 his frustration.
Tonight's most recent incarnation of Fleetwood Mac, a Stevie-John-Mick-Lindsey-and-five-dudes-playing-backup-in-the-shadows set-up, was, according to ticket stubs, on the Unleashed: The Hits 2009 Tour. But despite a set list of nothing but straight-'70s-FM-God-Body-Heat-Rocks this wasn't easy listening.
Fleetwood Mac's well-known extra-musical narrative is about the strong personalities, big demons and contentious conflicts that haunted the band. And their records, especially the classic run from Fleetwood Mac through Tango In The Night, are testaments to the band members' collective ability to overcome their egos and all the upheaval in their lives and make a seamless, often beautiful, sound together. They really were a collective; imbuing any song--be it a Stevie, Lindsey, or Christine--with a sound only the group could produce.
So it was kind of sad watching them balkanize their set in such a decided way: making their performances celebrations of individual achievement rather than group harmony, pummeling the real trophywives of the NYC in the audience with drum and guitar solos, and badly misjudging the pacing and momentum of the set.
The early part of the night peaked with the band's most unselfconscious performance: a blinding take on "I Know I'm Not Wrong" from Tusk that had motorik and sounded more like The Clean than anything else. After a marching-band-free "Tusk," the band went all an-intimate-evening-with... and played a sleepy stretch of quiet jams: "Sara," "Landslide," and the rarely-played-out "Storms."
After a punishing Turkish prison sentence of the Peter-Green-era blues explosion, "Oh Well," and some Mick Fleetwood drum-solo/scream therapy (enlivened only by a great version of Nicks' solo new-wave classic "Stand Back"), the group came into the home stretch: "Go Your Own Way," then break, then "Don't Stop Thinking About Tomorrow." As people started to file out, Turtle piped up, "They got one more; they're gonna do 'Silver Springs.'" And, like clockwork, the band filed out to play the gorgeous mid-tempo break-up song, originally left off Rumors. On this very last song, Fleetwood Mac, playing a tune about tearing yourself apart, actually sounded the most together they had all evening. And despite knowing what was coming all night long, even the self-appointed guardians of these hallowed halls--as they tipped back their white Yankees hats and teared up a little--seemed to finally feel like they got what they paid for.
There goes the Northeast with their hyped up attitudes and nasty comments...stay home and watch your VHS collection. This particular lineup toured in 2003 and yes...they are playing the hits that fans want to hear and spicing up the setlist with a few different songs. I can't believe you would even print this...what a joke.
It has been at least 30 years since the Village Voice was relevant in any way. And all these years later they still think they are too cool to give Fleetwood Mac a good review. I love the comment by the writer that the people behind him think the band has no business in the hallowed halls of the Garden. That sounds like it was made up by the writer himself. Who would bother to attend the show to make a statement like that?
"Who would bother to attend the show to make a statement like that?"
Well, I'm german and might not have understood the whole of the article and the comments, and I've been a Mac fan for over 20 years now - but U think I agree with him! I heard the bootleg of their first show on March 1st - and it was boring! 80% of the songs were absolutely in the same style and length like they've been playing them for over 30 years now, and that's no good. There is nearly no improvisation, no fire (except Lindsay from time to time), no new elements - just always the same stuff. I wouldn't pay 150 quid for that!!! Being Boring.
The Voice and The Times are always wrong.
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Leah Lawson - Flood House (Album Artwork)
Leah Lawson - Press Photo
Alternative-Folk Artist, Leah Lawson reckons with religious trauma and shares her faith deconstruction journey with emotionally charged debut
With smooth guitar framing her clear and steady vocals, [Lawson] delves into the cracks of the scars she has left: delicate, revealing, and powerful all the same.”
— Glasse Factory
ASHEVILLE, N.C., UNITED STATES, September 16, 2022 /EINPresswire.com/ -- Alternative Folk Singer-Songwriter Leah Lawson's debut album, ‘Flood House’ is available now on all major digital streaming platforms via Good Bones Records. ‘Flood House’ was recorded at Way Out Studios in Seattle, WA, and produced by Trevor Spencer (Beach House, Father John Misty, Fleet Foxes). Lawson, Spencer, and Seattle-based musician Sam Peterson made up the trio that played all of the instruments on the album.
With this emotionally charged debut, Lawson proves she has something to say and this powerfully personal body of work showcases her seasoned and intricate writing style. From more adolescent musings like, "I was there when your grandmother died, we were sure she'd get to heaven" to profoundly mature revelations about humanity and our role in it, the album captivates. "I know a woman is a war. I can never be at peace," she sings on "A Woman Is A War," her voice softly cooing a harsh realization.
Listen to ‘Flood House’ Here
Reminiscent of Kathleen Edwards and Noah Gundersen, Lawson takes a brutally raw approach on 'Flood House.' The eight-song album imprints the listener with vivid images like remembered dreams and leaves them wanting more. With tracks like "Old Hickory," Lawson expertly untangles complex emotions and lays them bare in front of us. "I wondered if you liked my body, just because you never told me" is just one of the many lines that draw us into her inner circle.
Growing up in Florida, Lawson was homeschooled throughout her formative years and raised in a sheltered, evangelical Christian home. Music became Lawson’s conduit to reckon with her religious trauma and faith deconstruction, in addition to the universal feelings of longing, loss, and love we all share. “I think when you grow up the way I did, immersed in the evangelical church, and then you decide to leave that life behind, it can feel really isolating and people may not understand,” says Lawson. “It’s my hope that these songs allow others to feel validated in that it’s okay to explore life beyond what you were taught and what you used to believe. I want people to know they aren’t alone and it’s okay to be honest with yourself.”
After spending several years living in Nashville, TN, Lawson is currently residing in Asheville, NC. Visit www.leahlawson.com for more information on upcoming shows and how to connect with Leah on social media. Recent acclaim:
“[...] weightless and poignant vocals.” –Oh·Es·Tee
“[...] packed with raw emotion and touches of melancholia… intricate guitar melodies are seamlessly intertwined with [Lawson’s] dreamy vocals and harmonies.” –Caesar Live N’ Loud
“There’s a sultry style to her voice… the easy choruses delivered by her voice are something you need to make time to listen to.” –Thinking Lyrically
“Chills will invade you… Lawson is unquestionably one of the most beautiful revelations of this year on IMC.” –Indie Music Center (IMC)
“With smooth guitar framing her clear and steady vocals, [Lawson] delves into the cracks of the scars she has left: delicate, revealing, and powerful all the same.” –Glasse Factory
A Woman Is A War
Cheaper Kind
For additional information or press inquiries contact Natalie Bailey at natalie@ladysavagemanagement.com, or +1 615-955-1022.
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