tour, the songbird regained her hunger to write. And Buckingham remains one of the all-time great rock & roll crackpots, from his obsessively precise guitar to his seething vocals. They bring out something impressively nasty in each other, trading off songs in the mode of 1982’s Mirage – California sunshine on the surface, but with a heart of darkness.”

Categories
Buckingham McVie Featured

Christine, Lindsey sing ‘Don’t Stop’ with Jimmy & The Kids

Lindsey Buckingham and Christine McVie joined Jimmy Fallon, The Roots, and a room full of school kids for a fun, stripped-down rendition of the Fleetwood Mac classic “Don’t Stop.”

Categories
Album Reviews Article Buckingham McVie

REVIEW: Lindsey Buckingham / Christine McVie

Lindsey Buckingham, Christine McVieAlbum review: Lindsey Buckingham/Christine McVie is an engaging side project for Fleetwood Mac members.

Lindsey Buckingham / Christine McVie
Lindsey Buckingham and Christine McVie
Atlantic
***1/2 (Three and a half stars)

The sessions that eventually spawned this album might well have heralded the return of Fleetwood Mac – indeed, Mick Fleetwood and John McVie contribute throughout here – but when Stevie Nicks stalled on her involvement, the songs instead became an engaging side project for Lindsey Buckingham and Christine McVie.

The mood throughout is part sun-dappled Californian sunshine and part crisp English winter, and McVie – who by her own admission turned her back on music for much of her 16-year break from touring and recording – is the undoubted star.

“Carnival Begin,” which closes the album, finds McVie brooding over a “new merry-go-round”, a transparent reference to returning to the recording fold.

“Game of Pretend,” another McVie composition, considers the complex world of relationships, a key Fleetwood Mac battleground over the decades. Buckingham shines, too, particularly on the radio-friendly “In My World,” “Sleeping Around the Corner,” and “On With the Show.” Throughout, there is a clarity of thought and sound that rolls back the years.

Nick March / The National (Middle East) / Monday, June 12, 2017

Categories
Album Reviews Article Buckingham McVie

REVIEW: Lindsey Buckingham/Christine McVie – strange and beautiful

Fleetwood Mac’s last masterpiece, Tango in the Night, relied heavily on Buckingham/McVie compositions, with the group’s third great songwriter, Stevie Nicks, generally absent. Now that McVie and Buckingham are back together in the touring Mac band for the first time since 1997, they’ve reunited in the studio for this succinct collection of gentle pop-rockers, familiar yet far more strange and beautiful than 2013’s brittle Fleetwood Mac EP.

Buckingham’s spidery guitar shivers through “Love Is Here to Stay” and slays the solo on “Carnival Begin,” while McVie’s undimmed gift for melody illuminates every song.

Lindsey Buckingham and Christine McVie
(East West)

**** (4 / 5 stars)

Damien Morris / The Guardian (UK) / Sunday, 11 June 2017

Categories
Buckingham McVie CBS This Morning

Saturday Sessions: Lindsey Buckingham & Christine McVie

Lindsey Buckingham and Christine McVie perform on CBS This Morning’s Saturday Sessions.

In My World

Feel About You



Love Is Here to Stay

Categories
Article Buckingham McVie CBS This Morning

Fleetwood Mac’s Lindsey Buckingham, Christine McVie release first duet album

Fleetwood Mac guitarist Lindsey Buckingham and singer Christine McVie are joining forces for their first duet album.

The record, out Friday, is called Lindsey Buckingham Christine McVie.

Fleetwood Mac’s 1970s hit “Don’t Stop” from the album Rumours topped the charts for 31 straight weeks, but the band has always been known as a bit of a musical soap opera, reports CBS News’ Anthony Mason.

McVie was married to bassist John McVie, and Buckingham lived with Stevie Nicks.

Both couples broke up, but somehow the band survived. Now, for the first time, Buckingham and McVie have teamed up musically.

“There’s been a lot of drama among members of Fleetwood Mac,” Mason said.

“Oh, you could say that,” Buckingham said.

But Buckingham and McVie have never had drama between themselves.

“Not yet,” Buckingham joked. The two began working on new songs together when she rejoined Fleetwood Mac after a long absence in 2014. Bandmates John McVie and Mick Fleetwood provide much of the rhythm section on Buckingham-McVie’s debut duet album, which makes it an almost-Fleetwood Mac record. Everybody’s on the album except Nicks, which had some people wondering if it started as a Fleetwood Mac album.

“No, it didn’t really. There was no idea of saying, ‘Oh we’re trying to make a Fleetwood Mac album.’ It was just, ‘Let’s get together and have some fun with this.’ But as I said, it only took about a week for us to start to get a little territorial about it maybe being a duet album,” Buckingham said.

Last month, they took over Sound Stage 22 on the Sony lot in Los Angeles to begin rehearsing for a summer tour.

McVie has been singing harmonies with Buckingham since he first joined Fleetwood Mac back in 1975 with his then-girlfriend Nicks.

“It was with Stevie and John, and it was a little studio somewhere,” McVie said of the first time she and Buckingham sang together. “I was playing ‘Say You Love Me.’ And you and Stevie chirped in with fantastic background vocals. And we just all sat, I mean I sat there with goosebumps. I could not believe it.”

They’d form the classic lineup of Fleetwood Mac. Their first album together went to number one. Their second, Rumours, would sell more than 40 million copies.

But in 1998, tired of the travel and the feuding, McVie quit the band and moved to the English countryside, where she’d stay for 16 years.

“And it was OK for a few years, and then I just became quite isolated really,” McVie said.

McVie did do a solo album during that time.

“How could I forget? In my garage, we call it ‘the dirge’ album. Cause I was in a dark space then,” she said.

“Did you decide that you’re not really a solo artist after all?” Mason asked.

“I know I’m not,” she said. “I’m not.”

McVie took her first tentative steps back into Fleetwood Mac in 2013, when Fleetwood invited her to join them for one gig at London’s 02 Arena, a reunion captured on fans’ cellphone video.

“He said, ‘Why don’t you just come on and do “Don’t Stop” with us?’ So that’s, that’s in the end what I did,” she said. “And looking around at these other four individuals – it was just a mind-blowing experience.”

Right away, she knew she wanted to go back.

“There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together,” Buckingham said.

The Buckingham-McVie tour opens in Atlanta June 21 and runs through July.

Watch CBS This Morning: Saturday for the duo’s Saturday Sessions performance and for more of Mason’s interview.

© 2017 CBS Interactive Inc. All Rights Reserved.

Categories
Album Reviews Article Buckingham McVie

REVIEW: Lindsey Buckingham and Christine McVie’s strange, surprising collaboration

Our take on the unexpected full-length team-up between the two Fleetwood Mac songwriters

 

 

Lindsey Buckingham, Christine McVieWell, here’s an album nobody thought would happen – the first-ever collabo from Lindsey Buckingham and Christine McVie. It’s full of surprises, considering we’ve all spent years already listening in on both their private worlds. But these two Fleetwood Mac legends have their own kinky chemistry. When McVie jumped back in the game for the Mac’s last tour, the songbird regained her hunger to write. And Buckingham remains one of the all-time great rock & roll crackpots, from his obsessively precise guitar to his seething vocals. They bring out something impressively nasty in each other, trading off songs in the mode of 1982’s Mirage – California sunshine on the surface, but with a heart of darkness.

So we’ve made it to the second paragraph of this review without mentioning any other members of Fleetwood Mac. That’s an achievement, right? We should feel good about that. So now let’s discuss how weird it feels that a certain pair of platform boots was not twirling on the studio floor while this album was being made. Stevie Nicks is the unspoken presence on this album, the lightning you can hear not striking. There’s something strange about hearing Lindsey and Christine team up without her, but that just enhances the album’s strange impact. This would have been the next Mac album, except Stevie didn’t want in. It sounds like that might have fired up her Mac-mates’ competitive edge – but for whatever reason, these are the toughest songs Buckingham or McVie have sung in years.

“In My World” is the treasure here – Lindsey digs into his favorite topic, demented love, murmuring a thorny melody and reprising the male/female sex grunts from “Big Love.” In gems like “Sleeping Around the Corner” and the finger-picking “Love Is Here to Stay,” he’s on top of his game, with all the negative mojo he displayed in Tusk or his solo classic Go Insane. McVie is usually the optimistic one, but she seizes the opportunity to go dark in “Red Sun.” And what a rhythm section – Mick Fleetwood and John McVie, cooking up the instantly recognizable groove no other band has found a way to duplicate. Everything about this album is a little off-kilter, right down to the way the title echoes the pre-Mac Buckingham Nicks. But if this had turned out to be a proper Fleetwood Mac reunion album, that would’ve felt like a happy ending – and who wants happy endings from these guys? Instead, it’s another memorable chapter in rock’s longest-running soap opera, with both Lindsey and Christine thriving on the dysfunctional vibes.

Rob Sheffield / Rolling Stone / June 7, 2017

Categories
Buckingham McVie

Listen to Buckingham/McVie

First Listen: Lindsey Buckingham & Christine McVie

Fleetwood Mac’s guitarist and keyboardist team up for a new album

People often think of Fleetwood Mac as a band propelled to artistic eminence by interpersonal turmoil. Who could forget that Rumours, the band’s defining album, was the product of a period of libertine excess and relational meltdowns? Lindsey Buckingham and Stevie Nicks were on the rocks, Christine McVie and John McVie were divorcing and Mick Fleetwood’s civilian marriage was disintegrating, too. Long before bloggers began parsing insinuating lyrics from Taylor Swift and others who’ve passed through her orbit, there was perverse sport in scrutinizing the wistful, wounded or prickly lines in Fleetwood Mac songs, not to mention group members’ on-the-record comments and on-stage interactions, for evidence of unresolved conflict.

No such history hangs over the pairing of Buckingham and Christine McVie, he a famously exacting guitarist and producer, she a blues-schooled keyboardist, and each of them singers and songwriters responsible for significant chunks of their band’s discography. Over the decades they’ve ventured into a handful of direct collaborations, but they haven’t truly explored the potential of their partnership until now. Their album features most of the band’s classic lineup (notably, minus Nicks), but gets its identity from ideas generated within the closed circuit of the duo; all of the songs are credited to Buckingham, McVie or both.

When McVie rejoined Fleetwood Mac in 2014, no longer content with the tranquility of retirement in the English countryside she’d chosen a decade and a half earlier, she and Buckingham struck up a tentative creative conversation, she sending him snippets of lyric, melody and chord progression, he fleshing them out and passing along his own incomplete song ideas to her. “This was just for me to get familiarized with playing and performing again,” McVie told Stephen Deusner in a recent cover story for Uncut. “One thing led to another, and by the time we knew what was happening, we had six basic tracks in the bag….” Their casual exchange reactivated musical muscles she hadn’t used in a while and reaffirmed her faith in the relevance of her contributions.

In the mythology built up around the music of Fleetwood Mac, McVie represents an irrepressibly sanguine voice and Buckingham a more barbed one, but to reduce them to polar opposites — the optimist vs. the pessimist — is to miss out on the nuanced outlooks that come into focus when they’re working side by side. He remains quite skilled at enhancing shifts in tone with his production. The pensive resolve of his “On With the Show” gives way to breezy resignation with the introduction of sun-kissed harmonies and a crystalline guitar figure. In the propulsive pop-rock number “Lay Down For Free,” he dwells on a lover’s elusiveness, then pivots to buoyant defiance, lifted by the entrance of shimmery vocals and guitar. During “Carnival Begin,” McVie broods in the shadows, until the warm haze of harmonies and Buckingham’s delicate, single-stringed counterpoint illuminate her expression of desire.

McVie and Buckingham make room for unfurling multi-faceted emotions in their songcraft itself. In “Sleeping Around the Corner,” he offers reluctant reassurance, intoning, “If you want me to stay, you’ve got to let me go” over spasmodic digital beats. “In My World” is his melancholy expression of idealism. In “Love Is Here To Stay,” he savors the sweetness of romance in spite of his seasoned wariness. There’s a willfulness to her giddy affection in “How I Feel,” a self-conscious insistence that celebrating the pleasure she takes in another person is, in itself, a worthwhile gesture. In “Red Sun,” she tries to separate out the bitterness from the solace in a lover’s memory. “My mind is filled with journeys, echoed with your smile,” she sings. “No, you won’t take that away from me, even if you try.”

The marvel is that these two longtime band mates can simultaneously stand on their own and exert a gentle pull on each other, expanding our appreciation of them as living, breathing artists, rather than subjects of tabloid-heightened legend.

Listen to Lindsey Buckingham and Christine McVie’s self-titled new album below and pre-order it now! (Editor’s Note: Original NPR links have since been removed.)

Jewly Hight / NPR Music / Thursday, June 1, 2017

Categories
Album Reviews Article Buckingham McVie

REVIEW: Lindsey Buckingham & Christine McVie

Lindsey Buckingham, Christine McVie, June 9 2017Fleetwood Mac’s guitarist and keyboardist team up for a new album

People often think of Fleetwood Mac as a band propelled to artistic eminence by interpersonal turmoil. Who could forget that Rumours, the band’s defining album, was the product of a period of libertine excess and relational meltdowns? Lindsey Buckingham and Stevie Nicks were on the rocks, Christine McVie and John McVie were divorcing and Mick Fleetwood’s civilian marriage was disintegrating, too. Long before bloggers began parsing insinuating lyrics from Taylor Swift and others who’ve passed through her orbit, there was perverse sport in scrutinizing the wistful, wounded or prickly lines in Fleetwood Mac songs, not to mention group members’ on-the-record comments and on-stage interactions, for evidence of unresolved conflict.

No such history hangs over the pairing of Buckingham and Christine McVie, he a famously exacting guitarist and producer, she a blues-schooled keyboardist, and each of them singers and songwriters responsible for significant chunks of their band’s discography. Over the decades they’ve ventured into a handful of direct collaborations, but they haven’t truly explored the potential of their partnership until now. Their album features most of the band’s classic lineup (notably, minus Nicks), but gets its identity from ideas generated within the closed circuit of the duo; all of the songs are credited to Buckingham, McVie or both.

When McVie rejoined Fleetwood Mac in 2014, no longer content with the tranquility of retirement in the English countryside she’d chosen a decade and a half earlier, she and Buckingham struck up a tentative creative conversation, she sending him snippets of lyric, melody and chord progression, he fleshing them out and passing along his own incomplete song ideas to her. “This was just for me to get familiarized with playing and performing again,” McVie told Stephen Deusner in a recent cover story for Uncut. “One thing led to another, and by the time we knew what was happening, we had six basic tracks in the bag….” Their casual exchange reactivated musical muscles she hadn’t used in a while and reaffirmed her faith in the relevance of her contributions.

In the mythology built up around the music of Fleetwood Mac, McVie represents an irrepressibly sanguine voice and Buckingham a more barbed one, but to reduce them to polar opposites — the optimist vs. the pessimist — is to miss out on the nuanced outlooks that come into focus when they’re working side by side. He remains quite skilled at enhancing shifts in tone with his production. The pensive resolve of his “On With the Show” gives way to breezy resignation with the introduction of sun-kissed harmonies and a crystalline guitar figure. In the propulsive pop-rock number “Lay Down For Free,” he dwells on a lover’s elusiveness, then pivots to buoyant defiance, lifted by the entrance of shimmery vocals and guitar. During “Carnival Begin,” McVie broods in the shadows, until the warm haze of harmonies and Buckingham’s delicate, single-stringed counterpoint illuminate her expression of desire.

McVie and Buckingham make room for unfurling multi-faceted emotions in their songcraft itself. In “Sleeping Around the Corner,” he offers reluctant reassurance, intoning, “If you want me to stay, you’ve got to let me go” over spasmodic digital beats. “In My World” is his melancholy expression of idealism. In “Love Is Here To Stay,” he savors the sweetness of romance in spite of his seasoned wariness. There’s a willfulness to her giddy affection in “How I Feel,” a self-conscious insistence that celebrating the pleasure she takes in another person is, in itself, a worthwhile gesture. In “Red Sun,” she tries to separate out the bitterness from the solace in a lover’s memory. “My mind is filled with journeys, echoed with your smile,” she sings. “No, you won’t take that away from me, even if you try.”

The marvel is that these two longtime band mates can simultaneously stand on their own and exert a gentle pull on each other, expanding our appreciation of them as living, breathing artists, rather than subjects of tabloid-heightened legend.

Jewly Hight | NPR | June 1, 2017

Categories
Buckingham McVie

The Making of Buckingham McVie

Categories
Buckingham McVie

Buckingham McVie: Promotional appearances

CBS This Morning – Saturday Sessions, June 10, 2017

In My World

Feel about You

Love Is Here to Stay

Tonight Show with Jimmy Fallon, June 9, 2017

In My World

BUILD Series, June 8, 2017

Longtime Fleetwood Mac members, Lindsey Buckingham and Christine McVie join together on Lindsey Buckingham/Christine McVie, their first-ever album as a duo. The 10-song album will be released by Atlantic Records this summer, followed by a run of special U.S. concerts. Hear how the album came about when the duo takes the stage.

The Making of Buckingham McVie, May 25, 2017

Christine McVie on Later with Jools Holland, April 2017

Categories
Buckingham McVie

The Making of the Album… Lindsey Buckingham/Christine McVie

An inside glimpse into the making of Lindsey Buckingham and Christine McVie’s first ever album as a duo.

Categories
Buckingham McVie

Fleetwood Mac’s Christine McVie, Lindsey Buckingham debut galloping new song

They’ve been part of one of rock and roll’s greatest bands for five decades, but for the first time ever, Fleetwood Mac’s Lindsey Buckingham and Christine McVie are finally teaming together for a collaborative album.

The record, titled simply Lindsey Buckingham/Christine McVie, is due out on June 9, and EW is premiering the album’s lead-off track, “Sleeping Around the Corner.” Hear it below.

Buckingham and McVie began working on the album’s material three years ago, ahead of the group’s On With the Show tour, which found McVie rejoining the group after a 16-year-long break.

“We thought we’d go into the studio to reacquint myself to playing in a rock band and getting the chemistry and the vibe,” says McVie. “We thought we’d lay down a couple of tracks; that’s all we meant to do. And then Lindsey had some [songs]. And we just started having a good time.”

To finish the material, Buckingham and McVie met with bandmates Mick Fleetwood and John McVie in Los Angeles’ Village Studios, where the Mac recorded 1979’s Tusk. “Nothing much had changed [in the studio] as far as I can remember,” says McVie. “The Tusk days are a bit of a haze, to be honest. But everything seemed exactly the same.” Adds Buckingham, “It was like a time warp. It was cool!”

The resulting collection features lovely, McVie-led ballads like “Game of Pretend” and bright, chiming rockers like “On With the Show.” Buckingham and McVie are perhaps most psyched about “Sleeping Around the Corner,” which Buckingham began writing about four years ago. “[When Christine heard it], she was like ‘It’s a hit!’” says Buckingham. “And who am I to disagree?”

On June 21, Buckingham and McVie will launch a 14-date tour of theaters and amphitheaters. Then, Fleetwood Mac will reconvene for The Classic West and The Classic East festivals in Los Angeles and New York City on July 15 and July 29, respectively. Of gearing up for those festival dates, where the band will perform alongside veteran acts like Steely Dan, Eagles, Journey, and more, McVie says, “I’m really looking forward to the festivals. It’s not that long since we finished our big tour. We’ve got five days of rehearsals prior to those shows. And that should be a really fun experience.”

Kevin O’Donnell | Entertainment Weekly | May 11, 2017

Categories
Buckingham McVie

Hear Buckingham McVie’s bubbly new song ‘Feel About You’

Romantic pop song will appear on Fleetwood Mac members’ upcoming debut as a duo

Fleetwood Mac’s Christine McVie and Lindsey Buckingham show off their still-potent songwriting chemistry on “Feel About You,” the latest track to be unveiled from their forthcoming debut album as a duoLindsey Buckingham/Christine McVie will be released on June 9th.

“Feel About You” is a bubbly pop-rock song similar to much of McVie’s solo work and the material she wrote and sang lead on for Fleetwood Mac in the Eighties. “You are the sky at night/Black and white/Green and blue,” she croons on the jangly, infectious chorus.

Buckingham and McVie decided to release an album following the reunion of Fleetwood  Mac’s classic Rumours lineup, as the band itself works out if they will be releasing new music as a whole. During the Seventies and Eighties, the two memorably harmonized on songs like “I Don’t Want to Know” and “Hold Me” and co-wrote many tracks on 1987’s Tango in the Night.

“We’ve always written well together, Lindsey and I, and this has just spiraled into something really amazing that we’ve done between us,” McVie tells Rolling Stone. The LP will also feature contributions from fellow Fleetwood Mac members John McVie on bass and Mick Fleetwood on drums.

“We were exploring a creative process, and the identity of the project took on a life organically,” Buckingham adds. “The body of work felt like it was meant to be a duet album. We acknowledged that to each other on many occasions, and said to ourselves, ‘What took us so long?!!'”

The pair will embark on a tour in support of their project throughout June and July, pausing to re-team with fellow Fleetwood Mac singer Stevie Nicks for the band’s appearance at July’s Classic East and Classic West festivals in New York City and Los Angeles.

Brittany Spanos | Rolling Stone | April 27, 2017

Categories
Buckingham McVie

Lindsey Buckingham and Christine McVie ‘In Their World’

Two members of Fleetwood Mac, Lindsey Buckingham and Christine McVie are joining forces for a duo album and a tour to introduce the masses to the new tunes.

The new album, titled Lindsey Buckingham/Christine McVie, will hit digital and physical stores June 9. The first single, “In My World,” will be available for a listen on Friday.

The album also features the stylings of their famous bandmates Mick Fleetwood and John McVie and was recorded at The Village Studios in Los Angeles, which is a studio Fleetwood Mac has a long relationship with.

“We’ve always written well together, Lindsey and I,” McVie said of the collaboration, which has it roots in her rejoining Fleetwood Mac three years ago. “This has just spiraled into something really amazing that we’ve done between us.”

The new dates start June 21 in Atlanta’s Chastain Park and continue for a bit more than a month, wrapping in Denver, Colo.’s Paramount Theatre.

Here’s the plan:

June 21 – Atlanta, Ga., Chastain Park Amphitheatre
June 23 – Nashville, Tenn., Ascend Amphitheater
June 26 – Vienna, Va., Filene Center At Wolf Trap
June 28 – Boston, Mass., Blue Hills Bank Pavilion
June 30 – Philadelphia, Pa., Mann Center for Performing Arts
July 2 – Detroit, Mich., Fox Theatre
July 3 – Chicago, Ill., Huntington Bank Pavilion @ Northerly Island
July 5 – Toronto, Ontario, Ontario Place
July 19 – Woodinville, Wash., Chateau Ste. Michelle Winery
July 21 – Murphys, Calif., Ironstone Amphitheatre
July 22 – Las Vegas, Nev., Monte Carlo Resort & Casino
July 25 – Phoenix, Ariz., Comerica Theatre
July 27 – Denver, Colo., Paramount Theatre

American Express and Citi cardholders get access to presales on April 17 and the general onsale is April 21.
The duo’s website is BuckinghamMcVie.com.

Pollstar / April 11, 2017

Categories
Article Buckingham McVie Fleetwood Mac

Stevie on Buckingham McVie: ‘I’m happy for them’

Stevie Nicks says another Fleetwood Mac album is unlikely: ‘We’re not 40 anymore’

The music icon says the band are more keen to focus on touring

Stevie Nicks says she does not think Fleetwood Mac will make another album together — because they are “not 40” any more.

The singer, 68, believes the band are more likely to focus on touring and doubts they will ever record a follow-up to 2003’s Say You Will.

She said: “If the five of us were to get together to make a record it would take a year, which is what it always takes us.

“It would be a whole year of recording, then press, then rehearsal, and by the time we got back onto the road, it would be heading towards the second year, and I don’t know whether at this time it’s better for us just to do a big tour.”

The band has sold more than 100 million records and reformed with the classic line-up of Nicks, Lindsey Buckingham, John and Christine McVie and Mick Fleetwood for a world tour, which ended in 2015.

Nicks said: “It’s every single penny we make divided by five, so the expense of making a record, which is huge, and then to get back on tour … we are not 40.

“We have to take that into consideration — how long can we do tours that are three-hour shows? Would you rather spend a year in the studio or get back on the road? I think that the band would choose to tour.”

Nicks, who is focusing on her solo career, is also reluctant to make new music.

She said: “I don’t write as many songs any more because with the internet, the way that kids listen to music, all the streaming, and the fact that if they’re very savvy, if they want to get it and not pay for it, they can.

“It goes against the grain of our whole belief in, ‘You write a song, you record it, and you put it out there and people should buy it’.

“We realise it’s not our world any more and the younger kids don’t look at it like they’re taking from us… we don’t have the impetus to write 20 songs because we know that unless you’re under 20 you’re not going to sell many records.”

She is not involved with the new album by McVie and Buckingham, which is not a Fleetwood Mac record.

She said: “I’m sure it’s going to  be great, because Christine is super-inspired. I’m really happy for them.”

On July 9, Nicks will support her old friend Tom Petty with his band The Heartbreakers at Barclaycard Presents British Summer Time in Hyde Park.

She said: “I’m the girl who always wanted to be in his band and he’s always the one who said, ‘No, no girls allowed.’ There’s just no one else I’d rather be on stage with than Tom.”

Alistair Foster / Evening Standard / Tuesday, January 17, 2017