Fleetwood Mac News

Stevie Nicks Stuns in Custom Galliano at Her First-Ever Met Gala

2026-05-05T19:21:08.801-05:00

After decades of influencing fashion from concert stages around the world, Stevie Nicks finally made her long-awaited debut at the Met Gala on May 4 — and in true Nicks fashion, the moment felt nothing short of magical.

The legendary Fleetwood Mac frontwoman arrived at fashion’s biggest night in a breathtaking custom gown created by celebrated designer John Galliano for Zara, marking the singer’s first-ever appearance on the famed Met steps at age 77.

According to a press release, the one-of-a-kind ensemble perfectly captured the mystique and theatrical elegance that have defined Nicks’ style for decades. The dramatic black and midnight blue gown featured a sweeping crinoline silhouette with an overlay skirt adorned in intricate appliqué roses crafted from layers of tulle and chiffon. As the sprawling skirt cascaded down the Met’s iconic staircase, the look instantly became one of the evening’s most memorable fashion moments.

This year’s gala theme, “Fashion is Art,” celebrated the Metropolitan Museum of Art’s spring 2026 exhibition “Costume Art,” making Nicks’ cinematic, romantic look a fitting addition to the night’s artistic spectacle.

The ensemble was completed with a silk taffeta and velvet jacket that shimmered beneath the gala lights, along with one of Nicks’ signature accessories — a towering black top hat accented with feathers. The piece was created in collaboration with famed milliner Stephen Jones, further elevating the gothic glamour of the look.

While Nicks is famously associated with flowing shawls, moon necklaces, and layered bohemian jewelry, she opted for a more refined approach for her Met Gala debut. She wore her signature blonde curls loose over the velvet textures of the gown and accessorized with opal and diamond jewelry from Tiffany & Co.’s Blue Book collection, including a pendant necklace, earrings, and rings.

The appearance served as a reminder of just how influential Nicks has been as a fashion icon throughout her career. From velvet capes and platform boots to lace gloves and top hats, her aesthetic helped define the visual identity of 1970s and 1980s rock culture and continues to inspire generations of musicians and designers alike.

Later in the evening, the night transformed from fashion event to unforgettable musical moment when Sabrina Carpenter joined Nicks for a surprise duet performance of Landslide in the Metropolitan Museum of Art’s Egyptian wing.

After Carpenter opened the evening with performances of “House Tour,” “Espresso,” and “Please Please Please,” Nicks took the stage as the event’s headlining performer. Together, the pair performed “Landslide” before Carpenter assisted Nicks on “Don’t Stop Thinking About Tomorrow.” Nicks also delivered performances of Gypsy and Edge of Seventeen, bringing the evening to a dramatic and emotional close.

For an artist whose image has long existed at the intersection of rock and couture, Stevie Nicks’ Met Gala debut felt less like a first appearance — and more like the arrival of fashion royalty.

Photos: Kevin Mazur, Michael Loccisano, John Shearer

Lindsey Buckingham Downplays Iconic Stevie Nicks Moment

2026-04-30T20:22:18.299-05:00

Lindsey Buckingham Claims He’s Not Haunted by That ‘Silver Springs’ Performance

by Devon Ivie
Vulture.com

Time has cast a spell over Fleetwood Mac’s infamous 1997 performance of “Silver Springs,” a live recording that forced Lindsey Buckingham into the unenviable position of playing lead guitar on a dis track written about himself by his ex Stevie Nicks, who sang about how he’ll “never get away from the sound of the woman that loves you.” It’s an icy face-off, steeped in decades of complex romantic entanglements, that often feels too intimate to watch — so much so that Nicks once admitted she chose her steely demeanor to “leave behind for posterity, just in case Fleetwood Mac never did another thing.” Now, Buckingham is doing his best to insist this particular “Silver Springs” hasn’t lingered in his memory at all. In a recent social-media video, Buckingham was asked by his daughter about how the performance is, essentially, the female version of thinking about the Roman Empire. “This night? What was the buzz?” he responded. “The one where Stevie was staring at me? Well, you know, people are going to look for things to read into, right?” Yes, we sure do, and it doesn’t help that the duo are teasing some sort of reunion in the near future. (watch the video until the end)

Stevie Nicks on Taylor Swift

2026-04-30T17:38:46.472-05:00

The 30 Greatest Living American Songwriters

New York Times

More than 250 music insiders and six New York Times critics weighed in on who defines the new American songbook. Here, in an unranked list, are the artists they chose.

She has never stopped chasing that initial Nashville impulse — a four-ish-minute distillation of the biggest feelings imaginable, threaded through a melody that won’t leave you alone. Sometimes she brings country phrasings to electro-pop, or pop rigor to indie rock; she might let her rhymes and verses go shaggy or bring a bridge back like a chorus. Such are the perks of having mastered the form early, while amassing the cultural capital to remake pop in her image.

Pop stars are not supposed to last this long or create this much. The Beatles’ entire creative output happened, essentially, in eight years. But Swift’s durability — 12 studio albums and hundreds of songs over two decades — has given us an unprecedented combination of musical auteurism and commercial success.

Her later work often explores the tension between the two. She has a campy kiss-off register for tart bon mots — “Lights, camera, bitch, smile / Even when you wanna die,” she chirps on the fake-bubbly “I Can Do It With a Broken Heart.” But on the dream-pop opus “Mirrorball,” it’s all earnest reflection from the top of the mountain: “I can change everything about me to fit in.”

Swift’s latest run of dominance, the stretch that has given her two more Grammys for album of the year (and four in total, a record), began with that surprise pandemic one-two flutter of “Folklore” and its sister album “Evermore.” Simultaneously, Swift was painstakingly recreating four of her earlier albums to own them outright. Collective fervor around the “Taylor’s Version” albums sent a 10-minute director’s cut rendition of a nearly decade-old breakup ballad, “All Too Well,” to No. 1 on the Billboard chart in 2021, simply because so many listeners wanted to hear even more of a track that made them feel bruised, abandoned and devastated.

Swift has done as much as anyone in modern popular music history to advance the idea of the song — its construction and impact, its tensions and limitations — as an important art form. But she has also done it while foregrounding the agency and emotional lives of young women, and as a result has become probably the most pored-over writer — or at least up there with J.K. Rowling and the pope — of the 21st century in any medium.

— Joe Coscarelli

Stevie Nicks on Taylor Swift

You ask about her brilliance
I can only say ~
If only I had — written it …
For me, this song will always live ~
In my heart
“You’re on your own kid —
You always have been … ”

I feel that her song is generational. I think it’s all of her relationships written into one song — a little bit of this, a little bit of that — and dropped into my lap. Over time, I have dropped in my own great loves to stand in her story, and it makes me cry for both of us — what we lost, what we learned and how we survived. That is how a great songwriter reaches into people’s hearts and connects with them. All that beauty and tragedy and life’s lessons have led her down this path of unstoppable creativity; she just doesn’t stop, and that is what has turned her into this beautiful young woman who makes magic with everything she touches.

P.S. Yes, this is the song that reconnected Taylor and I. The title of the song is something Christine would have said to me after she passed away — and I felt it came through Taylor. It helped me a lot to let her go ~

And brought me a new friend. …

— Stevie Nicks is a singer and songwriter. Interview by Jenn Pelly. Text has been edited and condensed.

Stevie Nicks and her polished, sturdy band Rock the Orleans Jazz Fest 2026

2026-04-26T17:07:00.764-05:00

A few notable changes for this, Stevie's last scheduled show so far in 2026.

She changed the top portion of her outfit something she hasn't done for the last number of years. likely because it was an outdoor show and warm.
She changed up the setlist, adding Fleetwood Mac's "Don't Stop" along with "New Orleans".
She brought out the tambourine, something she hasn't played in a long while, not since she fell and hurt her shoulder.

Stevie Nicks conjured a big crowd and a rainbow at Jazz Fest 2026 with Tyler Childers, Nas

BY KEITH SPERA
Nola.com
Photos David Grunfeld

In the mathematics of Jazz Fest, Stevie Nicks + Tyler Childers + Saturday = a huge crowd.

That equation was evident to anyone stuck in the blocks-long line that snaked down Fortin Street outside of the Fair Grounds on Saturday.

And it was evident to anyone who hoped to show up at the last minute to see Nicks close out the main Festival Stage.

She drew one of the largest crowds in 2022, and she played Saturday to the biggest crowd so far at the 2026 Jazz Fest. It was one of those Jazz Fest crowds that takes on a presence and personality of its own. It created gridlock on the walking path coming from the food area and overflowed onto the dirt track. A sightline to glimpse a distant video screen was the best late arrivals could hope for.

Nicks demonstrated that she is not ready to go gently. She and her polished, sturdy band didn’t just play the hits. They played with the hits, adding extra flourishes and roughing them up a bit across the last hour of her set.

At Jazz Fest in 2022, she dedicated “Landslide” to the Foo Fighters’ recently deceased drummer, her pal Taylor Hawkins. This time, she dedicated it to her vast audience. Waddy Wachtel, a collaborator with Nicks and many other rock stars going back to the 1970s, accompanied her on acoustic guitar. She stretched out and held the final “snow” in the “snow-covered hills” line, her voice as perfectly burnished as ever.

She ducked out of view for a moment to “go get another cape.” The musicians welcomed her back for “Gold Dust Woman.” The sprinkle that was dusting the rear of the Festival Stage crowd — the crowd was so big, it’s entirely possible it wasn’t raining up front — started falling in bigger drops. The band extended passages of “Gold Dust Woman,” rocking it up with big thumps on the drums, cymbal splashes and jagged electric guitars.

Nicks has evolved into an onstage storyteller in recent years, prefacing many songs with charming anecdotes. On Saturday, she recalled how poor she and then-paramour Lindsey Buckingham were when they first moved to Los Angeles. She waitressed and cleaned houses to help make ends meet.

After they joined Fleetwood Mac, their fortunes changed — and her mom informed her that she needed to start paying taxes. Which was a roundabout way of getting to “Gypsy.”

She disappeared for another cape change, giving Wachtel and company an opportunity to lock into a long, grungy intro to “Edge of Seventeen.”

“We might see you again today,” she said as the band exited, which was her Stevie way of indicating an encore was forthcoming. That encore opened with “New Orleans,” a lesser-known composition of hers that she dusts off for local shows.

The next song, she said, “has lots of hope.” It was one she hadn’t sung in a while.

It was “Don’t Stop,” from Fleetwood Mac’s 1977 opus “Rumours.” Written by the late Christine McVie and originally sung by McVie and Buckingham, “Don’t Stop” lofted out over the Fair Grounds as a rainbow appeared overhead. She played a tambourine for the first time since she broke her shoulder a year ago.

Earlier, Nicks shared that “I often think, at times like these, what a great job I have.”

She’s still very good at it.

Fleetwood Mac's Don't Stop

Stop Draggin My Heart Around

Landslide

New Orleans

STEVIE'S COMING!!

2026-04-24T18:45:57.725-05:00

Upcoming Stevie Nicks album is 'glorious,' says pal Vanessa Carlton

Stevie Nicks and "A Thousand Miles" singer Vanessa Carlton are pals; in fact, Stevie officiated her wedding. So maybe it's not surprising to hear that Vanessa has heard the new album that Stevie said she was working on a year ago.

Speaking with People, Vanessa confirmed that she's heard the album, which Stevie first mentioned during the Pollstar Awards in April 2025. She told the audience during the event, "I'm actually making a record right now." She added that she'd written seven songs that were "autobiographical, real stories where I’m not pulling any punches for probably the first time in my life.”

While Vanessa said that she'd heard it, she added, "I cannot say a word more. The world should get ready. That's all I'll say. Stevie's coming. Let's put it that way."

She added, "It's Stevie, so it's glorious."

Copyright © 2026, ABC Audio

Fleetwood Mac’s “Everywhere” is one of the top 200 songs in the world

2026-04-16T20:02:00.002-05:00

Fleetwood Mac Charts Its First Hit From the ’80s on the Billboard Global 200

The iconic band previously sent three '70s classics onto the list.

By Gary Trust

Billboard

Photo Mark Selinger

Nearly 40 years after its release, Fleetwood Mac’s “Everywhere” is one of the top 200 songs in the world.

The melodic nugget enters the Billboard Global 200 dated April 18 at No. 188 led by 9.6 million streams worldwide April 3-9, according to Luminate.

More at Billboard

Album by Album 4 Page Stevie Nicks Magazine Spread

2026-04-14T20:33:00.004-05:00

4 Page Album by Album spread in the latest issue of Classic Pop (Duran Duran on the cover)

STEVIE NICKS

Renowned for her shimmering vibrato, soap opera personal life and sorceress image, the singer-songwriter helped propel Fleetwood Mac into the pantheon of all-time greats before launching a sporadic solo career which consistently mined pop gold.

May 2026 Classic Pop issue... Look for it wherever you buy magazines.

ALBUM BY ALBUM

STEVIE NICKS

RENOWNED FOR HER SHIMMERING VIBRATO, SOAP OPERA PERSONAL LIFE AND SORCERESS IMAGE, THE SINGER-SONGWRITER HELPED PROPEL FLEETWOOD MAC INTO THE PANTHEON OF ALL-TIME GREATS BEFORE LAUNCHING A SPORADIC SOLO CAREER WHICH CONSISTENTLY MINED POP GOLD

JON O'BRIEN

Stevie Nicks released an album with Lindsey Buckingham in 1973 and joined Fleetwood Mac two years later before embarking on an eight-LP solo career

First connecting at their California high school over a rendition of California Dreamin', Stevie Nicks and guitarist Lindsey Buckingham began performing together in the Fritz Rabyne Memorial Band, opening for acts like Janis Joplin and Jimi Hendrix. While they would later be mentioned in the same breath as such headliners, success wasn't instant. Had it not been for a certain English drummer, the pair might never have made a footnote in the annals of Laurel Canyon rock.

Buckingham and Nicks certainly committed to their art, with both dropping out of university to pursue their musical dreams in Los Angeles. And their dedication paid off when they landed a deal with Polydor.

Heading into the studio with their early champion, producer Keith Olsen, the duo recorded a full-length album under their respective surnames.

From its gorgeous multi-layered harmonies and folksy West Coast vibes to its candid insights into a relationship which had evolved from professional to personal, Buckingham Nicks essentially set the blueprint for both their own careers and that of the British blues outfit they'd help propel to superstardom.

At times, the pair appear to be living a young dream. Crystal, later repurposed on their first album with Fleetwood Mac, finds them gushing poetically over their budding romance ("I turned around and the water was dashin' all around/ Like a glove, like the love that had finally, finally found me").

Stephanie was written as a paean to Nicks and, alongside a cover of John Lewis' tribute to Django Reinhardt, is an instrumental designed to showcase Buckingham's six-string skills. And there's a nice full circle moment on Races Are Run, with its Mamas And The Papas-esque sound throwing things back to their initial meet-cute.

But there were also signs that trouble in paradise loomed. Long Distance Winner sees Nicks address the headaches of dating a difficult musician and the duo's problems were compounded by the fact that, barring a handful of local radio stations, no one took notice of their record. In fact, such was the tumbleweed response, Nicks had to take a cleaning job to make ends meet.

Luckily for the short-lived Buckingham Nicks, and the course of popular music in general, Olsen introduced Mick Fleetwood to the LP's closer Frozen Love, a seven-minute prog-folk epic which perfectly showcased Nicks' distinctive tremble and Buckingham's virtuoso musicianship.

A joint invitation to the recently depleted Fleetwood Mac soon followed and the rest is history.

ITS GORGEOUS MULTI-LAYERED HARMONIES AND CANDID INSIGHTS SET THE BLUEPRINT FOR THEIR OWN CAREERS

BUCKINGHAM NICKS Released 1973 Label Polydor Records Chart Positions UK No.6 US No.11 (2025 reissue)

STEVIE NICKS — BELLA DONNA

The White Witch's spellbinding solo debut spent nearly three years on the Billboard 200 chart

"I wanted to make sure I could still exist alone without Fleetwood Mac," Nicks explained to WLR 92.7 FM about her decision to launch a solo career in 1980. The fact her debut album spent almost three years on the Billboard 200, spawned four US top 40 hits and sold four million copies proved that even without her coke-addled, permanently squabbling safety net, The White Witch could be equally spellbinding.

Largely produced by future Interscope founder Jimmy Iovine, who'd just completed work on Dire Straits' Making Movies, Bella Donna wasn't too far from Fleetwood Mac's signature sound. In fact, Nicks had written most of the material while recording the band's Tusk, then the most expensive LP ever made. And it's clear that life within the 70s most drama-filled group informed much of its lyrical themes, too. Named after one of her favourite terms of endearment, the title track is a cautionary tale about the fickleness of the fame game.

After The Glitter Fades, drafted eight years earlier, bemoans the hardships that come with being a lusted-after rock goddess, Kind Of Woman covered insecurities surrounding her on-off relationship with Buckingham as he set off on tour.

Bella Donna also celebrates a sound that launched her to global fame. The Highwayman reimagines its male Mac members as swashbuckling heroes and To Anyone — and Think About It is an act of female solidarity designed to reassure fellow writer Christine McVie in the wake of her first divorce.

Nicks shows signs of distancing herself from the familiar, recruiting an ensemble — including E Street Band pianist Roy Bittan and session musician Waddy Wachtel — that would provide backing throughout much of her career. She also harmonises beautifully with Tom Petty on Stop Draggin' My Heart Around, an early MTV favourite intended for his Heartbreakers LP Hard Promises, and ex-boyfriend Don Henley on Leather And Lace, an opposites-attract ballad she'd penned for country outlaw Waylon Jennings and his wife Jessi Colter.

The album's pièce de résistance, Edge Of Seventeen, meanwhile, has more in common with another ever-quarrelling outfit, its iconic chugging guitar hook — famously sampled on Destiny's Child's Bootylicious — apparently borrowed wholesale from The Police's Bring On The Night. This is where Nicks confirmed she could cut it as an artist in her own right. Some saddening news which emerged as its parent album reached the US top spot ensured she couldn't revel in its success.

BELLA DONNA Released 1981 Label WEA/Modern Chart Positions UK No.11 US No.1

STEVIE NICKS — THE WILD HEART

"Something went out that day, something left," a grieving Nicks remarked to VH1's Behind The Music after her best friend Robin Anderson died of leukaemia just months after being diagnosed. It was a tragedy which informed both Nicks' burgeoning solo career and her messy relationship history. Indeed, in 1983, providing one of the more eye-opening aspects of her soap opera private life, she walked down the aisle with Anderson's widower Kim.

Although the marriage only lasted three months, with Nicks later acknowledging that it was simply a "deranged" coping mechanism, it did at least provide her with a monster hit. In fact, Stand Back was conceived as the newlyweds headed for their honeymoon, the sound of a little red Corvette on the car radio giving Nicks a musical brainwave she subsequently spent the night acting upon. Just over a week later, the Purple One himself rocked up to play synths on a fabulous mid-tempo number which essentially summarised her cryptic approach to lyrics in a nutshell ("Now here I go/ how I feel/ What I say unless you read between my lines").

Also featuring Toto guitarist Steve Lukather, the Billboard Top 5 smash remains one of Nicks' career highs. But there's little else on the parent album that comes close to capturing its joys. Indeed, the returning Iovine and promoter-turned-producer Gordon Perry largely stick to the template of West Coast pop, adult contemporary and soft rock which defined its predecessor. Mick Fleetwood's guest appearance on Dreams soundalike Sable On Blond and another Tom Petty And The Heartbreakers collaboration, I Will Run To You, suggests Nicks was still a little unsure about making it on her own.

Still, while the record might be short on ingenuity, it's never short of class. The honeyed tones of friend Sandy Stewart, who later co-wrote for the Mac's 1987 pop masterclass Tango In The Night, blend perfectly with Nicks' famously raspy voice on Nightbird.

Orchestral closer Beauty And The Beast, inspired by Jean Cocteau's same-named 1946 classic, showed one of the era's defining rock vocalists could also convince at the torch song.

Although far from the chart behemoth of Bella Donna, in her homeland The Wild Heart still managed a respectable No.5, sold two million copies and spawned three hit singles.

However, it was clear that Nicks would have to get a little wilder for her next solo outing.

THE WILD HEART Released 1983 Label WEA/Modern Chart Positions UK No.28 US No.5

STEVIE NICKS - ROCK A LITTLE

As its title suggests, Nicks beefed up the guitars slightly on the 11 tracks which made up her third solo album and, according to Mick Fleetwood in his autobiography, cost $1 million to make. Boasting five different producers, Rock A Little also includes over two dozen session musicians and took more than a year to complete.

Ironically, this embodiment of 80s rock excess was perhaps more notable for the songs that it didn't include: Nicks turned down tracks later made famous by Heart (These Dreams), Tom Petty (Don't Come Around Here No More) and Warren Zevon (Reconsider Me).

Rock A Little, however, still contains a number of gems. Opener I Can't Wait is a thrilling blend of flickering synths, hair metal riffs and industrial-strength percussion. Rick Nowels co-wrote If I Were You appeared to set the blueprint for Belinda Carlisle's early solo career and the chugging heartland rock of Talk To Me deservedly earned Nicks a fifth solo Grammy nod.

Meanwhile, Has Anyone Ever Written Anything For You? tribute to Joe Walsh's late daughter remains one of her most affecting compositions.

ROCK A LITTLE Released 1985 Label Parlophone/Modern Chart Positions UK No.30 US No.12

STEVIE NICKS — THE OTHERSIDE OF THE MIRROR

Given a shot in the arm by the success of Fleetwood Mac's Tango In The Night, Nicks' solo career got back on track with a fourth album that remains her UK commercial peak. The Other Side Of The Mirror not only reached No.3, it also spawned what, remarkably, remains her only Top 20 single this side of the Atlantic.

Opener Rooms On Fire is as spellbinding as its subject matter, a man with the power to leave everyone in his presence utterly awestruck. Unfortunately, the man in question, the album's producer Rupert Hine, doesn't always quite spark the same effect on record. Hine, whose past credits included acts as eclectic as Tina Turner, Bob Geldof and Julian Clary's The Joan Collins Fan Club, repeatedly surrounds Nicks' cryptic imagery ("I'm not ready to tell everybody exactly what all the songs are about," she told Deseret News at the time) and resonant melodies with an ultra-glossy sheen. Indeed, originally recorded by Laura Branigan, Cry Wolf combines a hairbrush-in-the-mirror chorus with verses that stray towards muzak. I Still Miss Someone (Blue Eyes) turns Johnny Cash's classic into watered down reggae.

Meanwhile, there are not just one but two Kenny G saxophone solos, the first on anodyne Bruce Hornsby duet Two Kinds Of Love and the second on grandmother tribute Alice.

The adventures of another Alice, Lewis Carroll's most famous character, is said to have inspired the album. Although apart from a few references to the Looking Glass and Mad Hatter, it's difficult to see exactly how.

THE OTHER SIDE OF THE MIRROR REACHED NO.3 AND SPAWNED HER ONLY UK TOP 20 SINGLE, ROOMS ON FIRE

THE OTHER SIDE OF THE MIRROR Released 1989 Label EMI/Modern Chart Positions UK No.3 US No.10

The Other Side Of The Mirror is still largely preoccupied by Nicks' favourite topic, her chequered love life, with Long Way To Go reflecting on her acrimonious split from Joe Walsh and Ghosts appearing to add to the canon of songs addressing her relationship with Buckingham. "People don't talk about that record much, but it was different from all the others," Nicks claimed decades later to Rolling Stone, acknowledging how it's since been largely ignored compared to her earlier 80s efforts. "It was a really intense record," she told Q in 2014, "I was drug-free and I was happy." Unfortunately, this sense of solace didn't last long.

STEVIE NICKS — STREET ANGEL

Nicks has since disowned 1994's Street Angel, an album hastily cobbled together towards the end of a seven-year-long addiction to the Klonopin drug prescribed to help stave off her addiction to cocaine. Feeling so creatively bankrupt at the time, she resorted to polishing off a wealth of material that had been gathering dust over the previous 25 years.

Nicks completely scrapped sessions with original producer Glyn Johns after a series of increasingly fraught run-ins. And her record label insisted on finishing the record without her input while she was holed up in rehab. Even when Nicks tried to fix what she saw as broken on her return, she was left disillusioned with the results.

Yet Street Angel isn't the car crash that its history and lowly chart position (it remains her only LP to miss the US Top 40) suggests. Indeed, a who's who of esteemed rockers — including David Crosby, Eagles' guitarist Bernie Leadon, and on a faithful cover of Blonde On Blonde's Just Like A Woman, Bob Dylan — help the album sound rootsier than its over-polished previous release (Nicks would further spruce up four songs for 1998 retrospective Enchanted, but the originals remain the definitive ones). And while those who enjoy the art of interpreting Nicks' enigmatic lyrics may

WHEN NICKS TRIED TO FIX WHAT SHE SAW AS BROKEN, SHE WAS LEFT DISILLUSIONED WITH THE RESULTS

have been left wanting, it's still refreshing to hear the directness of serenades like Unconditional Love and Love Is Like A River. Tributes to silver screen idol Greta Garbo (Greta) and conservationist Jane Goodall (Jane) also provide a welcome change of subject matter, as does the driving soft rock of opener Blue Denim, wistful country of Rose Garden and more introspective moments. British a cappella outfit Mint Juleps' Docklands are all worthy of being rescued from the vaults.

While it failed to yield any hit singles, though Maybe Love Will Change Your Mind reached No.57 on Billboard, there's little embarrassing about Nicks' commercial misfire, but there's nothing to match the peaks of her more present affairs either. More of a listenable curio than a lost classic.

STREET ANGEL Released 1994 Label EMI/Modern Chart Positions UK No.16 US No.45

STEVIE NICKS — TROUBLE IN SHANGRI-LA

Nicks had been left so despondent by the strained making of Street Angel that she reportedly asked Tom Petty to pen the entirety of its follow-up, a request which the Heartbreakers' leader refused to do in the hope that she'd recognise her own talents.

It may have taken a further seven years, with the star distracted by contractually obligated hits collection and another full-blown reunion tour with Fleetwood Mac, but this tough love approach did pay off.

Trouble In Shangri-La isn't a complete one-woman affair. Nicks called in the likes of guitarist Damon Johnson, regular cohorts Rick Nowels and Sandy Stewart, as well as superfan Sheryl Crow to help write several tracks, the latter also serving as co-producer.

The Chicks' Natalie Maines also lends her expressive tones to the haunting country-ish Too Far From Texas, while the backing vocal credits reads like a 90s who's who, with appearances by Macy Gray (on Bombay Sapphire) and Sarah McLachlan (Love Is). "I take pride in knowing that people have benefited from the road I've travelled," Nicks told Billboard about the new singer-songwriter generation. However, the album's highlights come when Nicks goes her own way and strikes out alone.

The mystical folk of Sorcerer — borrowed from Marilyn Martin who bagged it for the neo-noir Streets Of Fire soundtrack — and the mandolin-led Candlelight are welcomed revivals of old tracks originally penned for Buckingham Nicks.

The surging Fall From Grace gives fans a fascinating peek behind the curtain of the band's last tour ("One night in a world of pain/ And you finally understand/ That not all the king's horses, not all the king's men/ Could put it back together"). And the celestial earworm of Planet Of The Universe, a Grammy Award nominee also transformed into a Billboard Dance chart-topper, is up there with her best kiss-offs.

Nicks was rewarded with her highest charting album in the US for 18 years (once again, the UK proved to be largely resistant). But frustratingly, it would be another decade before her stop-start solo career resumed.

THE ALBUM'S HIGHLIGHTS COME WHEN NICKS GOES HER OWN WAY AND STRIKES OUT ALONE

TROUBLE IN SHANGRI-LA Released 2001 Label Reprise Chart Positions UK No.43 US No.5

STEVIE NICKS — IN YOUR DREAMS

The bizarre author shout-out ("I wanna wear feathers and lace/ I wanna brush by Anne Rice") on New Orleans, a tribute to the titular city in the wake of Hurricane Katrina, and the musical adaptation of an Edgar Allan Poe poem — Annabel Lee — further proved that Nicks still had a fascination with all things gothic. Likewise, the combination of her flowing black gown and otherworldly white horse on the LP's cover art reinforces this haunting aesthetic.

Also informed by a fascinating documentary about its creative process, In Your Dreams also gave the increasingly dominant Taylor Swift a run for her money when it came to lyrical guessing games. Hailing from the previous sessions, lead single Secret Love recalls a brief fling, while its follow-up, the fragile For What It's Worth, centres on another clandestine affair ("Still forbidden, still outrageous/ Only a few around us knew…").

IN YOUR DREAMS HIGHLIGHTS HOW NICKS STILL HAD A FASCINATION WITH ALL THINGS GOTHIC

There's a similar sense of adventure in the record's feel which largely ignores the default West Coast sound in favour of ventures into barroom blues (You May Be The One), pedal steel country (Stewart duet Cheaper Than Free) and orchestral showstoppers (Italian Summer). Meanwhile, sharing Nicks' literary references extended beyond the Poe citation, standout Wide Sargasso Sea is an intoxicating blend of primal beats, squalling guitar and Hammond organs which sounds like she's summoning a storm.

A strong contender for Nicks' all-time solo best.

IN YOUR DREAMS Released 2011 Label Reprise Chart Positions UK No.14 US No.6

STEVIE NICKS - 24 KARAT GOLD SONGS FROM THE VAULT

Disgruntled by the various bootlegs that had circulated on YouTube, Nicks headed back into the studio for a re-recording of the offending material. The result was 24 Karat Gold: Songs From The Vault, a collection of tracks — apparently named after Mick Fleetwood's taste for the finer things in life — originally conceived between 1969 and 1995 given a 21st century polish.

Despite synth maestro Dave Stewart's returning presence as producer, there's little attempt to give these lost gems a radical makeover. Instead, its 14 tracks largely stick to the same harmony-laden West Coast sound which, thanks to the likes of Lady A — who guest here on the wistful Blue Water — had suddenly become in-vogue.

The stomping Stax-tinged opener Starshine, a cover of one of her late mother's favourite songs, Vanessa Carlton's carousel, and the Dixieland blues of Mabel Normand — the latter a tribute to the drug-addled silent movie actress and kindred spirit — showed that Nicks wasn't resting entirely on her laurels. But it's the Mac soundalikes, including All The Beautiful Worlds, Belle Fleur and the title track, where this alternative retrospective comes closest to justifying its glittering title.

24 KARAT GOLD: SONGS FROM THE VAULT Released 2014 Label Reprise Chart Positions UK No.14 US No.7

Lindsey Buckingham's Accused Stalker Arrested

2026-04-13T21:05:00.000-05:00

Police Arrest Woman Accused of Stalking Fleetwood Mac Guitarist

The guitarist, Lindsey Buckingham, had obtained a restraining order against the woman two years ago, but the police said she continued to follow him in March.

By Vjosa Isai
April 13, 2026
New York Times

A woman accused of stalking the former Fleetwood Mac guitarist Lindsey Buckingham and dousing him with an unknown substance was arrested over the weekend in Indiana, the authorities said.

The woman, Michelle Dick, 55, followed Mr. Buckingham to an appointment in Santa Monica, Calif., on March 25, where she threw the substance on him and also damaged his car, the police in Fort Wayne, Ind., said in a statement on Saturday.

After the encounter, Ms. Dick had fled California and traveled about 2,000 miles to Fort Wayne, the police said. It was not clear where Ms. Dick lives, as officers who went to an address associated with her in San Leandro, Calif., were told by another resident that she had left in November 2025.

A lawyer for her was not yet listed, and she has requested a public defender. Ms. Dick will face stalking charges in Los Angeles.

Sgt. Jonathan Cutler of the Fort Wayne Police Department said another law enforcement agency contacted local officers with information about Ms. Dick’s possible whereabouts in a hotel on the city’s northwest side, where she was arrested on Saturday.

On Monday, she made an initial appearance in Allen County Superior Court. She will be in custody as part of hearings for her pending extradition to California.

Mr. Buckingham, 76, who lives in Los Angeles, was not injured in the encounter. He obtained a restraining order against Ms. Dick in 2024, accusing her of stalking him and his family since at least 2021, according to documents contained in the order. She is barred from being closer than 100 yards to Mr. Buckingham. His representative did not respond to a request for comment.

In his restraining order application to a judge, Mr. Buckingham accused Ms. Dick of trying to trespass at venues where he was set to perform, leaving threatening voice mail messages to himself and family members, claiming to be his daughter and demanding money from him.

Ms. Dick also called the police to Mr. Buckingham’s home in November 2025, reporting that she had heard gunshots. The call was false, according to evidence provided by an officer in the application, but nonetheless resulted in Mr. Buckingham being handcuffed while police searched his home.

Mr. Buckingham is best known as a prolific songwriter and guitarist for the British American rock band Fleetwood Mac, whose relationship with his bandmate Stevie Nicks is said to have inspired a number of the group’s hits, including “Go Your Own Way.”

The Los Angeles Police Department declined to provide more information about the nature of the stalking claims.

Stalker Attacks Lindsey Buckingham in Santa Monica

2026-04-02T18:38:00.000-05:00

Some disturbing news this week.... This apparently happened a week ago but is just now being reported by pretty much every publication with NBC Los Angeles first reporting.

Lindsey Buckingham, former guitarist for Fleetwood Mac, was attacked by a woman in Santa Monica

By Emily St. Martin and Richard Winton
LA Times

Fleetwood Mac guitarist Lindsey Buckingham was attacked Wednesday in Santa Monica when a woman tossed an unknown substance toward him as he entered a building.
The suspect has a stalking history with Buckingham, and was subject to a December 2024 restraining order.
Buckingham was not harmed in the incident; police say an arrest is expected soon.

Rock and Roll Hall of Famer Lindsey Buckingham was attacked by a woman in Santa Monica on Wednesday morning.

The Los Angeles Police Department confirmed that a woman with a history of stalking Buckingham, 76, tossed an unknown substance toward the former Fleetwood Mac guitarist and vocalist from a container as he entered a building for an appointment. According to law enforcement, Buckingham was not harmed; the woman is known to the musician and has been the subject of prior action with the LAPD threat management unit.

Police believe the woman found out when and where Buckingham had scheduled his appointment. She was not apprehended Wednesday morning, but an arrest was expected soon.

“The Los Angeles Police Department, Threat Management Unit, is working with the Santa Monica Police Department to investigate the incident,” LAPD Capt. Mike Bland told The Times in a statement. “To protect the integrity of the open and ongoing investigation, no further comment will be provided, at this time.”

Representatives for Buckingham have not responded to a request for comment.

In December 2024, Buckingham filed a request for a restraining order against Michelle Dick, who was 53 at the time of that filing. Los Angeles County Superior Court Judge Elizabeth Scully granted the order, which mandates that Dick stay at least 100 yards away from Buckingham, his wife and his son. She was also ordered not to harass or attempt to make contact with him in any way.

In November 2024, Buckingham petitioned the court for the order, writing that Dick had been stalking him for several years and that her harassment included threats of violence. According to the musician’s declaration, Dick had loitered around his and his family members’ homes, called repeatedly and left threatening voicemails, and taped a photo collage of herself and Buckingham to his mailbox. The final straw, he said, was when she placed a false emergency call against Buckingham, claiming that she’d heard gunshots inside his home. Police arrived and handcuffed him while they cleared his home.

A detective in the threat management unit also gave a declaration in favor of a protection order, writing that she had been assigned to investigate the harassment of Buckingham and that Dick insisted she was the child of the musician. She wrote that she believed Dick to be dangerous and mentally unstable.

Buckingham has had a rough go in the last several years, but last week he shared on Instagram that Fleetwood Mac had a documentary in the works and that he had a positive outlook for 2026. “I am still very, very grounded in my creative life,” he said. “I’ve been working on a new solo album for the last couple of years, which is one song away from being finished.”

In 2018, Buckingham split with Fleetwood Mac and a legal battle over lost wages with his former band ensued. Then, in February 2019, Buckingham suffered a heart attack and had to undergo triple bypass surgery. During the process, the insertion of a breathing tube damaged his vocal cords, leaving him questioning whether he would ever be able to sing again, he told The Times in 2021.

He spent much of the pandemic focusing on his recovery.

“I’ll tell you what: Between the Fleetwood Mac stuff and the heart attack, it’s all been humbling,” Buckingham said. “I’ve never suffered from a lack of confidence, and sometimes could get carried away with that in the process of leading the band. But everything has pulled me in a little bit. I’m not as aggressive a person as I was before, which is probably not a bad thing. It made me look around more — and become less self-involved, hopefully.”

Mick Fleetwood Takes a Bride

2026-03-29T21:40:00.002-05:00

Congratulations are in order... Mick and Elizabeth tied the knot! and they appear to be honeymooning somewhere in the South Pacific! This is awesome... Congratulations to both Mick and his new wife!

This is Mick's 5th marriage and his 4th wife, having married Jenny Boyd twice in the 1970's.

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A post shared by Mick Fleetwood (@mickfleetwoodofficial)

👀 Could a Buckingham Nicks Reunion be in the cards?

2026-03-28T20:24:00.003-05:00

LINDSEY BUCKINGHAM ON REUNITING WITH STEVIE NICKS: ‘THAT’S SOMETHING THAT’S IN THE AIR’

The guitarist detailed his plans for 2026, including a new solo album and the upcoming Fleetwood Mac doc

By ANGIE MARTOCCIO

Rollingstone

Lindsey Buckingham detailed his plans for 2026 — and that may include some type of reunion for him and Stevie Nicks.

In a new video posted to his Instagram account (where he recently, quite hilariously, tried to break down Gen Z slang with his children), the singer-guitarist said that despite the state of our country, he has a lot of projects in the works. “I am still very, very grounded in my creative life,” he said. “I’ve been working on a new solo album for the last couple of years, which is one song away from being finished.”

Buckingham also added that in addition to his solo album, the upcoming Fleetwood Mac documentary may arrive this year. There’s no official release date, but Frank Marshall is helming the project for Apple, and it features interviews with the four core surviving members of the band: Buckingham, Nicks, Mick Fleetwood, and John McVie. “Those are two very specific things that are waiting in the wings for this year,” he said.

Most notable was Buckingham’s acknowledgement of his relationship with Nicks. Last year, the duo reissued their pre-Mac album Buckingham Nicks for the first time in decades, and have apparently reconciled. “I think on a more general level, just the energy in terms of what Buckingham Nicks did to sort of create a resurgence of connection between Stevie and myself, I think on a larger scale, that seems to be something that’s in the air,” he said. “And what that translates to specifically, I wouldn’t want to speculate yet. But I believe with all my heart, it will translate to something good, and something wonderful, and something needed and something extremely appropriate.”

Though it was apparent last fall that Buckingham and Nicks were back on speaking terms — when they went deep on the Buckingham Nicks track “Frozen Love” for Song Exploder — this is the first time Buckingham has addressed any type of 2026 reunion in any capacity. It’s unclear what “larger scale” means, and whether it would be a Buckingham Nicks project of some sort or a Fleetwood Mac reunion tour. Nicks told Rolling Stone in 2024 that she’d never consider a Fleetwood Mac tour after the death of bandmate Christine McVie, but that was before her reconciliation with Buckingham. And next year will be a milestone for the band, as Rumours will celebrate its 50th anniversary. Only time will tell. For now, all we can do is listen to “Crystal” and remain hopeful.

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A post shared by Lindsey Buckingham (@lindseybuckingham)

Fleetwood Mac "Silver Springs / Go Your Own Way" Vinyl Single - Urban Outfitters Exclusive

2026-02-13T12:59:00.002-06:00

URBAN OUTFITTERS CELEBRATES VALENTINE'S DAY WITH "LOVE ME, LOVE ME NOT" SINGLES VINYL RELEASE

PHILADELPHIA, Feb. 13, 2026 /PRNewswire/ -- This Valentine's Day, Urban Outfitters sets the soundtrack for every kind of love with the release of "Love Me, Love Me Not," a new collection of exclusive 7" vinyl singles. Launching Friday, February 13th, the limited-edition drop reinforces Urban Outfitters' commitment to meaningful, collectible releases with artists that resonate with this generation.

Anchoring the release is Fleetwood Mac's viral live rendition of "Silver Springs," a perennial anthem of complicated love.

As with all Urban Outfitters exclusive vinyl's, each special-edition 7" is pressed with a unique look.

Fleetwood Mac — Silver Springs (Live) / Go Your Own Way

Translucent Sea Blue Vinyl | $17.98

Limited to just 5,000 copies

The vinyls will be available exclusively at UrbanOutfitters.com and select retail locations beginning February 13, 2026

Incredible new certifications and milestones for Fleetwood Mac

2026-01-31T22:17:00.010-06:00

Check out these incredible new certifications and milestones for Fleetwood Mac:

"Landslide" Hits 1 Billion Streams on Spotify!

This timeless 1975 track has officially joined the elite "Billion Streams Club" on Spotify! An incredible milestone that puts it alongside Dreams, Everywhere, The Chain, and Go Your Own Way.

"Dreams" Achieves 18x Platinum in New Zealand!

Certified on January 29, "Dreams" has reached a monumental 18x Platinum status in New Zealand. This means the iconic single has moved over 540,000 units (30,000 units per Platinum) in the country through sales and streaming equivalents!

"Mirage" Goes Platinum in New Zealand!

Earlier in the month on January 6, the classic album "Mirage" also achieved Platinum status in New Zealand, signifying over 15,000 units moved in the territory.

"Hold Me" Earns Silver in the UK!

As of January 30, "Hold Me" has been certified Silver in the UK, recognizing 200,000 units in sales and streaming.

In the UK this week, Fleetwood Mac's "50 Years - Don't Stop" remains at No.5 on the Top 100 Albums chart. "Rumours" is No.18 up from No. 21 last week.

LANDSLIDE in the UK remains in the Top 100, holding at No. 34 for a second week. Dreams is No. 60, and The Chain is No. 79

In Ireland, "50 Years - Don't Stop" is also at No. 5 on their Top 100 Albums Chart. Rumours is up one spot to No. 11 this week, and Landslide is also up one spot in the top 20 to No. 18. Dreams is No. 52 this week, and Silver Springs re-enters the chart at No. 61.

Notably, in the US, "Rumours" is No. 22 this week on Billboard's Top 200.

Stevie Nicks is coming to Austin Texas April 22nd

2026-01-20T18:55:00.002-06:00

New date announced...

STEVIE NICKS LIVE IN AUSTIN, TX

April 22, 2026 at The Moody Center

Tickets on sale Friday January 23rd

StevieNicksOfficial.com

Fleetwood Mac Log First Billboard Hot 100 Debut in 23 Years!

2026-01-13T19:25:00.001-06:00

Fleetwood Mac’s ‘Landslide’ Debuts on Hot 100 More Than 50 Years After Its Release

BY XANDER ZELLNER

Billboard

Fleetwood Mac’s classic studio version of “Landslide,” released in 1975, reaches the Billboard Hot 100 at last, debuting at No. 41 on the Jan. 17-dated chart.

The song hits the Hot 100 following its placement in the series finale of Netflix’s Stranger Things, released Dec. 31. It generated 7 million official U.S. streams (up 43% week over week), 888,000 radio audience impressions (up 10%) and 1,000 downloads sold (up 15%) Jan. 2-8, according to Luminate.

Fleetwood Mac first released “Landslide” in July 1975 on its self-titled 10th studio album — the group’s first project featuring Stevie Nicks as a vocalist and Lindsey Buckingham as a guitarist. Nicks solely wrote the song and delivers its lead vocals.

Despite becoming one of the band’s most enduring compositions, “Landslide” was never issued as an official single during its original run. Still, it remained a staple of Fleetwood Mac’s live performances, as well as Nicks’ solo tours. A live version was released as a single in 1997, following its inclusion on the band’s album The Dance. That rendition debuted on the Hot 100 in July 1998 and peaked at No. 51 that August, while also reaching No. 10 on Adult Contemporary and No. 26 on Adult Pop Airplay.

Several covers of “Landslide” by other acts have charted over the years. The Chicks’ version climbed to No. 7 on the Hot 100 in March 2003, while the Glee cast’s take, featuring Gwyneth Paltrow, hit No. 23 in 2011. More notable remakes found success across other charts: Smashing Pumpkins’ cover reached No. 3 on Alternative Airplay and No. 30 on Radio Songs in 1994; Kat Perkins’ version hit No. 35 on Hot Rock & Alternative Songs in 2014 after her performance on NBC’s The Voice; and Chloe Kohanski’s interpretation peaked at No. 26 on the same chart also after a performance on The Voice.

With the entrance of “Landslide,” Fleetwood Mac logs its 26th career entry on the Hot 100 and first debut in 23 years, since “Peacekeeper” debuted at No. 93 in March 2003 (before peaking at No. 80 that May).

The group’s most recent Hot 100 appearance came earlier this decade. In 2020, its 1977 No. 1 hit “Dreams” re-entered after a viral TikTok featuring Nathan Apodaca skateboarding while sipping Ocean Spray Cran-Raspberry juice sparked a massive streaming resurgence. The clip’s popularity resulted in recreations from several members of Fleetwood Mac, including Nicks and Mick Fleetwood. The song rebounded to No. 12 in October 2020.

Thanks to “Landslide,” Fleetwood Mac has now debuted on the Hot 100 in five different decades: the ‘70s, ‘80s, ‘90s, 2000s and ‘20s. The band joins a select list of groups with debuts on the chart in at least five decades, a landmark last attained by The Beatles when “Now and Then” launched in the top 10 in November 2023. Other groups with at least five decades of Hot 100 debuts include The Isley Brothers (six), The Rolling Stones and Santana (five each).

In Canada, the song debuted on the Canadian Hot 100 at No. 33 on the chart dated January 17, 2026.

Full list of Billboard Chart entries below

Billboard Charts Dated January 17, 2026
(previous week in brackets)

Billboard Hot 100
No. 41 - Landslide (new)

Top 50 Streaming Songs
No. 17 - Dreams (23)
No. 40 - Landslide (New)

Hot Rock & Alternative Songs
No. 7 - Landslide (re-entry)

Hot Rock Songs
No. 6 - Landslide (re-entry)

Rock Digital Song Sales
No. 10 - Landslide (9)

Billboard 200
No. 16 - Rumours (15)
No. 95 - Greatest Hits (103)

Top Album Sales
No. 11 - Rumours (13)
No. 40 - Greatest Hits (re-entry)

Top Streaming Albums
No. 19 - Rumours (24)

Top Vinyl Albums
No. 7 - Rumours (6)
No. 24 - Greatest Hits (re-entry)

Indie Store Album Sales
No. 4 - Rumours (5)

Top Rock & Alternative Albums
No. 2 - Rumours (2)
No. 21 - Greatest Hits (23)

Top Rock Albums
No. 2 - Rumours (2)
No. 18 - Greatest Hits (17)

Stevie Nicks Rock a Little (180g 45RPM 2LP)

2026-01-12T19:40:00.002-06:00

New Pre-Sale Available on Amazon

Stevie Nicks Rock a Little (180g 45RPM 2LP)

Mastered at MoFi's California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Pre-order at Amazon - Expected Release Date US: January 23, 2026 - dates have changed for other Amazon countries. MoFi.com is shipping now if you order from them.

Side One:

I Can't Wait
Rock a Little (Go Ahead Lily)

Side Two:

Sister Honey
I Sing for the Things
Imperial Hotel

Side Three:

Some Become Strangers
Talk to Me
The Nightmare

Side Four:

If I Were You
No Spoken Word
Has Anyone Ever Written Anything for You

This week belongs squarely to Fleetwood Mac

2026-01-11T19:07:00.000-06:00

UK Charts: 9 January 2026 | US Billboard Charts: 10 January 2026

This week belongs squarely to Fleetwood Mac, as Stranger Things delivers one of the most remarkable catalogue revivals in modern chart history.

UK: “Landslide” Finally Charts — 50 Years Later

Fleetwood Mac’s Landslide makes its first-ever appearance on the Official UK Singles Chart this week — an astonishing 50 years after its original release on the band’s self-titled 1975 album.

No. 20 on the UK Top 100 Singles Chart
13,715 sales, the highest new entry of the week

Driven by its emotional placement in the Stranger Things finale

Despite its legendary status, this marks the first time the original Fleetwood Mac recording has charted in the UK. Previous versions had modest runs — The Chicks peaked at No. 55 in 2003, while the Glee cast reached No. 52 in 2011 — but neither matched the scale or cultural impact of this moment.

It’s a powerful reminder of how streaming-era exposure can rewrite chart history decades later.

Albums Surge: 50 Years – Don’t Stop Sets a New Peak

The ripple effect of “Landslide” extends across Fleetwood Mac’s catalogue, most notably lifting their 2018 compilation 50 Years – Don’t Stop to a new all-time peak:

UK Top 100 Albums: No. 3 (new peak)
8,393 sales
125th week in the UK Top 10
373rd week inside the Top 75

Having already equalled its previous best at No. 4 last week, the album now climbs higher, powered directly by renewed interest in “Landslide.”

Meanwhile, Rumours continues its extraordinary evergreen run across every major format.

UK Chart Highlights (Selected)

Albums

Top 100 Albums:

No. 3 – 50 Years – Don’t Stop
No. 11 – Rumours

Streaming Albums:

No. 2 – 50 Years – Don’t Stop
No. 17 – Rumours

Physical Albums:

No. 3 – Rumours

Vinyl Albums:

No. 2 – Rumours

Singles

Top 100 Singles:

No. 20 – Landslide
No. 53 – Dreams
No. 69 – Everywhere

Multiple re-entries across streaming, downloads, and sales charts underline how deep cuts and classic singles are being rediscovered simultaneously.
US: Streaming Explosion After Stranger Things

In the United States, the Stranger Things finale triggered an immediate and dramatic response:

“Landslide” streams jumped 61%
Nearly 4 million on-demand streams in just four days (Jan 2–5)

That surge feeds directly into Fleetwood Mac’s album performance stateside.

US Chart Momentum

Albums

Billboard 200:
No. 15 – Rumours (up from No. 39)

Top 50 Album Sales:
No. 13 – Rumours

Top 25 Vinyl Albums:
No. 6 – Rumours

Top Rock & Alternative Albums:
No. 2 – Rumours

Songs

Rock Digital Song Sales:
No. 9 – Landslide (re-entry)
No. 8 – Silver Springs

Streaming Songs:
No. 23 – Dreams (re-entry)

This week’s charts show Fleetwood Mac operating on a level few artists ever reach:

A 50-year-old album track becomes a Top 20 UK hit for the first time
A compilation sets a new peak eight years after release
Rumours continues to dominate vinyl, streaming, sales, and rock charts simultaneously across multiple countries

In the streaming era, history isn’t just remembered, it’s actively rewritten. And this week, Fleetwood Mac prove once again that timeless music doesn’t age… it waits.

REVIEW Stevie Nicks • Bella Donna Ultradisc One-Step

2026-01-08T19:15:00.000-06:00

Spins: Stevie Nicks • Bella Donna Ultradisc One-Step 2xLP

Stevie Nicks

Bella Donna Ultradisc One-Step 2xLP

(Mobile Fidelity)

– Jeff Elbel

9 of 10

Illinois Entertainer

2025 was a good year for devotees of audiophile vinyl and Mobile Fidelity Sound Lab followers. The label reissued pristine pressings of albums reviewed in Illinois Entertainer, including Rick James’ soul-funk classic, Street Songs, and Miles Davis’ genre-blending jazz standout, Sketches of Spain. Fans of the best ’80s rock and followers of Fleetwood Mac and Stevie Nicks herself will be thrilled by the quality of this reissue of Nicks’ 1981 solo debut, Bella Donna.

The album was meticulously recorded with the best technology of its day and has always sounded good, but it has never sounded this good on vinyl. This prestige-format release benefits from the label’s best mastering and highest-tier pressing process.

MoFi’s Ultradisc One-Step process reduces the generational loss experienced in the traditional three-step plating process by directly making a metal stamper from the lacquer. This results in greater detail retention, increased dynamics, and a lower noise floor. These qualities are evident in the new pressing of Bella Donna. The album is mastered for 45RPM playback, which requires the 10-song program to be split across two vinyl platters but also provides increased sonic fidelity compared to the original analog source tapes. Many who know the album from its eventual CD release in the ’80s will be impressed by this vinyl release’s depth, body, warmth, clarity, dynamic range, and spatial staging.

None of the technical work would matter if not for the performances and songs conveyed. Songs including the conversational duet with the Eagles’ Don Henley, “Leather and Lace,” remain among Nicks’ most beloved songs. The glistening acoustic love song used its titular fabrics as metaphors for the attraction of opposites. “Kind of Woman” is a haunting waltz reflecting on the repercussions of infidelity. E Street Band pianist Roy Bittan’s piano and Dan Dugmore’s weeping pedal steel ring through the countrified “After the Glitter Fades,” a melancholy portrait of a rock star’s hopes and fractured dreams in gilded Hollywood.

“Edge of Seventeen” is tense and restless, driven by a carpal tunnel syndrome-inducing Waddy Wachtel rhythm guitar part that echoes “Bring on the Night” by the Police. The coming-of-age song probes Nicks’ own mindset in the wake of loss and grief. Infused into the song’s imagery are the loss of John Lennon (a close friend of Bella Donna producer Jimmy Iovine) and the loss of Nicks’ beloved uncle Jonathan, who succumbed to cancer during the same week that Lennon was killed.

Brooding rocker “Stop Draggin’ My Heart Around” is steeped in the sound and songwriting of Tom Petty and the Heartbreakers. The song sprang from the same sessions that produced “The Insider” on the Heartbreakers’ Iovine-produced Hard Promises album. Nicks arguably got the most mileage out of the collaboration. “Stop Draggin’ My Heart Around” rose to #3 on the Billboard Hot 100 and has remained a mainstay in Nicks’ solo set lists. The Heartbreakers would revisit the song with Nicks on stage as well.

The album features first-call players from the era. Drummer Russ Kunkel propels most songs, often joined in the rhythm section by top bassist Bob Glaub. Duck Dunn from Booker T. & the M.G.’s guests with the Heartbreakers on “Stop Draggin’ My Heart Around.” Bill Payne from Little Feat plays piano on the stirring mid-tempo thriller “Think About It.” Heartbreakers keyboardist Benmont Tench plays Hammond shimmering organ throughout the album. Harmony vocalists Sharon Celani and Lori Perry are featured on many tracks, including the title cut. The pair continue to work with Nicks today. The players’ performances and Nicks’ own tremulous, inimitable vocals are rich, nuanced, and vivid on this One-Step pressing.

The price for this premium release is not cheap. With an MSRP of $125, this might be the most you spend for a new copy of an in-print domestic LP. For audiophiles who count Bella Donna among their favorite records and want the definitive vinyl experience, though, this reissue can’t be topped.

– Jeff Elbel

9 of 10

Available at Mobile Fidelity

Fleetwood Mac's 2018 Compilation 50 Years - Don't Stop Makes History

2026-01-02T19:38:00.000-06:00

UK, Ireland & Scotland Chart Positions January 2, 2026

Fleetwood Mac’s career-spanning 2018 compilation 50 Years: Don’t Stop surges 6 - 4 on the UK Albums Chart, equalling the highest position of its chart career, previously reached 36, 34 and 30 weeks ago. The set logs 7,653 units, driven almost entirely by streaming with just 48 CDs and one digital download contributing to the total.

Its tally now stands at 124 weeks inside the UK Top 10, extending its record as the longest-running artist compilation in Top 10 history. This week’s jump also sees it move back ahead of Fleetwood Mac’s 1977 landmark album Rumours, which slips from last week’s 672-week high of No. 5 to No. 11 on sales of 5,827 units.

Despite sharing six tracks with the most expansive edition of 50 Years: Don’t Stop, Rumours continues to demonstrate a very different retail profile. Its latest breakdown includes 1,951 vinyl albums, alongside CDs, downloads and streams - reinforcing its dominance as the best-selling vinyl album of the 21st century with 350,719 copies sold. By contrast, 50 Years: Don’t Stop has accumulated just 2,721 vinyl sales, suggesting that a future vinyl reissue could easily propel it to an even higher chart peak.

Elsewhere, Fleetwood Mac’s catalogue makes a major impact across the UK singles chart, with Dreams, Everywhere, and The Chain all returning to the Top 100, underlining the band’s multi-generational appeal as 2026 gets underway.

Chart	Position	Title	Last Week
UK Top 100 Albums	No. 4	50 Years – Don’t Stop	6
	No. 11	Rumours	5
Top 100 Streaming Albums	No. 2	50 Years – Don’t Stop	3
	No. 18	Rumours	22
Top 100 Album Sales	No. 6	Rumours	4
	No. 99	Greatest Hits	63
Top 40 Vinyl Albums	No. 3	Rumours	2
UK Top 100 Singles	No. 63	Dreams	Re-entry
	No. 81	Everywhere	Re-entry
	No. 89	The Chain	Re-entry
Ireland Top 100 Albums	No. 5	50 Years – Don’t Stop	10
	No. 7	Rumours	6
Ireland Top 100 Singles	No. 52	Dreams	Re-entry
	No. 62	Silver Springs	Re-entry
	No. 68	Landslide	Re-entry
Scotland Top 100 Albums	No. 3	Rumours	2
	No. 71	Greatest Hits	51

US Chart Positions January 3, 2026

In the United States, Rumours continues to outperform expectations nearly five decades after its release, rising to No. 12 on Top Album Sales, climbing on the Vinyl Albums chart to No. 7, and improving to No. 6 on Indie Store Album Sales - a clear sign of sustained demand among physical buyers and core catalog consumers.

The album also holds firm near the top of Billboard’s genre charts, remaining No. 4 on Top Rock Albums and No. 5 on Top Rock & Alternative Albums, while Greatest Hits continues to register solid multi-format activity across the same charts.

On the songs side, Silver Springs remains a notable presence on Rock Digital Song Sales, landing at No. 10 after last week’s No. 2 peak. Its continued digital performance underscores the song’s enduring resonance and places it alongside contemporary rock releases - a rare feat for a deep-catalog track as 2026 begins.

Chart	Position	Title	Last Week
Billboard 200	No. 39	Rumours	33
	No. 100	Greatest Hits	77
Top 50 Album Sales	No. 12	Rumours	15
	No. 40	Greatest Hits	28
Top 25 Vinyl Albums	No. 7	Rumours	11
	No. 21	Greatest Hits	15
Top 25 Indie Store Album Sales	No. 6	Rumours	9
Top Rock & Alternative Albums	No. 5	Rumours	4
	No. 20	Greatest Hits	13
Top Rock Albums	No. 4	Rumours	4
	No. 16	Greatest Hits	11
Rock Digital Song Sales	No. 10	Silver Springs	2

Fleetwood Mac's Rumours Ranked 10th In 2025 Album Sales in US

2025-12-30T19:23:00.002-06:00

Fleetwood Mac’s Rumours Ranks Among 2025’s Biggest Selling Albums, Physical Sales Propel Iconic Record Into Top 10

by Paul Cashmere

Noise11.com

December 30, 2025

Fleetwood Mac’s 1977 classic Rumours has emphatically proven that great music endures, securing its place as one of the biggest selling albums of 2025 in the United States. According to year‑end sales tallies, Rumours finished 24th overall in album units across all formats for the year, and impressively ranked 10th in physical sales, the top echelon of CDs and vinyl, with 221,514 units sold. When streaming figures are included, the album’s total equivalent sales for 2025 reached 1,064,163.

Released on 4 February 1977 by Warner Bros. Records, Rumours remains one of the most celebrated and best‑selling albums in music history. Originally recorded largely in California during 1976 under the production of Fleetwood Mac with Ken Caillat and Richard Dashut, the album was shaped amid personal turmoil, inter‑band breakups and heavy drug use. Those emotional undercurrents, combined with an intent to craft “a pop album”, helped the record achieve a unique fusion of electric and acoustic instrumentation, distinctive harmonies and deeply personal lyrics.

The commercial success of Rumours during its original release was extraordinary. It became the band’s first number‑one album on both the UK Albums Chart and the US Billboard 200, and produced four top‑10 singles on the US Billboard Hot 100: “Go Your Own Way”, “Dreams”, “Don’t Stop” and “You Make Loving Fun”, with “Dreams” reaching number one. Over subsequent decades, Rumours has sold more than 40 million copies worldwide and has been recognised not only with multi‑platinum certifications around the globe but also with industry accolades including Album of the Year at the 1978 Grammy Awards, induction into the Grammy Hall of Fame, and selection for preservation in the US Library of Congress National Recording Registry.

The surge in 2025 sales is a testament to the album’s continued resonance with audiences old and new. While streaming provides accessibility to younger generations discovering the record’s rich catalogue, the strength of its physical sales underscores enduring fan affinity for tangible formats in an era when many catalog albums sell primarily through digital platforms.

In the broader context of catalog albums charting in 2025, Rumours’ appearance within the overall top 25 – and its place within the top 10 of physical sellers – distinguishes it among legacy recordings. Physical music formats have experienced renewed interest in recent years, particularly vinyl, which appeals to collectors and enthusiasts seeking an immersive listening experience; Rumours has been a perennial favourite among those demographics.

Historians and music commentators often cite the album’s remarkable blend of polished production and raw emotional honesty as key drivers of its longevity. The interplay between Stevie Nicks, Lindsey Buckingham and Christine McVie’s voices and songwriting, set against the rhythmic foundation of band members Mick Fleetwood and John McVie, created a timeless sound that transcends generational boundaries. The stories embedded in the lyrics – reflections on love, heartbreak, resilience and introspection – continue to connect with listeners confronting similar experiences decades later.

The recording of Rumours itself has become the stuff of legend. During the sessions at Sausalito’s Record Plant and later studios in Los Angeles, the members of Fleetwood Mac grappled with personal upheavals: the divorce of Christine McVie and John McVie, the on‑off relationship of Nicks and Buckingham, and drummer Mick Fleetwood’s own domestic challenges. These human dramas, played out in the studio, informed the raw emotional power of tracks such as “Never Going Back Again”, “Songbird”, and the anthemic “Go Your Own Way”.

Despite those tensions, the band maintained a relentless commitment to their craft, exemplified by a meticulous production process that sought a polished, radio‑friendly sound without compromising emotional depth. The result was a no‑filler album where even deep cuts have continued to be celebrated by fans and critics alike.

In recent years, Rumours has enjoyed resurgences on the charts, including re‑entries following viral social media moments and renewed cultural interest. The album’s presence in the 2025 sales rankings reflects not just nostalgic consumption, but an enduring relevancy that sees the work treated as both a classic and a living part of contemporary musical discourse.

Fleetwood Mac Closing out 2025 Riding High on The Charts

2025-12-26T18:21:00.002-06:00

The Last Album Charts for 2025 in the UK and US

At its highest position for nearly 13 years after climbing 10–7 last week, Rumours continues its remarkable resurgence, rising again to No. 5 on the UK Albums Chart with 7,181 sales. That marks a 672-week high, underlining the album’s extraordinary longevity nearly five decades on.

Vinyl remains the dominant force behind the climb, contributing 3,405 sales this week and powering Rumours to No. 2 on the UK Vinyl Albums Chart, second only to Olivia Dean’s The Art Of Loving. The sustained demand highlights the album’s enduring appeal among collectors and new listeners alike.

Meanwhile, Fleetwood Mac’s 2018 compilation 50 Years – Don’t Stop also enjoys a strong showing, moving up to No. 6 on the UK Albums Chart with 7,155 units sold. Together, the two titles give Fleetwood Mac a rare and impressive double presence near the very top of the chart as 2025 draws to a close.

Chart	Position	Title	Last Week
UK Top 100 Albums	No. 5	Rumours	7
	No. 6	50 Years – Don’t Stop	9
Top 100 Streaming Albums	No. 3	50 Years – Don’t Stop	3
	No. 22	Rumours	21
Top 100 Album Sales	No. 4	Rumours	8
	No. 53	Buckingham Nicks	70
	No. 63	Greatest Hits	86
Top 100 Album Downloads	No. 83	Rumours	69
Top 100 Physical Albums	No. 4	Rumours	8
	No. 52	Buckingham Nicks	69
	No. 63	Greatest Hits	84
Top 40 Vinyl Albums	No. 2	Rumours	5
	No. 40	Greatest Hits	Re-entry
Official Top 40 Songs of 2025	No. 37	Dreams	—
Scotland Top 100 Albums	No. 2	Rumours	7
	No. 41	Buckingham Nicks	45
	No. 49	Greatest Hits	59
Ireland Top 100 Albums	No. 6	Rumours	10
	No. 10	50 Years – Don’t Stop	8
	No. 59	Greatest Hits	77

Billboard Last Charts of 2025

While Fleetwood Mac’s albums continue to post steady gains across Billboard’s album charts, the standout story this week belongs to Silver Springs, which is holding firm at No. 2 on the Rock Digital Song Sales chart — a massive achievement for a song first released nearly 50 years ago.

The track remains locked at No. 2 for a second consecutive week, while also maintaining strong positions on both the Hot Rock Songs chart (No. 12) and the Hot Rock & Alternative Songs chart (No. 13). Its sustained digital demand places Silver Springs alongside contemporary releases, underscoring its continued cultural and emotional resonance with modern audiences.

On the album side, Rumours rises on multiple U.S. sales-driven charts, including Top Album Sales, Vinyl Albums, and Indie Store Album Sales, while also maintaining a solid No. 4 ranking on the Top Rock & Alternative Albums chart. In Canada, Rumours returns to the Top 30 at No. 25, reinforcing Fleetwood Mac’s cross-border appeal as 2025 closes with renewed momentum.

Chart	Position	Title	Last Week
Billboard 200	No. 33	Rumours	31
	No. 77	Greatest Hits	100
Top 50 Album Sales	No. 15	Rumours	17
	No. 28	Greatest Hits	38
Top 25 Vinyl Albums	No. 11	Rumours	12
	No. 15	Greatest Hits	Re-entry
Top 25 Indie Store Album Sales	No. 9	Rumours	13
Hot Rock & Alternative Songs	No. 13	Silver Springs	13
Hot Rock Songs	No. 12	Silver Springs	12
Rock Digital Song Sales	No. 2	Silver Springs	2
Top Rock & Alternative Albums	No. 4	Rumours	4
	No. 13	Greatest Hits	18
Top Rock Albums	No. 4	Rumours	3
	No. 11	Greatest Hits	14
Canada Top 100 Albums	No. 25	Rumours	—
	No. 82	Greatest Hits	—

Stevie Nicks Lands at No.10 on Pollstar’s Global Concert Tours Ranking

2025-12-20T17:56:00.000-06:00

Photo: Dawn Osborne

The Top 20 Global Concert Tours ranks artists by average box office gross per city and includes the average ticket price for shows Worldwide. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers up to December 19, 2025.

The Global Concert Pulse ranks artists by reported average boxoffice gross over last three months.

TOP 20 GLOBAL CONCERT TOURS

Rank	Artist	Avg Gross Revenue	Avg Attendance	Avg Ticket Price
1	Chris Brown	$7,024,683	42,902	$163.74
2	Eagles	$4,837,068	16,305	$296.65
3	Shakira	$4,626,236	38,717	$119.49
4	Lady Gaga	$4,391,070	23,694	$185.32
5	Imagine Dragons	$3,837,073	41,561	$92.32
6	Guns N’ Roses	$3,501,486	34,598	$101.20
7	SEVENTEEN	$3,059,420	17,278	$177.06
8	Dua Lipa	$2,903,066	21,505	$134.99
9	Billie Eilish	$2,599,091	17,111	$151.89
10	Stevie Nicks	$2,539,178	13,024	$194.95
11	Sabrina Carpenter	$2,027,445	13,442	$150.82
12	Tyler Childers	$1,836,384	19,246	$95.41
13	Chayanne	$1,679,614	11,736	$143.11
14	Hans Zimmer Live	$1,663,667	11,598	$143.44
15	Tate McRae	$1,643,918	13,276	$123.82
16	NBA YoungBoy	$1,638,205	13,030	$125.72
17	Junior H	$1,608,644	13,461	$119.50
18	Mumford & Sons	$1,438,910	13,120	$109.67
19	Lewis Capaldi	$1,419,381	14,667	$96.77
20	Benson Boone	$1,388,769	13,557	$102.43

Fleetwood Mac's Rumours Rewrites the Record Books—Again

2025-12-19T19:45:00.000-06:00

UK Chart Milestone:

Rumours Rewrites the Record Books—Again

A remarkable new UK milestone for Fleetwood Mac.

In the same week that Rumours becomes the first studio album in UK history to spend 500 weeks in the Top 40, it also climbs to No. 7 (up from 10), it's highest chart position in 670 weeks.

Released in 1977 and a chart-topper in 1978, Rumours was last this high in February 2013, following the release of its expanded and remastered editions across all formats. Notably, this surge comes without a brand-new variant release.

Instead, long-tail demand continues to do the heavy lifting:

7,330 total sales this week
3,382 units from vinyl alone, driven by the 2013 vinyl pressing and the March 2025 vinyl edition
345,352 21st-century vinyl sales in the UK, more than any other album

Rumours remains one of the 10 best-selling albums of all time, now boasting 5,378,700 total UK consumption units.

Even more impressive: this marks the fourth consecutive week of growth for Rumours, and the first time in 51 weeks it has charted higher than Fleetwood Mac’s blockbuster 2018 compilation 50 Years: Don’t Stop, which slips 8–9 (7,283 sales).

Nearly five decades on, Rumours isn’t just enduring — it’s still climbing.

Buckingham Nicks Number 3 on Rollingstone Top 10 Best Reissues

2025-12-19T18:18:00.001-06:00

Rollingstone Top 10 Best Reissues of 2025

The list was compiled by David Fricke who wrote the essay inside the Buckingham Nicks Reissue.

BUCKINGHAM NICKS - NUMBER 3

Stevie Nicks is headed to Thackerville, OK April 2026

2025-12-17T20:46:00.001-06:00

NEW Date Announced for 2026

Tickets on Sale Friday, December 19th

StevieNicksOfficial.com