RECAP: New York – Madison Square Garden

Scroll down for photos, videos, reviews, fan reaction, and transcriptions of Stevie’s stories!

On Thursday night, Stevie Nicks performed at legendary Madison Square Garden in New York City — a sellout and the 19th show of the 24 Karat Gold Tour. Being the largest city in the U.S., New York was a significant stop on the tour — “a big reason to be nervous,” Stevie told the audience. But as always, the nerves settled quickly and Stevie won over her fans with another standout performance. Stevie spoke often in between songs, revealing the stories behind many of the songs she performed.

Following another frenetic performance of “Gold Dust Woman” — during which Stevie does her infamous “crackhead dance” — Stevie humored the crowd by revealing that she was wearing a Fitbit. This generated a fun response from fans on Twitter.

Stevie closed the show with “Landslide,” which was added to the set list (replacing “Leather and Lace”) at the last show in Toronto.

Stevie Nicks
(The Front)
Stevie Nicks
(Stephen Barth)
Stevie Nicks
(Madison Square Garden)
Stevie Nicks
(Madison Square Garden)
Stevie Nicks
(Madison Square Garden)
Stevie Nicks
(Madison Square Garden)
Stevie Nicks
(Madison Square Garden)
Stevie Nicks
(Madison Square Garden)
Stevie Nicks Waddy Wachtel
Stevie Nicks
(Madison Square Garden)
Stevie Nicks
(Michelle Cohn)

Stevie Nicks

Videos & Transcriptions

Transcribed from Periscope recordings shared by ephemeral stardust and Real Tomatoes – Much love and thanks!

Much love and thanks to aerofan2007, choops4683,  Peter Dolbey, Mickie Esemplare, julesy101, Jason Mathew, and Randi J. for filming and sharing these wonderful videos!

Introduction after Gold and Braid

Well, New York City, just like I pictured it! Welcome everybody! Well, I guess we couldn’t be more excited to be here. This is, you know, when you go on tour, it’s like Madison Square Garden, The Forum, the two biggest shows. Big reason to be nervous, trying not to be nervous, very happy to be here. I wanna tell you this is not, um, this is me being my totally honest, obnoxious self, um, that this is absolutely not going to be the same Stevie Nicks show you’re used to seeing. This is a new show because I decided that I was not going to go out and do that same show again because we only have so much time here. So I put together a bunch of little magical, gothic things from the gothic trunk of secrets and mysteries, pulled them out, pressed them off, and uh decided that I would sequence them into a set, intertwine it all and try to make it something that you would enjoy that would go way, way, way back. And I do mean, way back. So all that being said, this is a journey. Welcome! Let’s go!

If Anyone Falls (aerofan2007)

Stop Draggin’ My Heart Around feat. Chrissie Hynde (choops4683)

(Features Waddy Wachtel on vocals)

Gypsy (Randi J.)

Bella Donna / Enchanted / New Orleans / Starshine / Moonlight (A Vampire’s Dream) (Peter Dolbey)

Starshine (Randi J.)

Moonlight (A Vampire’s Dream) (Mickie Esemplare)

Stand Back (julesy101)

Moonlight / Stand Back / Crying in the Night (Peter Dolbey)

“Very short story. Prince and I were friends. And he wrote a song called ‘Little Red Corvette’ and I had a poem and sang the poem over his song. And I called him from Sunset Sound Recording Studios in Los Angeles and said, ‘Can you come over because I have this song that I wrote to your song,’ and he said, ‘I’ll be right there.’ And he was right there in 15 minutes. And he came in and the track was done more or less, and he did the du-du, du-du, du-du things on the organ part and then he did some guitar and he did a few other things and he was happy, he loved it, and he was gone. Poof! In a purple haze. And that’s exactly how he was. He came into your life and he would be out of your life before you even realized that he was even in your life. So I’m gonna miss him. But the fact is, though, when we hear ‘Stand Back,’ whenever you hear it on the radio, whatever I hear it, you can just click it right into ‘Little Red Corvette’ — they are one of the same. And feel blessed that we have that little connection that was made because he was really spectacular. So that’s all. Thank you.”

Crying in the Night story

So this next song… (A woman from stage left shouts out a different song title.) That’s coming, for the girl over there, not that I can see you ’cause I can’t see a thing. We are going to play for you, when I finish my story, the oldest song that we ever played onstage. It’s from the Buckingham Nicks album. And, uh, you aleady know a little bit about this, but when Waddy, when Lindsey and I drove to Los Angeles in 1971, we moved in with our producer and then we met Waddy through our producer. And Waddy already had a job. He was a really good session player. He already had a job. We had no job. So we just played music. We sat around and played music. And looking back on it, it was like, people say like, it’s the time of your life, well it was the time of life. And anyway, we had the Buckingham Nicks songs, when we got to LA, demoed, so we proceeded to really record them in a big studio called Sound City, also a famous place. Yes! And so that’s what we did for like forever, for a couple of years. And there was a song that we all knew was gonna be the single. Now the record didn’t go out. It did, and a few of you have it, but it got dropped in 1973. We weren’t that aware… So but this song was supposed to be the single, but we never played it. We never after that, I mean the record, we went and joined Fleetwood Mac and we never played this song again ever. And over the years Waddy has said to me many times, ‘Why don’t we do this song?’ And I would be like, ‘I don’t know. Maybe we shouldn’t do it. Is it ours? I mean, can we?’ And finally, this time when we went into rehearsal, he said ‘I really think we should do this song.’ … Something like that. And I said, ‘OK, let do it!’ So anyway, this is a song about a very intriguing woman who I have no idea who I was writing about because I was only like 22. So anyway, here it is. It’s called ‘Crying in the Night.’

So this is the last thing I’m going to say about this song because this is like a testament to dreams coming true. We moved here in, not here, to Los Angeles in 1971. I think I wrote the song before we left San Francisco, so that would have been 1970. But let’s just round it off and say I wrote it in 1973 when the record came out. That would be 1973, 1983, 1993, 2003, 2013, 14, 15, 16…43 years ago! So this is my thought for you for tonight. The testament is dreams do come true. Anything you want is out there for you to just reach out there at the stars of Bella Donna and grab one because it is all there. This song has not been done for 43 years, and we’re doing it at Madison Square Garden tonight. And there’s the record right there looking at me. That picture got me into so much trouble with my parents. You have no idea! I said to my dad, ‘I didn’t want to do it.” And my father goes, ‘Well, why didn’t you just say no.’ And I said, ‘Because they said to me, don’t be a child, it’s art.’ Anyway, you must continue to believe that you can have what you want. Don’t let anybody tell you that you’re not talented enough, not smart enough, or any of that stuff ’cause you are. You’re totally beautiful, you’re totally talented, you can do anything you want, and never let anybody get in your way. Tell them to get out of your way. You’re on your way to greater things.

If You Were Love story

“So this song, I don’t remember who it was written about. But I love this song, and it should have been on Bella Donna. I didn’t like the way that it was produced or done so I pulled it right at the end. And that’s hard to do ’cause you have to hurt somebody’s feelings to do that. But, you know what, sometimes a girl’s just gotta say, ‘No, I don’t like it.’ And, uh, so I’m saying, so it went back in the gothic trunk of magical mystery things. Anyway, I think it was written about somebody that was heartbroken and that’s all I can really tell you about. It’s called ‘If You Were My Love.'”

(After the song)

Thank you. What I love about some of these songs is that it’s just so great to just really sing. With these two girls, and to just sing. For real, it’s so classy. Thank you.

Gold Dust Woman (choops4683)

Gold Dust Woman / Band Introductions / Edge of Seventeen (Peter Dolbey)

Band Introductions

“Thank you. This is when you’re supposed to say, ‘Hairdresser! Makeup, Hairdresser!’

I’m gonna introduce you to my band now. And I’ve already been warned. I’m going to look at my…Fitbit.

Anyway, I have to move right along here so first of all, don’t take it personally, it’s not going to be a long introduction. Um Hammond organ, our favorite Hammond organ player because he’s the best, he’s the finest in the world as far as I’m concerned in my opinion, and his name is Ricky Peterson, yay!

Concise! Right next to whatever your name is, what was your name? I’m kidding! I’m totally kidding. I’m not there yet. Um drums, we have someone who, um, played drums for us for a long time and then had to go away and do other super interesting things and has now come back to us for a while and we totally appreciate every moment that we have you with us. Ladies and gentlemen, on fantastical and mystical whatever drums, Mr. Scotty Crago!

Let me consult my Fitbit…OK! All right, this man, really quickly… When Darrell plays, I feel like I am playing the piano myself because I’m really not that good of a piano player, but I do play good enough to write, like on Moonlight. I can play it a little bit like you play it, but not really. And so when he plays, it’s like I’m playing myself and it’s like the most amazing thing. It’s hard to find somebody who can follow you and be in your song with you as if he were you. I think sometimes we sort of change personalities, right? We just switch. Anyway, ladies and gentlemen, on grand piano, Mr. Darrell Smith!

And right next to Darrell, in back of Darrell is my friend from Phoenix, Arizona, and I’m from Phoenix, Arizona. We have risen, the phoenixes have risen, right? Anyway, um, Al and I have been working together since the mid-’90s. He is my super demo person and I will tell you, it’s like I will say things like this to Al, ‘Al, I want to do a version of ‘It’s Raining Men.” And Al says, ‘OK!’ And we do, and we still have it. Nobody will ever hear it. Anyway, he is definitely a person who makes my songs come to life, and for that, I appreciate it so much. Ladies and gentlemen, on bass, Mr. Al Ortiz!

And right over here… It’s hard to make this introduction short, I’m gonna do it. OK, right here where the blond girl is usually you’re used to seeing, if you a die-hard fan, you’re used to seeing a redhead, who is my redheaded sister-in-law. And for this tour, my redheaded sister-in-law — THERE SHE IS! (pointing to a projected image of Lori Nicks on the screen). That’s so funny! And she’s actually here tonight, so Lori wherever you are, you are up here with us, yay! So anyway, enough about Lori, and so now back to Minnie. So Minnie sang with us a long time ago, but she sang with us for quite a long time. So when Lori, oh, this is why… Lori’s baby is having a baby in January and I said, ‘Lori, you need to go home and be with your child when she has a child’ because you need to have your mom, right? So anyway, that’s why Lori is not here. Anyway, she is here tonight. But she’s only just here tonight. And so Minnie…I know! …has swept back in and been able to make this change very easy for all of us, and she has a kick-ass voice, and she’s most fun girl ever, so ladies and gentlemen, on vocal, um, her name is actually Marilyn Martin, but we call her Minnie.

So that’s two introductions in one so it took a little extra time. Right next to Minnie is my friend Sharon Celani who has been (cheers from audience)…yes, I know, woo! She’s been with me since 1987…80…no, 78…I’m, I’m getting dyslexic too. Since 1978, I met her in Lahaina, Maui, and she was signing in a band at The Blue Max, which was ‘The hot bar.’ And I had gone there to drink, meet men, and, uh, meet Sharon. And so I met Sharon and I said, “Sharon, in case I ever do a record, would you like to come and sing on it, and she’s like…this is how she talks, ‘Absolutely.’ And two months later, Sharon moved to Los Angeles, but the funnest thing about Sharon is that very next day I said to her, ‘Sharon, I need a piano because I wanna write. I need to write, and when I need to write I need a piano, so she’s like, ‘No problem. I’ll find a piano’ So the next day, down the dirt road in Lahaina, Maui, here comes Sharon (image of Sharon pushing a piano is projected on the large screen, with laughter from the audience). So true! Anyway, there she is, ‘The Piano Lady,’ Billy Joel, get out of the picture! And she has been marvelous all these years. If I need something, the tape recorder, a cassette, a drink, something, Sharon gets it and we write that song. Ladies and gentlemen, on vocals, Miss Sharon Celani!

OK, next to the girls is someone who’s also been in this band for a long time. He’s our player of much different kinds of music. He is, uh, very diverse. I don’t know where these words are coming from. They’re just coming. Um, he’s very diverse, and he can just play anything, and that’s why he’s so much fun, and he brings laughter to this band. He makes us all laugh, he is our therapist and, um, sometimes chiropractor. And so he’s a coat of many coats. Happens to be Waddy’s and my favorite song. And you are the coat of many colors in this band. Ladies and gentlemen, on guitar and his coat, Mr. Carlos Rios!

Over here, I’ve already told you a lot of the story of Mr. Waddy Wachtel and I. He and I have known each other since 1971, which, as you know, is a very long time. And we have been making music for a very long time. When I got the chance to make a solo record, I immediately called him and said, ‘Can you do this with me? Will you be musical director?’ And our producer Jimmy was totally into that, and so it was like, it was a beautiful relationship and we made this amazing record. And we have been playing together ever since, and this time, doing this set, as you know because you’ve been here, very difference experience for us and so much fun. But Waddy is the one who makes me, who makes me courageous and makes me have no fear. Sometimes I introduce him and say he makes this place safe. He makes this safe for me. He makes it easy for me to come out and try new things. If I make a mistake, he doesn’t get mad at me. And he’s worth a million dollars, and so I call him my “million dollar baby.” Ladies and gentlemen, he plays everything, musical director, best friend, gemini twin, Mr. Waddy Wachtel on guitar!

And that’s them.”

Edge of Seventeen (choops4683)

Edge of Seventeen (Jason Mathew)

Edge of Seventeen (aerofan2007)

“New York City… So I want you to know how much this means to me, uh, to be able to come and try to make this like into my musical house and play you songs that you’ve probably never heard of before. And you’re just kind and sweet and you listen and you don’t yell at me and say, ‘Exactly what song did you take out to put that song in for?’ And so I just appreciate it so much. I mean, it was a little scary to do this, but it has been so overwhelmingly wonderful for my heart and for the fulfillment of being a musician to sing and to not just do the same thing over and over and over again. So thank you for being creative with me and staying ’til the end. I appreciate it so much, and we’ll see you next time! Love you much!”

Rhiannon (choops4683)

Rhiannon (Peter Dolbey)

School of Rock —The Musical shout-out

“So I have to, uh, yeah, turn on the lights! Where are you, like? There’s a little girl who plays bass, and she is so rocking that I’m just waiting for her to get a little bit older so I can hire her. Sorry, Al! Evie (Dolan)? Where are you? (Stevie waves both of her arms.) She’s only this big — we’re never going to see her. She is so rockin’. Ethan (Khusidman) on keys, Dante (Melucci) on drums, Brandon (Niederauer) on guitar, Jersey (Sullivan) on guitar. I have to tell you, everybody, if you haven’t seen it [School of Rock — The Musical], you have to go and see it because these kids, if I close…I did it three times with them in front of people for, um for Broadway Cares, and for their show too. Um, if I close my eyes, I swear I thought it was either Fleetwood Mac or this band. That’s how good they are. Spectacular… (Stevie lowers both her hands halfway to the floor.) This big. And I want you guys to know that I tried every way in the world to be able to figure a way for you to come up here and actually play, and of course, consulting my Fitbit, there would not have been time for that. But really, it’s an amazing play, and these kids to me are like the future of rock and roll. They are excellent. Go see it. Um, anyway, that’s the story of my newly adopted 13 children.

Um, so the next thing that we are going to do for you is something that you probably are gonna expect, but we weren’t doing it until one night ago, so this is newly added to our way too long show. So here it is, Waddy hit it.”

Landslide (Jason Mathew)


VIDEOS 1/22: Madison Square Garden, New York

Fleetwood Mac returned to the Big Apple on Thursday night, performing a third, non-consecutive show at Madison Square Garden.

[slideshow_deploy id=’35490′]


Thanks to Sergey Aminov, angela450nyc, Wendy Bandes, coastermania33,  dateef, 587melsam, Stefanie Grodinsky, julesy101, Dean Keim, NYCEddieS, Tara Polen, SaltWaterWench, sgibson818, Roberta Shoten, synchromadotcom, Mackenzie Tierney, and Bruce Wachtman for sharing these videos!

The Chain (Roberta Shoten)

The Chain (angela450nyc)

The Chain (Wendy Brandes)

You Make Loving Fun (Bruce Wachtman)

You Make Loving Fun (dateef)

Dreams (angela450nyc)

Dreams (NYCEddieS)

Second Hand News (Bruce Wachtman)

Second Hand News (dateef)

Rhiannon (angela450nyc)

Everywhere (Bruce Wachtman)

Everywhere (dateef)

Everywhere (julesy101)

Everywhere (587melsam)

Everywhere (Dean Keim)

Tusk – short clip (SaltWaterWench)

Say You Love Me (angela450nyc)

Say You Love Me (Bruce Wachtman)

Say You Love Me (dateef)

Say You Love Me (coastermania33)

Seven Wonders (julesy101) 

Big Love (dateef)

Landslide (NYCEddieS)

Landslide (Tara Polen)

Landslide (angela450nyc)

Never Going Back Again (Patrick Stapleton) 

Gypsy (Geobill99)

Little Lies (julesy101) 

Gold Dust Woman (sgibson818)

Gold Dust Woman – short clip (Stefanie Grodinsky) 

I’m So Afraid – short clip (Mackenzie Tierney) 

Go Your Own Way (angela450nyc)

Go Your Own Way (Sergey Aminov)

World Turning (Tara Polen) 

Silver Springs (julesy101)

Stevie’s Closing Speech (Stefanie Grodinsky) 

Compilation (synchromadotcom)

Set List

1. The Chain 13. Landslide
2. You Make Lovin’ Fun 14. Never Going Back Again
3. Dreams 15. Over My Head
4. Second Hand News 16. Gypsy
5. Rhiannon 17. Little Lies
6. Everywhere 18. Gold Dust Woman
7. I Know I’m Not Wrong 19. I’m So Afraid
8. Tusk 20. Go Your Own Way
9. Sisters of the Moon 21. World Turning
10. Say You Love Me 22. Don’t Stop
11. Seven Wonders 23. Silver Springs
12. Big Love 24. Songbird

Sound City Players: Opposites Attract (And Don’t) in New York

By Jem Aswad
Thursday, February 14, 2013 10:00 AM EST

Stevie Nicks. John Fogerty. Fear’s Lee Ving. Cheap Trick’s Rick Nielsen. Rick Springfield. It’s hard to imagine those people having much of anything in common beyond a) being musicians of a certain age, b) having recorded at L.A.’s legendary, now-shuttered Sound City studio and c) being friends with Dave Grohl.

Elements “b” and “c” are what brought the above and several other musicians to stages in Park City, Utah and Los Angeles over the past month, and Wednesday night saw the unlikely gang of musicians take the stage at New York’s Hammerstein Ballroom. In his inimitable ringleader fashion, Grohl has used “Sound City: Real to Reel”—the documentary he recently released about the famously dumpy studio where dozens of classic albums, ranging from Fleetwood Mac’s “Rumours” to Nirvana’s “Nevermind,” were made—as a catalyst to continue an ongoing real-life Rock and Roll Fantasy Camp that has seen him performing with Paul McCartney, Jimmy Page, John Paul Jones and others over the past few years. He rallied several of the musicians he interviewed in the film, assembled the Foo Fighters and some auxiliary Queens of the Stone Age members to join him as the house band, and off they went on a jaunt through some far-flung corners of Grohl’s teenage record collection (and presumably that of this evening’s predominantly middle-aged crowd). It’s probably safe to say no other person on Earth could have united these musicians… or, at least, would have wanted to. Like the film is his tribute to the studio, these concerts are his self-financed tribute to them—there was very little Dave Grohl-written music in the show

“It’s gonna be a long f—in’ night – you know that, right?” Grohl roared one song into the nearly three-and-a-half-hour long show, which occasionally featured clips from the film in the brief gaps between the 4-to-6-song sets. It’s a testament to his fans’ affection and trust that they enthusiastically waited a good 90 minutes before hearing a single song that most of them knew. While Grohl was onstage for the entire night, headbanging enthusiastically whether playing guitar, bass or (too briefly) drums, the first part of the show featured a brace of obscure songs (from the film, Queens of the Stone Age, Them Crooked Vultures and Masters of Reality) sung by QOTSA’s collaborators Alain Johannes and Chris Goss. Rage Against the Machine drummer Zack Wilk played drums for the latter part of the set; like a pumped-up high school teacher, Grohl explained to the crowd just how legendary these generally unknown musicians are.

A short set of songs by Fear—the legendary late ‘70s L.A. punk act beloved by John Belushi—bellowed by Ving followed. While the presence of Foo Fighter Pat Smear—who was asked to join Nirvana purely because he’d been in L.A. punk icons the Germs—brought some old-school authenticity to the songs, the band, who were completely on point for the rest of the night, just wasn’t right. Punk is rock at its most basic; Taylor Hawkins—a world-class rock drummer—brought too much flair, and three guitarists is way too many for that sound.

The Cheap Trick set brought a needed lift to the show. Grohl moved behind the drums, Krist Novoselic stepped in on bass, Hawkins took the mic, and Cheap Trick’s Rick Nielsen teamed with Grohl to power a bracing set of “Hello There,” “Stiff Competition,” “I Want You to Want Me,” “Ain’t That a Shame” and, of course, “Surrender.” Nielsen bounded from one end of the stage to the other; Grohl’s drumming was stellar throughout – he kicked off “Ain’t That a Shame” with a riveting tribal rhythm that was a highlight of the show. And while Hawkins was no Robin Zander (shirtless, he looked more like Brad Pitt in “True Romance”), he passed muster, and brought a nice tribute to “Surrender” by replacing the Kiss records mentioned in the lyric with Cheap Trick records.

Rick Springfield, the odd man out in this very odd lineup, was up next, finishing, inevitably, with “Jessie’s Girl.”

John Fogerty stepped onstage, backed by the Foo Fighters, and jolted the crowd back to life with a blazing version of the Creedence hit “Travelling Band.” They were well-rehearsed—the Foos backed him for a version of the song on his forthcoming album, “Wrote a Song for Everyone”—and unlike the Fear set, the band’s classic-rock approach fit his songs like a glove. They tore through “Born on the Bayou,” “Centerfield,” “Keep on Chooglin’”, “Bad Moon Rising” and “Proud Mary,” with Fogerty clearly having the time of his life. “I’m up here playin’ with the f—in’ Foo Fighters!” he yelled in the middle of the set. “I especially love playing with this guy, who’s having such a great time playing rock and roll. Dave Grohl, he’s like a little kid!”

Finally Stevie Nicks took the stage and the band kicked back into gear on a rousing “Stop Draggin’ My Heart Around,” with Grohl playing Tom Petty’s part. After the song ended, Nicks told a harrowing story about how her godson had died of an overdose. “I wrote a poem about it, because that’s what I do.” Days later, Grohl called her about the film and eventually asked if she wanted to do a song together. She sent him the poem and said, “’Knowing our history, do you want to go there with me?’ He said, ‘I’m with you, babe.’” The mid-tempo, intense song is called “You Can’t Fix This” and is featured on the “Sound City” 11-track companion album, out next month. (Editor’s note: Stevie’s godson is her former manager Glen Parrish’s son.)

The band eased into a fluid “Dreams”—complete with Nicks’ signature hand gestures and some horrifying hippie dancing from some women in the crowd—then a lovely version of “Landslide,” with Nicks recalling writing the song by herself in the house of a person she didn’t know in Colorado in 1973, accompanied here by Grohl on 12-string acoustic.

Squalling feedback morphed into a majestic, drawn-out version of “Gold Dust Woman,” and then the long night was through. There was no encore—which isn’t really a surprise when you try to imagine what songs that motley crew might have played together. In fact, it’s probably a good thing these shows are so far-flung. What might life on that tour bus be like?