Under the sprawling summer canopy of London’s BST Hyde Park, thousands of fans, from lifelong devotees to curious newcomers of all ages, gather for a full line-up of exceptional female artists headlined by the iconic Stevie Nicks. The former Fleetwood Mac frontwoman has never been a passive presence in music. Nicks is a pioneering force in the history of women in rock; she is a trailblazer in the rise of female agency, business prowess and product ownership, which is only now coming to fruition for female artists. Her ethereal presence and hauntingly beautiful voice have captivated audiences for decades, while her career has paved the way for countless women in the industry.
Stevie Nicks
Paris Paloma starts early in the lineup with a range of songs from her forthcoming album. She offers pretty, folkloric songs with pertinent modern messages on the female experience. Her explosion is largely thanks to her song, Labour, which became a viral phenomenon. The original release was a delicate acoustic song. The message of the disproportionately engendered workload resonated with so many women that they stitched it into their TikTok videos, harmonising with their own vocals. Paloma harvested the voices and re-released the song as the anthemic Labour (Cacophany). Which, in turn, gained incredible traction and made her well-known across social media. The late afternoon crowd do not disappoint in bringing the sense of solidarity created online to life in the real world. The chanting chorus becomes a chant, shouted in frustration and catharsis.
Paris Paloma
Anna Calvi cuts an angular feminine silhouette against the blood-red backdrop as the crowd grows and settles in. She introduces her set with a dreamy guitar solo, demonstrating her dual skill with vocals and instrumental balancing both with beauty and technique. Her velvety vibrato drifts across London as she stands strong and understated in a black 80s power suit and sunglasses. She throws her head back and shreds her guitar to Suzanne & I. The melodies are, in a moment, mysterious and, in the next, crashing into a drum-smashing crescendo. Lush melodies and echoing chords give her music a Lynchian atmosphere. She remains effortlessly cool as the weather begins to warm, winding down her set with her foray into pop, Don’t Beat The Girl Out Of My Boy.
Anna Calvi
Brandi Carlile wakes a restful crowd with a charismatic shout-out, “How ya doin’ London, you angels?!” Before launching into country-tinged rocking Broken Horses. Overwhelmed, disbelieving and joyous to play such a substantial gig, the Seattle-based frontwoman cannot stop smiling. Her happiness is infectious. Taking in the scene, she recalls the bygone days of playing small venues like London’s Borderline. With a warm generosity, she takes time between songs to thank her band of 25 years. What a tight and talented band they are. They are composed of two pairs of siblings, twins Phil and Tim Hanseroth, the classically trained Sista Strings: Monique and Chauntee Ross on cello and violin, alongside Dave MacKay on keys and the human dynamo Abe Laboriel Jr. on drums. Amongst the high-energy rock are tender songs that take advantage of the close three-part harmonies of The Eye and The Mother.
Brandi Carlile
A recording of Tom Petty’s Running Down A Dream blasts as the stage is set, and chains of sparkling jewels and ribbons the colour of an oil slick hang from a mic stand in the centre. Like a Chekov’s pistol, a crescent-shaped tambourine decorated in fabric swathes is conspicuously placed on a plinth behind. The audience takes a collective in-breath before releasing a cry of awe at the arrival of Stevie Nicks in her trademark velvet Victoriana jacket and multi-tiered skirts. Time has stepped her down from her high-heeled boots, now replaced by bejewelled trousers and trainers to make her iconic twirls more achievable. Her opening number of Outside The Rain showcases her barely changed voice as the music smoothly transitions into Fleetwood Mac classic Dreams.
Between songs, her rambling stories start to lose the crowd, which disintegrates into chatter. Periodically, she hits a razor-sharp punchline, but vamping is not her strong suit. A lengthy preamble brings her to Gypsy. A note on the mysteries of the feminine: Hollywood films would have you believe that women, left to their own devices, spin around hysterically on beaches and mountaintops to benefit their loved ones’ future memories of adoration. The truth is that women only voluntarily spin and twirl whenever they hear Stevie Nicks sing Gypsy. This is demonstrated by hundreds of bohemian garments being fanned and swirled with wild abandon. It’s a beautiful sight.
She tells another anecdote: “I decided in my 18-year-old arrogance to record this song, and I did… two years ago!” The song is Buffalo Springfield’s For What It’s Worth she explains it was not written as a political song (it was originally about the Sunset Strip in LA) but that it can be interpreted as a caution and a reminder to engage in the events of the world in particular to vote. Having once convinced a fractured Fleetwood Mac to reform for President Clinton’s inauguration, it is clear that the threat of Trump returning to power is at the forefront of her mind. Also on her mind are her dearly departed friends; she notes tenderly that the last time she shared a stage with Tom Petty was here at Hyde Park in 2017, only weeks before his death. In tribute, she plays a rousing cover of Free Fallin’, which unites the audience into a giant choir.
Stevie Nicks
Mid-career numbers like Stand Back and Belladonna keep the audience engaged, but Gold Dust Woman ignites a passionate response. She casts the lyrics like a spell, set back in a half squat like she’s channelling her message into the cosmos. Given the legendary rock ‘n’ roll mythology surrounding the doomed relationships and affairs within Fleetwood Mac, I like to think somewhere out there is Lyndsey Buckingham on the receiving end of all that psychic energy, feeling a sharp pain in his SI joint and thinking to himself, “Hmmm… Stevie’s playing somewhere…” A friendlier voice, in the form of expert vocal coach Steve Real, joins the stage to step into Don Henley’s part for the gentler romance of Leather And Lace. Real is a singular talent, and the thoughtful harmonies are exquisite.
When Stevie Nicks leaves the stage between songs, the break gives her stalwart band opportunities to open up some delicious bluesy guitar solos and drum fills, which act as segues—no more so than on the instantly familiar intro to Edge Of Seventeen, a 43-year-old song which still conjures up the urgency and thrill of youthful desire.
A much-demanded encore of mega-hit Rhiannon is quickly chased with a surprise guest vocalist, Harry Styles. Styles stepped in to partner Nicks in lieu of Tom Petty on a slinky version of Stop Draggin’ My Heart Around. He stayed to perform an emotional rendition of Landslide, which Nicks dedicates to her late, beloved former bandmate Christine McVie. The photo montage of McVie and Nicks of images taken through the ages encouraged the shedding of tears and unavoidable quivering lips on the faces illuminated by the screens.
Stevie Nicks’ music is a gift passed between generations, particularly meaningful to those who experience girlhood and womanhood. These thoughtful songs have broken barriers to convey love, power, yearning, reflection, and forgiveness. Songs formed by one woman’s experience are sure to outlive her and be carried forward by generations persuaded of the value and power of a 21st-century woman. In her own words, “Rock on, ancient Queen.”
Live review of BST Hyde Park 2024 featuring Stevie Nicks at Hyde Park, London on 12th July 2024 by Sarah Sievers
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