What possibly can be said about Stevie Nicks that hasn’t been said before? A formidable singer-songwriter, a countercultural icon, and perhaps one of the greatest female frontwomen of all time, having sold over 120 million albums with Fleetwood Mac and boasting a hugely successful solo career to boot, so embedded within popular culture are Nicks’ songs, there’s a good chance you own one of her records and most likely know every word to each of her hits, maybe without even knowing it.

One of rock n’ rolls indisputable legends, now in her 70s, Nicks presides over modern rock and pop as elder stateswoman, championing her favourite artists and collaborating with the likes of Lana Del Rey, Miley Cyrus and Taylor Swift – a passing of the gauntlet to the next generation in music, if you will.

Unsurprisingly, with a reputation that precedes her, in the mists of rock myths and legends, the much-awaited songs and stories; packed to the rafters with fans in leather, lace and cowboy hats, (they’re really all the rage these days!) anticipations were about as high as they can be in Dublin’s 3Arena last night – and the Queen of rock n’ roll did not disappoint!

Following an impressive melange of singer-songwriter atmospherics par excellence from Scottish opener Nina Nesbitt, it was time for the main event…

Scored to Tom Petty’s 'Runnin’ Down a Dream,' bathed in blue light, Nicks graced the stage in style, kicking off with a cut from her 1981 solo album Belladonna, the tenderly poetic 'Outside the Rain.' Donning her signature gothic Americana chic, wearing the original cape from the Belladonna album cover, with purple ribbons strewn along her mic stand, Nicks’ bewitching vocals took no time in enchanting the ecstatic audience, already in the palm of her hand, as they sung along to every lyric.

Seamlessly mashing the track into one of Fleetwood Mac’s most popular and enduring tracks, Rumours’ 'Dreams.' From the instantly recognizable swells of electric guitar, hypnotic bassline and steady drums to the world-weary poetics of Nicks’ beautiful lyricism, its an early highlight that sets the tone for the night ahead. More than capable of anchoring rock royalty, Nicks’ band, consisting of Brew Hester on drums, Ricky Peterson on keys, Sharon Celani on backing vocals, and the double threat of session giant Robert “Waddy” Wachtel on lead and Carlos Rios on rhythm. Dare I say, Nicks’ band may even give the likes of her Fleetwood Mac bandmates a good run for their money, adding a new flavour to beloved classic hits.

“Welcome Dublin! I’m just so happy to see all of you!” an emphatic Nicks exclaims. "When we started the tour, it was like, well, one of these days we’re going to get to Dublin, and all of a sudden, we’re flying to Dublin! I just wanted to let you know how excited we all are…” With seemingly synchronous performances from giants like Shania Twain, LCD Soundsystem, and the phenomenon that is Nicks’ close-friend and musical collaborator, Taylor Swift cramming the streets full with music lovers – and a fair share of understandably peeved commuters – there is perhaps no one better equipped than the legendary White Witch of rock n’ roll herself to cap off what has been a hectic but thrilling few weeks of live music.

“We’re just going to get this Irish Dublin party started now!”

Safe to say that Stevie Nicks brought the full house down in @3ArenaDublin last night!
A wonderful blend of storytelling and music including a touching tribute to Christine McVie with 'Landslide'. 'Edge of Seventeen' even had a 4 minute intro! pic.twitter.com/tcBm9wERFR

— Glenn Polley (@glennpolley) July 4, 2024

Next up was the second track from Stevie’s second solo studio album Wild Hearts, 'If Anyone Falls.' Lesser-known solo material from Nicks’ back catalogue lands just as well with the crowd as her Fleetwood Mac smash hits, proving her vocals are still as superb as ever, whilst dreamy technicolour stage visuals filled the expanse behind her.

Ever the storyteller, Stevie was more than enthusiastic to chronicle the trajectory of her career with witty anecdotes from the gilded annals of rock’s past. “So this song was a present really, in about 1980, when I was finishing up Belladonna…” With no lead single for her first solo record, she explains, Nicks’ manager hatched a plan, a collaboration with Tom Petty and the Heartbreakers. “He said he would love to sing it with you, and I said I’d love to sing it with him!” Nicks recalls. “I was so nervous, because I was such a fan for such a long time, but I’d never met him! I walked in there and I was so overdressed, I was dressed like I was going to the Rock and roll ballet, and he was very much not! So, we went in there and we did it in three or four times. It was perfect. This song kicked Belladonna straight into the billboard magazine, straight up to number one, thank you Tom Petty!”

'Stop Draggin’ My Heart Around' provided yet another great singalong moment, as collages of a young Stevie and Wachtel flash up onscreen, alongside images of Bob Dylan, Janis Joplin and Jimi Hendrix, Billy Joel and Prince, simultaneously paying homage to the countercultural musicians of the 60s, as well as the musicians that they influenced.

An Irish welcome for a musical icon… Stevie Nicks takes to the stage in Dublin.. #landslidevictory pic.twitter.com/XwSkNUp9sf

— Gavan Becton (@GavBecton) July 3, 2024

Written in 1966 by Stephen Stills, Nicks’ next song was a cover of a classic protest song of the Vietnam era, Buffalo Springfield’s 'For What It’s Worth.' “I had just graduated from high school,” Nicks reminisces, “I was 18 years old; this song was being played on the radio like all the time, and I said, ‘someday I’m going to record that song’ and I did! The reason I’m doing this song is because people think it’s a political song, but its not, its just a story about something that happened in Los Angeles. There was a couple of kids having a party in the sunset strip and then the police told them, and they were like, ‘you need to leave!’ And they were like, why? I wasn’t there so I don’t know what happened, but they called it the Sunset riots.

“I just want to tell you one thing,” Nicks continued, “I’ve been watching a lot of TV here, and it seems like you’re having a lot of elections. I’m going to tell you the same thing I was telling the Americans I live with, we should all vote. Don’t be like me, I was busy!"

Met with overwhelming applause, Nicks’ is a welcome sentiment, a potent call to fight for the right to have our voices heard. In what seems like an era defined by political instability, both in the US, globally, and at home here in Ireland, with the violences and bloodshed that defined the conflict in Vietnam becoming an all too common parallel for our times, the track’s lyrics ring out with a certain poignancy: I think it’s time we stop / Children what’s that sound? / Everybody look, what’s going down?

Detailing her life pre-Fleetwood Mac, a period during which she worked multiple jobs as a waitress and a cleaning lady to support her then partner Lindsay Buckingham, Nicks recalled their first meeting with the rest of the band.

"We were so poor! Our car, my Toyota, had no reverse, we could only go forward! We got a call from our producer Keith Olson, and he said, this guy called, he’s from an English band and they need a guitar player… And I go is there anything you need to tell me about this? And he said they already have a girl! I was incredibly snappy in those days! Lindsay said, you know, I really don’t want to be a blues guitar player, and I said, well, I don’t really want to be a cleaning lady! We are going to have dinner with them tomorrow night! And so we did! We go in, and we sit down, and we don’t know that the band has been told that if Chris doesn’t like me, then the whole thing is off the table, well,” Stevie explains.

“Christine and me were just arm in arm, we were like sisters of the moon immediately, after a couple of pina coladas and three hours later, Christine and I were forming our own band! Those are the things you remember when you’ve been in a band for over 40 years! There were points after that were I would miss those days… for all of you travellers and nomads, people of the world, I’m sure you know a gypsy or two….”

Different vibe tonight. At a Stevie Nicks concert in Dublin. I’m not ageist but 76 and vocals are still absolutely on point. Compare that with a certain performer at Glastonbury at the weekend & on a different planet. Hats off, superb #FleetwoodMac pic.twitter.com/MsaC0WCtXg

— Mark Hill (@markhillsports) July 3, 2024

Turning in another impressive vocal performance, Nicks’ performance of 'Gypsy' was another standout of the night, the audience swooning along to her reflection on the carefree bohemia of bygone days.

A later entry in Nicks’ discography, a track from 2011’s In Your Dreams, Nicks’ next song, 'Soldier’s Angel,' was originally penned as a tribute to American soldiers involved in the Iraq War. “It started to come back into my head, and I was like, why is this song like a typewriter in my head? And then I realised, it was Ukraine.” Stevie reflects. “I said, when I get back on the road, I’m gonna do 'Soldier’s Angel.' This is a song for all soldiers out there, fighting for freedom and a better life!” Broodingly anthemic, with militaristic instrumentation and marching band style drums, a unique pick from Nicks’ more recent projects, 'Soldier’s Angel' and dedicated to the people of Ukraine, the song provided yet another welcome political sentiment.

As Nicks departed for a brief costume change, fetching yet another of her iconic capes, the band kept the home fires burning, with a moody electric guitar prelude that slowly unfurled into 'Gold Dust Woman.' Adding the perfect touch of Les Paul toting theatrics, Wachtel’s playing brought a virtuosic flair to the proceedings, as the track exploded into a high-octane improvisational dialogue between each musician. Coming into his own with a stellar drum solo, Hester’s barrages of punchy percussion gave the track extra bite, amping up the psychedelia, accompanied by glittering visuals and gold lighting, as Nicks swung her cape and frenetically danced to the music. It’s a remarkably well reimagined take on an old fan favourite, with just enough subtle changes to make the track seem fresh but simultaneously recognisable.

Inviting her longtime vocal coach Stephen Real to the stage for a duet, Nicks then performed 'leather and Lace,' a collaboration with her former partner and Eagles frontman Don Henley. The perfect foil to Nicks’ powerful vocals and equally as deserving of kudos, Rael’s vocals shone, sounding every bit as good as Henley’s on the classic duet.

After yet another tantalizing instrumental interlude, Wachtel teasing the audience with the song’s iconic palm-muted intro, then came the rock anthem that is 'Edge of Seventeen.' Encapsulating the rebelliousness and inherent ennui of being young, with its moody atmosphere and unforgettable chorus, the song feels as fresh and immediate as ever, Nicks’ seemingly endless range and soaring vocals really getting a chance to shine amongst roaring guitars and pounding drums.

In an unexpected but welcome crossover, at one point in her set, Nicks shouted out none other than viral TikTok personality and singer-songwriter Garron Noone; “there’s this one thing and he’s teaching you how to make tea with all the milk… it’s so hysterical! We have been enjoying you so much Mr. I’m delicious, If I was having a party, we would definitely invite you – and if we were going to have a party… we would invite all of you! You are all exactly what we thought the Irish would be – fantastical beings!

"You’ve been very special, I won’t forget this night, thank you so much!"

Then it was time for yet another hit, none other than Fleetwood Mac’s 'Rhiannon.' With its poetic lyricism steeped in the occult, stripped back instrumentation, and its sentimental mercuriality, the track is one amongst many opuses in Stevie’s back catalogue, and arguably still stands as one of Fleetwood Mac’s greatest. Relatively new to the band and unknown to listeners at the time, a 1976 performance of the song firmly cemented Fleetwood Mac within the public consciousness as the future rock legends they would go on to be, with Nicks’ powerhouse vocals and virtuosic runs leading her bandmates and the audience to suspect she was siphoning mystical energy from the after world, possessed by the song’s eponymous Welsh witch. With legends of Nicks’ semi-supernatural vocal prowess endlessly swirling in the zeitgeist, anticipations had reached fever pitch.

More than proving herself, Nicks belted the track out, replicating the vocal nuances of her 70s live performances with a near uncanny precision and remarkable ease. For a performer of her age and tenure, Nicks’ voice is still larger than life, full of the gritty power and operatic charge she is renowned for, reverberating and filling all four corners of the packed-out arena. With slightly edgier instrumentation than on the record, Nicks’ band complimented her vocals excellently, in a stunning whirlwind of sharp, bluesy distorted guitar, moody piano and ebbing drums. Slowing things down for the song’s refrain: Dreams unwind / Love’s a state of mind, 'Rhiannon' reached its brooding crescendo, Nicks emphatically repeating the outro’s mantric lyrics, swaying in her iconic lace chiffon shawl, under the hazy lights of the stage, as if putting us all under the lull of a high witch’s spell…

On the tail of the contagious energy of 'Rhiannon,' Nicks Closed out the set with a poignant ode to the late Christine McVie, who passed away in late 2022. Arguably one of Nicks’ greatest pieces of songwriting, with its stripped back instrumentation and melancholy-tinged lyricism, it’s a perfectly emotional note to end on. With Nicks wistfully crooning over a tender accompaniment of finger-picked guitar and ethereal electric piano, tonight, 'Landslide' calls to memory a lost sister and a deeply missed best friend, as she invites the audience to share her heartbreak for a moment, but also, to communally commemorate the love and light of a life in music. It’s a catharsis of sorts, for both artist and audience. “It’s been really hard for me losing Christine,” an emotional Nicks explains. I haven’t gotten over it, I don’t think I ever want to get over it! My mom used to say, ‘Stevie, when you’re hurt, you run to the stage, and that’s what I’ve been doing… and you guys just wrap your arms around me and let me know its ok. I love you all!"

Safe to say, not a dry eye in the house…

Assuming somewhat of a Joni Mitchell-esque signification at this point in her career, steeped in shades of retrospect, nostalgically evocative of Stevie’s storied career, her personal history, and the epoch-defining rock legend she bore unto the world alongside her Fleetwood Mac bandmates, with 'Landslide,' there was a sense Stevie was looking back upon her younger self from both sides, contemplating the past, cherishing the memories and mourning those lost along the way. Powerful stuff.

With all on their feet as if at a Cannes premiere, Dublin’s long goodbye spoke volumes to the power and presence of Nicks, both as a performer and a songwriter, with tracks that undoubtedly mean so much to so many people, the weight of seeing Nicks live, witnessing a true giant of music, a bona fide cultural icon, is immense, as revellers sweep stray tears away. Taking it all in for a beat, the moment is not lost on Nicks, as she gracefully takes a well-earned bow, lingering in the atmosphere and graciously thanks the euphoric crowd, before disappearing behind the curtain, once more into the aether… Ladies and gentlemen, the witch has left the building!

Pouring out into the crisp windchill of The Point, dazed and confused, elated heads ringing with cherished tunes; time had cast a spell on us, and there was no chance we would ever forget Stevie Nicks anytime soon…