stevie nicks 24 karat tour

Live in Concert: The 24 Karat Gold Tour

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Stevie Nicks 24 Karat Gold the Concert

Recorded over two nights during her sold-out 24 Karat Gold Tour, follows a set-list of fan favorites and rare gems from Stevie's multi-platinum selling catalog. Recorded over two nights during her sold-out 24 Karat Gold Tour, follows a set-list of fan favorites and rare gems from Stevie's multi-platinum selling catalog. Recorded over two nights during her sold-out 24 Karat Gold Tour, follows a set-list of fan favorites and rare gems from Stevie's multi-platinum selling catalog.

• Stevie Nicks
• Sharon Celani
• Drew Hester
• 2 User reviews
• 2 Critic reviews

• Self - Background Vocals
• Self - Drums
• Self - Bass
• Self - Keyboards
• Self - Guitar

• Self - Musical Director …
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• Trivia Tour Personnel: Stevie Nicks vocals, tambourine Stevie Nicks--vocals, tambourine Waddy Wachtel--guitars, musical director Ricky Peterson--Hammond piano Scott Crago--drums Drew Hester--drums Darrell Smith--grand piano Al Ortiz--bass Carlos Rios--guitars Marilyn Martin--backing vocals Sharon Celani--backing vocals

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• Nov 3, 2020
• October 21, 2020 (United States)
• United States
• Official site
• Fleetwood Mac: Stevie Nicks 24K Gold
• Comfortzone Audio
• See more company credits at IMDbPro
• Oct 25, 2020

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• Runtime 2 hours 15 minutes

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Stevie Nicks on Her New Concert Film, the ‘Crazy’ Resurgence of ‘Dreams’ and Staying in Touch With the Spirits of Prince and Tom Petty

In a wide-ranging Q&A, the singer discusses everything from a life-changing moment seeing the "Woodstock" movie at a drive-in to having her own new "24 Karat Gold: The Concert" film play at outdoor and indoor theaters.

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Not that it ever was far from rock fans’ consciousness, but Stevie Nicks ’ voice is suddenly a ubiquitous part of popular culture again, thanks to a viral video of a skateboarding man singing along to Fleetwood Mac ’s “Dreams” that has become the feel-good hit of a feel-bad fall season. Naturally, the snippet of it has made a hungry world ready again to consume more of “Dreams” than can fit in a TikTok video, which is why “Dreams” and the “Rumours” album have both returned to the top 10, 43 years later.

But if the resurgence has led you to want to hear not just “Dreams” but two hours and 10 minutes of unexpurgated Stevie, the universe has conspired to accommodate that. Sunday night, Nicks’ film, “24 Karat Gold: The Movie,” will be playing at theaters and drive-ins across the country. It’ll be followed Friday by the release of a full soundtrack on CD (as a Target exclusive), on vinyl (at Barnes & Noble) and for download, further capturing a 2017 show in Pittsburgh that found Nicks at what she considers her well-oiled performing peak. Its rendering of something that seems impossible now — an arena gig — really does feel like a dream. (For a list of theaters and showtimes, click here .)

Popular on Variety

Nicks got on the phone with Variety earlier this month, just as the “Dreams” phenomenon was starting to take off, to discuss the making of the new concert movie, a new studio single (“Show Them the Way”), her Rock and Roll Hall of Fame induction last year, feeling like she’s still in touch with Tom Petty and Prince , how the “Woodstock” film changed her life, hopes and fears about the coronavirus crisis, and the importance of suede boots on the ground.

VARIETY: One of the songs in this concert film is “Dreams.” As you know, there’s this whole TikTok video tie-in, and suddenly “Dreams” is on the chart again.

NICKS: From the skateboarder? I know. How crazy is that? My assistant showed it to me — he’s drinking his juice and just skateboarding along and just filming himself and singing “Dreams.” It’s so funny, and so great, because “Dreams” is a fun song to sing. I’m thrilled that people still love it, and that it does still make people happy. And who knows even why? But it does. But “Dreams” came out how many years ago? Like in 1975, right? [Editor’s note: early 1977.] My assistant just told me there’s a lot of young kids who don’t even know the song, but they like it, and its streaming is massive. It’s fantastic.

You were inducted into the Rock and Roll of Fame as a solo artist last year. I was thinking about how people who are being inducted this year are missing out on the live induction experience. I was talking with Trent Reznor and kind of joking with him, like, “Oh, you must be happy, you don’t have to show up.” But he made it very clear he wasn’t happy — that he’d looked forward to it and had wanted to get some of his old cohorts together for it. So you must be really happy that your induction was last year, not in the middle of this no man’s land.

So happy. Do you know what I would have done if I ran the Rock and Roll Hall of Fame? I would have just said, “We’re going to take a pass this year. Hopefully it’s just a year. So we’re going to do it next year, and hopefully everything will be back to normal enough where we can do it the way it’s supposed to be done.” Because going into the Rock and Roll Hall of Fame without being able to do it at either Staples or at Madison Square Garden or somewhere like that… I mean, it’s the biggest deal in the world. The only people that think it isn’t a big deal are the people who don’t get in. The second that your name goes up, you’re like, “Oh my God, it’s a really big deal.” And so I’m very sorry that it’s going to be done in some sort of a weird (virtual) reality way, because it’s like not going to the ball.

You’ve pointed out that you’re the only woman who’s ever been inducted twice, even though it’s happened for a lot of guys.

Twenty-two. Twenty-two men to zero women… until me.

So you did count. The fact that it hadn’t happened that way for women was a matter of pride, aside from just your individual pride, at getting in a second time?

It was fantastic. It really was a memorable night for me, and I got to play four songs, and Harry (Styles) introduced me, which was great. I gave the longest speech probably ever given, and nobody threw anything at me or yelled at me, so I just said, “Well, I’m just going to (keep doing) my speech.” And I talked way too long. But I was just so happy that, first of all, I got to open the show, and then do the “Here’s your statue” thing, which was great, because I got to actually show people how good we still played. It was much cooler to then get your award — you are now in the Rock and Roll Hall of Fame for the second time. I’ll never forget it. It was an incredibly memorable night.

Fortunately, you didn’t have a full-on tour you had to cancel this year, like so many, but you did have a few dates booked.

Waddy (Wachtel, her guitarist and band leader) is going crazy, like, “Is this ever going to end?” And I’m like, I don’t know! We have to believe it is going to end. But it’s hard for us. We had a bunch of really big festivals that we were doing, so it’s a bummer.

You’ve been very strongly pro-mask on your social media, pointing out that you are in a high-risk group, and holding out your own future touring as a sort of incentive to fans to take the precautions of masks and social isolation. You’ve said, “ I have put a magical shield around me, because I am not going to give up the last eight years — what I call my last youthful years — of doing this… I want to be able to pull up those black velvet platform boots and put on my black chiffon outfit and twirl onto a stage again.” You played the boots card, which is a powerful one.

Exactly. Well, that really is true for me. Because that’s the last thing that I change out of: I change from my tennies — my Gucci tennies — into my high heels. And as my foot goes into that boot, I feel like Cinderella. Since that boot was made for my foot, it’s an amazing boot. Then I stand up and all of a sudden, instead of being five-foot-one, I’m five-foot-seven. And I see the world differently. I’m tall, all of a sudden. And it’s very different than being five-foot-one. So that’s when I really become who I actually am out there. And it’s really fun and I miss it, you know?

I wondered if the boots felt like putting on combat boots, in some way, even though it’s still part of a feminine look. But your Cinderella analogy is probably better than combat boots.

Well, they’re Cinderella combat boots. [Laughs.] The reason I chose that kind of a platform boot was because the rest of my outfit is so filmy and floaty that I thought: If you’re going to wear that outfit, if you just wore a pair of stiletto high heels with ankle straps, it would look really pretty, but it would be way too airy-fairy. But if you put on a pair of really strong suede boots to your knee, that have got a substantial little platform and a really good heel, then if somebody tries to drag you off that stage, you can seriously kick them with that boot. And so those boots are not just a fashion statement. They are to make people understand that I’m not a ballerina. As much as I would have loved to be a ballerina, I’m not a ballerina — I’m a rock ‘n’ roll singer. And so when people get too close to me, I can just feel my foot starting to raise, you know? It’s like my karate moment. A few times I’ve said, “Let go of my hand,” and some people don’t. And my foot starts to raise, and they get it, like, “I don’t want to be kicked with that boot. So I better back off.” So they have their moments where I feel like they’re a weapon.

So you haven’t had to employ the kick? Just the threat of it?

No, but they know. Because sometimes your fans just get out of control, and they’re so happy and so excited that they grab your hand — and you’re at a bad angle when you’re bending over to shake hands. They could just pull you off, and it would be really easy to do. So that’s the point where you have to look at them like, “Don’t even think about it.” My fans are great, but every once in a while, I’m happy to have my boots on. [Laughs.]

The new film and live album were recorded and filmed in 2017 but not released until now. Were you still doing any work on it after the pandemic started?

I was taking off this year, and it was in my plan to work on my “Rhiannon” miniseries. That didn’t mean I couldn’t go out and do like separate shows; I already had like six shows booked. But we realized by the end of February that that was not going to happen, so between us and the promoters, we basically canceled all the shows. For the film, we had edited all the musical performances quite a while ago, but not the other parts. So in May, we rented a private plane — made sure that they fogged it to death, so it was totally safe —  flew back to Chicago and stayed in a house on a golf course where nobody had been since late October. Then we went into Joe’s studio (Joe Thomas of Trafalgar Releasing, the film’s distributor) and were there for, like, a month, editing the stories and anything else around the songs that needed to be edited.

Was there anything challenging about editing the stories, since it was such a “storytellers” kind of a tour you’d filmed?

You heard how I just said “like.” Well, we took out a million “likes” — as many “likes” as we could possibly take out. [Laughs.] I was really happy about that, because that’s kind of that Valley girl thing that I get. When I start talking fast and telling stories, I start saying “like” way too much. It took us four weeks to do that, because when you take a word out of a sentence, it [leaves an odd sound], so you have to be really adept at pulling that together, that little bit of a sound thing. So that took us four weeks.

But in the music itself, there were no mistakes. I did read in one line because I forgot to go up to the higher part, and I said, “Well, I need to do that line over, because I stayed down, and I need to go up.” So I went to the microphone and re-sang one line. That’s the only thing that was changed in the music part.

And now it’s done, and I’ve watched it 3,000 times, listening to every different type of mix. Surround sound you don’t hear it all that often, but when you do, it’s pretty great. That’s for theaters, and then we made stereo mixes in case you’re in your car at a drive-in. We got it to the point where we thought it was as close to sounding like you were there in Pittsburgh that night as possible.

You probably didn’t imagine until fairly recently that a significant percentage of the showings of this film would be in drive-ins. So that’s a new wrinkle.

I never in a million years did. And you know, I just remember from being a little girl how much I used to love drive-ins. I just used to think they were the best thing ever. And I actually saw “Woodstock,” the movie, in my Corvair Monza Spyder five-speed convertible. I went to see that movie in that little car with the top down, right? And when that movie ended, I was like, “Well, this is going to be my life.” When I drove out of there, I was totally crying. I was just like, “That’s it. I’m never going to walk in through the front of an outdoor concert. I am always going to fly in in a helicopter.” [Laughs.] And I mean, I made that statement, and it was like written in gold, you know? Anyway, so when I thought of drive-ins, I thought, well, that would certainly be fun for people, I think.

The film runs over two hours — you definitely wanted people to get the gist of the full concert experience and not cut it to the core.

And notice that we didn’t cut any songs out. Because sequencing is very important, whether you’re sequencing an album or whether you’re sequencing the show. And I do the sequences, and I’m a really good sequencer. I actually sequenced “Rumours.” People in Fleetwood Mac will probably disagree with me about that, but the fact is that I did sequence “Rumours” and I think it was a better album because of the sequence. And I think on stage, it’s the same thing. If you have a really good sequence, people aren’t going to run to the bathroom or run to get something to drink. Because they’re in it , as the girls in Haim would say. And that’s what you want. You want people to not be able to walk away.

I was thinking about the “Rumours” sequence the other day, listening to the alternate version of the LP that just album that came out for Record Store Day. That alternate version keeps the sequence, and listening to that, it’s easy to see why you’d. be proud of that.

What is the alternate?

Oh, it’s “Alternate Rumours,” a limited-edition LP put out for Record Store Day that takes some of the alternate takes and demos that were included earlier in the “Rumours” CD boxed set and makes an alternative-reality sort of version of the album out of them.

Oh. You know, I was in the car waiting for my assistant to get something a couple of days ago, and a version of “The Chain” came on. And it was just me sitting in the car by myself, and I’m like, what is this? And it was (the home demo of) “The Chain” before Lindsey [got ahold of it]. Lindsey asked me, “You know that song that you wrote about ‘If you don’t love me now, you will never love me again’ — can we have that? Because we have this amazing solo” that’s at the end of it, when John McVie comes in and goes [she sings the famous bass part]. He said, “We have that, and it’s amazing, but we don’t really have a song. Would you consider letting us have that song that I know you have, because I’ve known you a long time and I’ve heard it?” And I thought to myself, “Well, okay. I will take one for the team here. And I will give you the song with all the words and the verses and everything, so you can use your solo.” But I was listening to (the demo) and it was just me singing, and then it goes into a song that I did with Sheryl Crow for the “Practical Magic” soundtrack [“If You Ever Did Believe”] —out of the words of “The Chain,” it’s going into that song. And I thought, wow, I had full-on plans for the original “Chain” song before I gave it to Fleetwood Mac. I mean, I’m really glad that I gave it to Fleetwood Mac because it turned into one of the best songs. But it was holding its own before they recorded it.

It’s a good way to see where songwriters go, you know, and how they can have something that’s really pretty on its way to being complete, and then something else comes along and they need part of it. And if you’re in a band, you’re part of a team, so you willingly say, “Of course you can have it.” Anyway, it kind of blew my mind, and I was thinking how people would laugh if they had a little camera and saw me sitting in front of a market [rediscovering this recording] while my assistant was in buying food. I was thinking, somebody needs to hear this because it’s fantastic. I’m glad that you guys are out getting to hear all that stuff, because it’s pretty interesting.

You’ve done your own raiding of the archives, and that ties back into this film. The “24 Karat Gold” tour and now film were named after the album of that name that you put out in 2014, which consisted of you recording some songs you’d written a long time ago that had either never been released or that you thought you could do better now.

The reason that these songs didn’t go on any of those records, be they Fleetwood Mac or Stevie Nicks — and they were recorded many times — was because, getting to that final hour, I would walk into the studio and say, “Please don’t take it personally. I just don’t like it,” whether it was Fleetwood Mac or Jimmy Iovine or Rick Nowels or any of my producers. Nobody ever records them like my demos. So I went to Nashville and said, “If you would just listen to them and then just play them, except with your expertise, exactly the way that I played them. And then we’ll sing them, me and the girls.” And they did, and they work fast, those people in Nashville, so we did in six or seven weeks what normally takes a year. I did that record, and then, as I like to say, I put in a box, tied with a bow, drove past Warner Brothers, threw it out the window at them, and said, “I’m done now, here’s your record. I’m off your label.” And I kept driving to Culver City to go into rehearsal with Fleetwood Mac.

And then it took another three years for you to tour behind that album.

It’s because we were just finishing up that Fleetwood Mac tour when Christine (McVie) called me and said, “I’d like to come back to the band.” And I’m like, “Really, after 16 years?” And she said, in her English, [Nicks affects the high voice and British accent] “Yes, I’d love to do it. I’d like to come back to the band.” And I’m like, “Okay, well, I think you better come and see our life. We’re coming to London. You better come and stand on the side of the stage and see what you’re getting back into, because you’ve been gone a long time, Chris, and this like an athletes’ show.” And she did, and she said, “I can do it.” So we did one Fleetwood Mac tour without her, and we took a break, and then because she wanted to come back, it gave us a reason to say to the world, “We’re going back on the road because Christine McVie has returned.” So when we got home from that tour — it had been a year a year and six or seven months — I called up my manager, Howard Kaufman, whom I loved so much — he passed away, and I said, “Has it been too long for me to go and promote the ‘24 Karat Gold’ record with a tour?” And Howard said, “Stevie, you can do whatever you want. If you have a good idea for this tour and you want to go out and sing these songs that you always wanted to sing, of course you can.”

It ended up to be about 70, 73 shows, something like that, and it was the biggest tour I ever did. We played all the really big venues, just like Fleetwood Mac does, so I finally felt like I stepped up into that higher echelon of being able to play in the really big places; instead of 10,000 people, I got to play for like 15,000 people. And when we were getting toward the end of it, I turned to Waddy and said, “We can’t not film this. This will never happen again.”

Somehow adding those six or seven songs — adding them into the other songs that you have to do every time you go out on the road, like “Dreams,” “Landslide,” “Edge of Seventeen” and  “Stand Back” — that the audience isn’t familiar with, even though they’re really old, it changes everything. It makes you feel like you’re doing a brand new set.

And come on, could I ever, ever have done 46 minutes of stories on stage with Fleetwood Mac? Never in a million years. So I actually got to do two hours of music and 46 minutes of stories. And sometimes, as we were down the road with this, my stories went a little longer than 46 minutes. [Laughs.] People would be on the side of the stage, waving at me, like “wrap it up, wrap it up!” But with each one of those stories, there’s so much more than I told. So next time I can tell more stories.

One of the songs in the tour and film is “Crying in the Night,” which was on the 1973 “Buckingham Nicks” duo album you did with Lindsey. You’d never performed it live till this 2017 tour.

“Crying in the Night” was probably written in 1970, maybe even before we got to Los Angeles. It’s one of the few songs from my way, way back past that I honestly don’t remember what it was about. I almost think I made up that story, because it kind of sounds like it’s written about like a streetwalker lady or some kind of a woman that’s homeless and living in the streets, but she’s still got people. As I’m singing that every night, when it goes, “Come on, baby… she’s a come-on girl,” it’s like, well, who is she? I think she was just a fantasy character that I made up.

You do “Starshine,” a song you co-wrote with Tom Petty, as well as “Stop Draggin’ My Heart Around.” When you filmed the movie, he was still alive, right? It must make you glad you were able to pay as much tribute to him in the film as you did, without knowing we were about to lose him.

Absolutely. You know, the first time I was watching it here in my house, sitting in a director’s chair in front of my big screen TV, all of a sudden it just hit me and I went, “Tom was still alive when we did this show.” And that made me have to sit there for a minute and have a moment of silence. Because the way I’m talking about him…. Whenever you talk about somebody that’s passed away, it’s like when I talk about Prince; I talk about Prince as if he’s not gone. [Nicks tells the story in the film of meeting Prince after telling him she’d modeled her song “Stand Back” on the music of “Little Red Corvette.”] I just take that attitude and try not to get into a big, sad thing about it. I just talk about him as if he was at his house in Paisley Park and we’re still talking and having fun, because I don’t want to bring the audience down, and I want them to enjoy it. I want them to enjoy the stories of Tom and of Prince. I try to be buoyant about it.

In the film, though, you do acknowledge that Prince is gone. You say you feel him with you sometimes, and you say “Prince, walk with me.”

Right. And strangely enough, I put them in my journal. And if I have a really big, important show, I call in all my spirits, and I say, “Tom, stand behind me. Prince, stand with me.” I ask for their help, because I know they’re up there. The Prince thing started a long time ago, because sometimes even before Prince died, I would say that. I wish Prince was here and he could just walk with me out there; because of his performing ability and how good he was on stage, sometimes I’d just go, “Come with me.” And I really do feel the presence, you know. I mean, Tom and I were way, way better friends than I was friends with Prince, because I hardly ever saw Prince. When I did see Prince, we’d have some really important conversations, and we talked on the phone sometimes for a couple hours. But Tom was a different kind of friend. Tom was really my buddy friend. I spent a lot of time at Tom’s different houses, and a lot of time with his family when he was still married to Jane. And that was a very hard loss for me.

You just released your first single in quite a while, “Show Them the Way,” which is based on a dream you had that had JFK and Martin Luther King Jr. and some other historical figures in it. You had the dream during the 2008 election cycle and wrote the lyrics then but held onto them until now, right?

I did hold it back since 2008, and I just knew that right now with the presidential election and everything else that’s going on, that this was (the time). There’s two versions — an acoustic piano version with me and Greg Kurstin, my amazing producer, and then a rock ‘n’ roll version of it too, with Dave Grohl playing drums and Dave Stewart (of Eurythmics) playing lead guitar from the middle out. …  I think it’s just a spectacular song. And I hope that it is a prayer for people. It’s nonpartisan — it’s not for Republicans, it’s not for Democrats, it’s for the world, to maybe to be a moment of peace for everyone. And a moment of… you know, the silly thing where people say “Can’t everybody just get along?” It’s like, can we just figure a way out of this horrific thing that we have walked into?

And by this horrific thing, you mean…

I just mean what’s happened to the country. The country is so divided. And racism in the last four years is so much worse than it was [back in the day]. I’m 72 years old. I’ve seen all this. I lived through the ‘60s. I’ve seen it. I fought for Roe vs. Wade. That was my generation’s fight. And I don’t want to live in a country that is divisive. And I go, well, if this starts over and there’s another four years of this, we’re not welcome anywhere, so where can I go? I’m thinking, “Oh — space. Maybe I can talk Elon Musk into giving us a jet and letting me pick 50 people, and we’re like the arc, and just take us and let us live on another planet until the next four years is over.”

And so I would never have put this song out if I didn’t hope that it might put some hope out into the world. Because everybody is very afraid and nervous, and we’re all locked in and can’t go anywhere and can’t do anything. And people aren’t paying attention with their masks, and other people are getting it. This virus has never going to go away if the whole world doesn’t get in the game and start wearing their masks and start doing everything you have to do. It’s like a creeping fungus. And it’s going to keep us all locked in our houses and it’s not going to help the economy. …  And the whole thing to me has become so political. It’s a virus. It doesn’t care what side you’re on. It’s going to kill you. And I’ve said that for me, if I get it’ll kill me.

I have compromised lungs. I was really sick last year. The night of the Rock and Roll Hall of Fame, I knew before I went on stage that something was wrong with me, so I had to really pull it together. The next day I got really sick, and I ended up going into the hospital in Philadelphia for a week in ICU with double pneumonia and human metapneumovirus and asthma. Talk about your oxygen levels going down;  my oxygen levels were hardly existing. And if I was on a ventilator… My mom was on a ventilator for a month and she was hoarse for the rest of her life. All the other side effects that come along with this virus… You may get over it and just be like, “Great, great. I’m good. It’s gone.” It’s not gone. It comes back in little ways to attack you forever. You’ll never get rid of it. So you don’t want to get it. I’m like, I’ve built like a thin paper shield of magical plastic around me, you know? Because I don’t want my career to be over. I don’t want to not pull on those boots again.

You toured with the new version of Fleetwood Mac after your 2017 tour. When we do come out the other side of this, is it safe to say it’s a solo tour you’ll want to be doing next?

Absolutely. I’ve got more stories. [Laughs.] More layers. So get ready. Yeah, of course. I mean, by that time, every single band in the whole world is just going to be going, “hallelujah.” There are not going to not be enough stages in the world to hold all the bands that want to go on the road. So we’re going to have to all be very tricky to get into the venues.

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Stevie Nicks' '24 Karat Gold The Concert' film offers fans a window into Nicks' soul

Stevie Nicks had been touring for decades by the time she hit the stage at Talking Stick Resort Arena here in Phoenix to open her 24 Karat Gold Tour in October 2016.

What made that tour Nicks' all-time favorite? 

The answer should be clear to anyone who watches “Stevie Nicks 24 Karat Gold The Concert” — in part because the Phoenix native tells us and in part because it documents a truly special tour.

After setting the tone for the show with "Gold and Braid" from her chart-topping solo debut, "Bella Donna," Nicks explains exactly what it is that made this such a different Stevie Nicks experience.

NOW STREAMING:   Stevie Nicks' first song since 2014 is a prayer for our country called 'Show Them the Way'

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Songs from Nicks' 'dark gothic trunk'

"It's not the same Stevie Nicks show you've seen a million times," she says, "because I am not the same Stevie Nicks that you've seen a million times."

She wanted this tour to be different, she says, so she went through what she calls "the dark gothic trunk of lost songs" and picked out some forgotten gems that were supposed to go on records and didn't — until 2014, when she rescued them and put them on an album called "24 Karat Gold: Songs From the Vault."

She hadn't played them live before this tour, she says, because she always had people around her telling her which songs she "had to" do.

"And you just go along with it," she says. "This time, I said at my age, I am not just going along with it."

VIRAL HIT:  How Stevie Nicks got in on the TikTok challenge with her take on 'Dreams' video

That doesn't mean she totally neglects the songs most people would have said she "had to" do. 

There are a lot of hits here.

Nicks also played the songs you want to hear

Nicks and longtime musical director Waddy Wachtel lead their bandmates through a number of career-defining classics, from Fleetwood Mac's "Gypsy" and "Gold Dust Woman" to solo hits as timeless (and huge) as "Stop Draggin' My Heart Around" and "Stand Back" before bringing the set to a fiery finish with "Edge of Seventeen."

And that's before they sign off with a gorgeous two-song encore from the album that took her from the relative obscurity of the Buckingham-Nicks days to arena-rocking superstardom when she helped launch Fleetwood Mac into the stratosphere — "Rhiannon" and "Landslide."

These are songs that helped make Nicks one of the few acts ever to be twice-inducted to the Rock and Roll Hall of Fame — in her case, as a solo artist and with Fleetwood Mac.

Other highlights made their live debut on the 24 Karat Gold Tour, from the title track of 1983's "The Wild Heart" to "Belle Fleur," "Starshine" and "If You Were My Love" from the album that gave the tour its name.

She also dusts off "Bella Donna," the title track to her quadruple-platinum solo debut, which prior to this tour, she hadn't played since 1981, and "Crying in the Night," the song that opens the pre-Fleetwood "Buckingham Nicks" album. 

Even the opening number, "Gold and Braid," had gone unplayed for 16 years.

Chrissie Hynde duet not included in the film

One highlight of the tour that didn't make it to the concert film is Chrissie Hynde of the Pretenders filling in for Petty on that duet of "Stop Draggin' My Heart Around." This version features Wachtel in the Petty role, which isn't bad. It's just not Chrissie Hynde.  

Nicks' vocals shine throughout, as do the players she and Wachtel have assembled. Whether channeling the Heartbreakers on "Stop Draggin' My Heart Around" or bringing the mystery and drama on "Gold Dust Woman," the musicians give each song exactly what it needs.

And Nicks is in total command of the stage, both as a singer and a storyteller, sharing little details of her life and anecdotes about important times she shared with Petty, Prince and Fleetwood Mac.

Tales of Fleetwood Mac and her friendship with Prince

There's the tale of her breaking the news to Fleetwood Mac about her plans to make a solo album ("I said, 'Fleetwood Mac, I want to do a solo record, but it is not going to hurt us at all; if anything, while you guys are all off on vacation, it'll just keep us in the spotlight.'").

Her comic timing is impeccable as she recalls the time she had to go meet Fleetwood Mac in Paris to record "Mirage" after launching her solo career with "Bella Donna."

"I went to Paris to a castle with no air conditioning and no ice," she recalls. "And Lindsey."

In one particularly vulnerable moment, she talks about the friendship she enjoyed with Prince, who died in 2016. Their friendship began when she wrote one of her biggest hits, "Stand Back," by improvising a new melody while Prince's "Little Red Corvette" was playing on the radio then had to call him up to get his blessing.

He ended up playing on the track and they became fast friends. 

"And Prince was always very worried about me, because I was somebody to worry about for a long time," Nicks recalls.

"So now that he's gone, I know that, first of all, he's standing right here and he's still worrying about me. And sometimes, when I'm really nervous and I walk out on stage, I will just say, 'Prince, walk with me.' And he does. And I can feel it." 

It's beautifully told and guaranteed to leave most viewers misty-eyed. It's also one of many windows into Nicks' soul that make this so much more than just another concert film.

And in those moments of drawing you into her world — the emotional story of how she wrote "Landslide" is always a personal favorite — it's easy to see how this could turn a casual fan into a hard-core Stevie devotee. 

Directed by Joe Thomas, the movie's filming and recording took place at concerts in Indianapolis and Pittsburgh in 2017.

"Stevie Nicks 24 Karat Gold The Concert” played two nights in theaters on Oct. 21 and Oct. 25.

Now it's coming to video on demand. 

HOW TO STREAM:   Stevie Nicks concert film '24 Karat Gold' coming to on-demand

Fans can rent the film to watch at home on video-on-demand for one week, from 9 p.m. Thursday, Oct.29 through 11:59 p.m. Thursday, Nov. 5.

An accompanying two-CD, vinyl and digital/streaming release will be available on Oct. 30 via BMG.

The CD will be available exclusively at Target on Oct. 30, and the digital release will be available everywhere on the same day.

A limited-edition two-LP, 180-gram version will be available on Crystal-Clear vinyl exclusively at Barnes & Noble, while a 180-gram black vinyl version will be available everywhere.

Reach the reporter at [email protected] or 602-444-4495. Follow him on Twitter @EdMasley .

Support local journalism.   Subscribe to azcentral.com today.

Stevie Nicks – Live in Concert: The 24 Karat Gold Tour

Rating *****

In 2019, Stevie Nicks became the first woman to be inducted into the Rock & Roll Hall of Fame twice – for her work with Fleetwood Mac and her illustrious solo career which, since 1981, has spawned 8 hit LPs and classic hits like Edge of Seventeen, Stand Back, Talk to Me, Rooms on Fire and Leather and Lace. 

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Her latest project, the movie 24 Karat Gold: The Concert, comes amid the pandemic that’s seen touring events cancelled and live music venues shuttered – with the star taking her 2016/2017 solo tour to the big screen as a means of escapism for fans. 

Accompanying the release is Live in Concert: The 24 Karat Gold Tour – collecting Stevie’s live set on 2CD and 2LP formats for the first time. 

Fans of the star, who recently released her first single in six years, Show Them the Way , will know the frustrations of her solo sets which, for a number of years, rarely differed and featured the same handful of classic solo and Fleetwood Mac hits. This time around, though, things are different… 

The 24 Karat Gold Tour came following two back-to-back tours with the band – 2013’s Fleetwood Mac Live jaunt and the 2014/2015 On With The Show Tour, which saw the return of Christine McVie – in between which Stevie recorded and released her eighth solo album, 24 Karat Gold: Songs from the Vault.

The record sees the singer-songwriter revisit outtakes from her previous LPs, which she took to Nashville with Eurythmics star Dave Stewart and re-recorded over a three-week period. 

It resulted in a 16-track collection and, after dipping into her “gothic trunk of lost songs,” the star hit the road to unearth more lost gems on stage – with a setlist featuring all the hits along with album cuts and rarities that’d never been performed on the concert stage. 

Look no further than opening track Gold and Braid – originally recorded for and omitted from Stevie’s debut LP Bella Donna – which, to this day, has not been issued on a studio album. It sets the tone for a set packed with golden moments which, even for the most casual fans, is a breath of fresh air. 

Three 24 Karat Gold tracks are included – Belle Fleur, Starshine and If You Were My Love – along with rare album cuts Bella Donna, Wild Heart and New Orleans, and Crying in the Night – the should-have-been lead single from her 1973 pre-Fleetwood Mac album with Lindsey Buckingham. 

Of course, the hits are in there, with Gold Dust Woman and Edge of Seventeen both clocking in around the 10 minute mark. Rhiannon, Gypsy and Landslide also feature from her Mac catalogue, alongside solo hits like If Anyone Falls and Stop Draggin’ My Heart Around.

The pièce de résistance: a stunning, mid-set, eight-minute rendition of 2010’s Moonlight (A Vampire’s Dream), which has been reimagined as a sweeping piano ballad, building to a crescendo that incorporates the rock-tinged album version and elevates the track to another stratosphere. 

When it comes to live albums – whoever the act – we’ve come to expect the usual mix of hits plus a 3 or 4 “deep cuts,” so for a star like Stevie Nicks to let loose and throw as many curveballs as she does in this show is a testament to an artist who, after five decades in music, remains at the top of her game. 

Brava, Stevie…

Stevie Nicks – Live in Concert: The 24 Karat Gold Tour is available on download , 2CD and 2LP here.

Connor Gotto

Founder and editor of RETROPOP. Self-proclaimed pop aficionado. Like to make my life look super cool and exciting online, but usually found at home, with my dogs, sipping wine and listening to Nicki French!

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Stevie Nicks is bringing her 24 Karat Gold concert tour to theaters this fall

Maureen Lee Lenker is a senior writer at Entertainment Weekly with over seven years of experience in the entertainment industry. An award-winning journalist, she's written for Turner Classic Movies, Ms. Magazine , The Hollywood Reporter , and more. She's worked at EW for six years covering film, TV, theater, music, and books. The author of EW's quarterly romance review column, "Hot Stuff," Maureen holds Master's degrees from both the University of Southern California and the University of Oxford. Her debut novel, It Happened One Fight , is now available. Follow her for all things related to classic Hollywood, musicals, the romance genre, and Bruce Springsteen.

Get out your bangles and your scarves and get ready to twirl. Stevie Nicks is coming to the big screen.

The legendary chanteuse is releasing Stevie Nicks 24 Karat Gold the Concert in collaboration with Trafalgar Releasing for two nights only this fall at select cinemas, drive-ins, and exhibition spaces around the world. On Oct. 21 and 25, fans can get a front-row seat to this 2017 solo tour.

Directed and produced by Joe Thomas during her 67 city sold out 24 Karat Gold tour, the film features Nicks' onstage performances, as well as intimate glimpses into her storytelling and songwriting process. Nicks shares the inspirations behind some of her most beloved and timeless songs. It was filmed during tour stops in Indianapolis and Pittsburgh in 2017.

The setlist includes songs from both her solo career and her illustrious time as a member of Fleetwood Mac, with tracks that include “Rhiannon,” “Stop Draggin' My Heart Around,” "Edge of Seventeen," “Stand Back,” “Landslide,” and more. Fans can listen to Nicks' live performance of "Gypsy" from the film here .

“The 24 Karat Gold Tour was my all-time favorite tour. I not only got to sing my songs but I was able to tell their stories for the first time. I love having the opportunity to share this concert with my fans. From me to you – 24 Karat Gold ,” said Nicks in a statement.

In addition to the cinematic event, which will be screened around the world, Nicks is releasing a 2-disc album on Oct. 30. It will feature some of her greatest hits live, including “Stand Back,” “Gypsy,” and “Edge of Seventeen,” as well as the first-ever live recording of “Crying in the Night,” and other live rarities.

"We are thrilled to collaborate with BMG and Stevie Nicks' team on this landmark global cinema event which is sure to delight fans," said Kymberli Frueh, SVP for Programming and Content Acquisitions for Trafalgar Releasing, in a statement. "Stevie’s legendary career has spanned over four decades, creating legions of fans across the generations. Her 24 Karat Gold concert tracklist features some of her greatest solo hits as well as Fleetwood Mac classics."

Tickets for the event go on sale Sept. 23 and more information, including participating theaters, can be found at StevieNicksFilm.com . Dates are subject to change based on the status of local cinema re-openings.

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Live In Concert: The 24 Karat Gold Tour

Stevie Nicks Live In Concert: The 24 Karat Gold Tour is a live concert album featuring songs from Stevie Nicks ‘ 24 Karat Gold Tour (2016-2017). The album accompanies the release of the film 24 Karat Gold The Concert .  

Stevie Nicks Live In Concert The 24 Karat Gold Tour (BMG) was r eleased on Friday, October 30, 2020.

Available formats

• 2-CD digipak/digital download/streaming (October 30, 2020)
• Double clear vinyl – Barnes and Noble exclusive (November 20, 2020)
• Standard double black vinyl (December 4, 2020)

• Gold and Braid
• If Anyone Falls
• Stop Draggin’ My Heart Around
• Belle Fleur
• Wild Heart / Bella Donna
• New Orleans
• Moonlight (A Vampire’s Dream)
• Crying in the Night
• If You Were My Love
• Gold Dust Woman
• Edge of Seventeen

Stevie Nicks: Lead vocals Waddy Wachtel: Musical Director/guitar Sharon Celani: Background vocals Marilyn Martin: Background vocals Drew Hester: Drums Al Ortiz: Bass Ricky Peterson: Keyboards Darrell Smith: Keyboards Carlos Rios: Guitar

News & Coverage

• Stevie Nicks chronicles ’24 Karat Gold Tour’ in concert film September 16, 2020 - Stevie Nicks will be showcasing her 2016-2017 tour in a concert film titled Stevie Nicks 24 Karat Gold. It will… More
• Tickets for ’24 Karat Gold The Concert’ on sale September 23 September 22, 2020 - Tickets for Stevie Nicks 24 Karat Gold The Concert go on sale Wednesday morning at 10:00 a.m. ET. The film… More
• Stevie Nicks – Gypsy (24 Karat Gold Tour) September 24, 2020 - This is the official music video for "Gypsy" (24 Karat Gold Tour) by Stevie Nicks, released on September 24, 2020.… More
• The moonlight confessions of Stevie Nicks September 30, 2020 - Stevie Nicks chats up a storm with Los Angeles Times — commenting on RBG, Lindsey Buckingham, Harry Styles, trolls on… More
• Chatting with the Empress of Rock and Roll October 3, 2020 - Two-time Rock and Roll Hall of Fame inductee Stevie Nicks chatted with Digital Journal's Markos Papadatos about her 24 Karat… More
• Inventing her own style, and her white knight Harry Styles October 14, 2020 - Stevie Nicks had a call from a surprising white knight during the lockdown. Just as people in the UK were… More
• Stevie on art, aging, attraction October 14, 2020 - At 72, the singer is still looking for adventure. She talks about her years with Fleetwood Mac, the abortion that… More
• Nothing will slow Stevie Nicks down October 15, 2020 - On the eve of her new concert film, the Fleetwood Mac singer talks new solo material, Trump's response to COVID-19… More
• INTERVIEW: ‘This virus has stolen time from me’ October 17, 2020 - Stevie Nicks on how she wrote 'Dreams,' her signature style, book plans and not being able to tour: 'This virus… More
• INTERVIEW: Stevie talks to Stellar Magazine October 17, 2020 - Rock’n’roll royalty Stevie Nicks talks to Stellar about her fear of the pandemic, her close friendship with Harry Styles and… More

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Stevie Nicks Can’t Wait for the Magic to Come Back

By Brittany Spanos

Brittany Spanos

In another life, Stevie Nicks would have been a music-film editor. “I think I’m really good at it,” she says one Friday evening, calling from her home in Los Angeles. Her canine companion Lily is begging for her attention with a toy as Nicks reflects on her second life. “I can only say this about a few things.”

Putting the project together with Thomas became one of two pandemic projects for the rock goddess (the other being her new song “ Show Them the Way ”). She flew out to Chicago in May with her assistant on a “full-on, fogged-out, Covid-free private plane” and lived in a house on a golf course that no one had been in since before lockdown had begun. Nicks would go to Thomas’ studio, masked up alongside everyone else (“I felt imprisoned by the mask, but I love the mask — I felt safe”), and got to work, diligently assessing the footage captured by all 12 cameras from shows in the two cities.

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“We would rather see ourselves the way we see ourselves,” she says. “They kind of like us to be messy and a little bit like, ‘Oh, I just got here.’ And you’re like, ‘No, uh-uh. That is a terrible shot.’” That realization is part of what makes her think that working on concert documentaries for other bands could’ve been her other calling:

“Had I not been a singer and had the accidental grace to have been thrown into a situation where I was watching somebody else edit a rock & roll film of another band that had girls in it, I would’ve said, ‘I love this.’ Because you know why? I could’ve made it better.”

The process was a tedious one that paid off; there were tiny moments only Nicks could see that made the film all the more special. “I find shots that nobody else would look for,” she explains, citing one in particular where the camera was pointed over her drummer’s shoulder. “Nobody else would’ve thought to look at it, and it’s this amazing picture of me and Waddy [Wachtel, her longtime musical director and guitarist] standing and looking straight at each other. Waddy just slowly smiles at me, and you see the relationship that he and I have had since I first met him 1971.”

There were so many stories she had to self-edit even during the tour, ones that would’ve been too tangential even by Stevie Nicks standards. She laughs recalling another favorite Prince story of hers, one she left out of her tour monologues. In this tale, he picked her up after a Fleetwood Mac show in Minneapolis in his purple Camaro and drove an hour to his home.

Stevie Nicks Announces '24 Karat Gold' Concert Film, Live Album

Stevie nicks on her life in isolation: 'we have to believe'.

“But if you tell that story and then everybody out in the audience says, ‘Well that’s amazing. So play us the song,’ which is exactly what would happen if you were sitting in your living room with your guitar or at the piano and had a couple of your best friends there that you’re running stuff by.”

Nicks’ stories got a little bit longer every night, she says, mostly because the response remained so enthusiastic. No one was upset that some of her many big hits were taken out of the set list to make room for her 24 Karat Gold tracks, all of which were written between 1969 and 1987. “I do have the right, at 72 years old, to play some of the songs that were written exactly at the same time all the other songs were written,” she says. “Everybody was really behind me on it.”

Of course, the performances themselves were the easiest to edit. Nicks compliments the direction of Wachtel, who “runs that band like a finely tuned Maserati,” and the singing of Nicks in tandem with her girl singers Sharon Celani and Marilyn Martin was flawless. Even with a few hiccups in the Indianapolis show, all was rectified by the time the band got to Pittsburgh.

“We knew on the second night that it’s going to be great,” she says. “Just everybody take a deep breath and understand that we don’t make mistakes. We play like we’ve been playing a thousand years because we have been playing a thousand years.”

“He said to me, ‘I don’t think we will walk onstage again, Stevie, until the end of 2021, if then.’ And I’m going, ‘Oh, my God, this very, very young man is telling me this sage idea he has in his head.’ It was that phone call between a really fantastic artist in his twenties and me, in my seventies, going, ‘We as a music community of entertainers are screwed. Our lives as we know it is over.’”

Nicks is a realistic person, and she knows there is no chance she will step onstage and put her fans in danger until the coronavirus pandemic is fully under control. “The problem is we’re all hoping that some magical thing comes down and just cures all, like the president thinks is going to happen, but it’s not going to,” she says. “We know that. We have to dance around it and figure out what to do in the meantime.”

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Stevie Nicks Adds Eight Dates To 'Live In Concert' Tour – Setlist, Dates & Ticket Info

Stevie Nicks has added eight more dates to her Live In Concert Tour.

Nicks’ tour was set to end in December this year, but the eight new dates will bring the tour into 2024. After December, the next concert date will be in February and will run into March.

The announcement was made yesterday after Nicks posted the dates and cities on Instagram.

“Let’s keep this party going in 2024,” she captioned.

This is the third extension Nicks has announced after she added 14 solo dates to her seven co-headlining shows with Billy Joel.

>GET STEVIE NICKS CONCERT TOUR TICKETS HERE!

Stevie Nicks Live In Concert remaining tour dates:

09-27 Pittsburgh, PA – PPG Paints Arena

10-01 New York, NY – Madison Square Garden

10-04 Buffalo, NY – KeyBank Center

10-07 Baltimore, MD – M&T Bank Stadium *

10-28 Memphis, TN – FedExForum

11-01 Savannah, GA – Enmarket Arena

11-04 Allentown, PA – PPL Center

11-07 Detroit, MI – Little Caesars Arena

11-10 Minneapolis, MN – U.S. Bank Stadium *

11-29 San Diego, CA – Viejas Arena

12-02 Inglewood, CA – Kia Forum

12-05 Palm Desert, CA – Acrisure Arena

12-08 Phoenix, AZ – Chase Field *

12-12 Sacramento, CA – Golden 1 Center

12-15 San Francisco, CA – Chase Center

Stevie Nicks Live In Concert 2024 dates:

02-10 Atlantic City, NJ – Mark G Etess Arena

02-14 Elmont, NY – UBS Arena

02-21 Greenville, SC – Bon Secours Wellness Arena

02-24 Hollywood, FL – Hard Rock Live

02-28 New Orleans, LA – Smoothie King Center

03-03 Omaha, NE – CHI Health Center

03-06 North Little Rock, AR – Simmons Bank Arena

03-09 Arlington, TX – AT&T Stadium *

* with Billy Joel

The following is Nicks’ setlist from her August 15 concert in Austin, Texas.

• Runnin’ Down a Dream
• Outside the Rain
• Dreams (Fleetwood Mac song)
• If Anyone Falls
• Stop Draggin’ My Heart Around
• Gypsy (Fleetwood Mac song)
• Fall From Grace
• For What It’s Worth (Buffalo Springfield cover)
• Bella Donna
• Soldier’s Angel
• Gold Dust Woman (Fleetwood Mac song)(early demo version)
• I Sing for the Things
• Edge of Seventeen
• Free Fallin’ (Tom Petty cover)
• Rhiannon (Fleetwood Mac song)
• Landslide (Fleetwood Mac song)

Source: uInterview

The post Stevie Nicks Adds Eight Dates To ‘Live In Concert’ Tour – Setlist, Dates & Ticket Info appeared first on uInterview .

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• Outside the Rain Play Video
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• Gypsy ( Fleetwood Mac  song) Play Video
• Wild Heart Play Video
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Songs on Albums

• Dreams by Fleetwood Mac
• For What It's Worth by Buffalo Springfield
• Free Fallin' by Tom Petty
• Gold Dust Woman by Fleetwood Mac
• Gypsy by Fleetwood Mac
• Landslide by Fleetwood Mac
• Rhiannon by Fleetwood Mac
• Bella Donna
• Edge of Seventeen
• Leather and Lace
• Outside the Rain
• Stop Draggin' My Heart Around
• If Anyone Falls
• Soldier's Angel

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Stevie Nicks

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Related News

Four Lovely Moments at the Inaugural Lovin' Life Festival

Setlist History: Stevie Nicks Kicks Off Her First Solo Tour

Enterprise center.

• Nicole Atkins Add time Add time
• Stevie Nicks This Setlist Start time: 8:20 PM 8:20 PM

Stevie Nicks Gig Timeline

• Mar 09 2024 AT&T Stadium Arlington, TX, USA Start time: 7:20 PM 7:20 PM
• May 04 2024 Lovin' Life Music Fest 2024 Charlotte, NC, USA Start time: 9:30 PM 9:30 PM
• May 07 2024 Enterprise Center This Setlist St. Louis, MO, USA Start time: 8:20 PM 8:20 PM
• May 24 2024 BottleRock Napa Valley 2024 Napa, CA, USA  –  Find tickets Scheduled: 8:15 PM Tickets 8:15 PM
• May 30 2024 Ball Arena Denver, CO, USA  –  Find tickets Scheduled: 7:00 PM Tickets 7:00 PM

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Tour Update

Marquee memories: cold war kids.

• Cold War Kids
• May 7, 2024
• May 6, 2024
• May 5, 2024
• May 4, 2024
• May 3, 2024
• May 2, 2024
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17 episodios

Two gay best friends host THE podcast for all things Stevie Nicks.

The Generic, Non-Specific Stevie Nicks Podcast Randy Ham and Anthony Lower

• 5,0 • 3 valoraciones
• 27 ABR 2024

Not So Lost Tracks: Reviewing Stevie Nicks' Rarities Collection Disk 1

Our co-hosts review the first disk of three of non-studio album released songs from Stevie Nicks' recent "Complete Studio Albums & Rarities" boxed set.

• 14 ABR 2024

Too Far From Texas, Too Long for Billy Joel - The Stevie Concert review episode

Our co-hosts attended Stevie Nicks' April 9th concert in Dallas, Texas and talk about the adventure and the performance.

A Very Simon Episode (Simon Morrison Interview)

Randy and Anthony interview Simon Morrison, author of 'Mirror in the Sky,' and delve into the mysteries of Mabel Normand Disease

Episode 12 Promo - Interview with Simon Morrison

Author and cultural historian Simon Morrison, joins us to discuss his book "Mirror in the Sky, The Life and Music of Stevie Nicks" Come for the academia. Stay for the Stevie tidbits! e.g. Did you know Stevie goes to the gym! #stevienicks #podcast #fleetwoodmac #vinylmusic #booktok

• 40 segundos
• 18 FEB 2024

What ARE you talking about? (24 Karat Gold: Songs from the Vault)

The co-hosts chat and review each track Stevie Nicks' studio album 24 Karat Gold

• 11 FEB 2024

Next Episode Promo

We're back! Enjoy this promo. Our next episode will be up soon.

• 30 segundos
• © Randy Ham and Anthony Lower

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The best friend element and the tie in to comics, really make this podcast so great.

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