Nicks' power isn't fleeting
She makes most of her own show
By GEMMA TARLACH
Journal Sentinel pop music critic
Posted: July 4, 2005
Who needs Don Henley?

Summerfest
Review


Photo/Jeffrey Phelps

Stevie Nicks performs Monday night at the Marcus Amphitheater. The
amphitheater was only half-full, but Nicks gave a full-scale
performance in her Summerfest appearance.

The Sampler


Get a preview of all the headliners at this year's festival with
bios, audio clips, and links to official Web sites. Go to Sampler

Related Coverage
More reviews: Summerfest section

Advertisement

Stevie Nicks, originally scheduled to co-headline a Summerfest show
with her occasional duet partner, put on a heady "Leather and Lace"
show all on her own Monday night at the Marcus Amphitheater.
Alternating dreamy power ballads with utter rock-outs - including
her first encore, a feisty run-through of Led Zeppelin's "Rock and
Roll" - Nicks was more force of nature than mere front woman during
a two-hour set. At a time when the women of pop music are too often
stripper wannabes lip-synching to a song someone else wrote, Nicks'
classy and commanding presence felt like a revelation.

With her sleek blond hair and a succession of floaty, sparkly,
mostly black outfits, Nicks' appearance remained timeless, as did
her voice. Her distinctive smoky alto was as powerful as ever,
particularly on "Landslide," final encore "Beauty and the Beast"
and "Has Anyone Ever Written Anything for You," a song Nicks
dedicated to "all those kids who we're going to help" after making a
pitch to the audience to sign an online petition to end world
poverty.

Nicks mixed signature hits from her time in Fleetwood Mac, such
as "Rhiannon," with unexpected gems that included a cover of Bonnie
Raitt's "Circle Dance."

But it was arguably the chunks of the set from her own successful
solo career that packed the most power, including "Fall From Grace"
and "Stop Draggin' My Heart Around," with longtime guitarist Waddy
Wachtel standing in for Tom Petty on the vocal duel with Nicks.

Despite an amphitheater that was barely half-full, Nicks and her
nine-piece backing band never lagged in their energy or seemed in a
hurry to get back to the tour bus.

Before the encores, the band riffed on "Edge of 17" for several
minutes as a gracious Nicks shook fans' hands and kissed one little
girl in the crowd.

Wouldn't it be nice if that little girl went home realizing chicks
can write their own songs and rock out well into their 50s?

Self-possessed beyond her years and downright charming, opening act
Vanessa Carlton overcame some early breathiness on set
opener "Ordinary Day" to wow the crowd with a half-hour collection
of songs, including the new "This Time." Alone on stage with her
piano, Carlton proved she has much more substance to offer than her
vanilla hit "Thousand Miles." Among the highlights was "White
Houses," a thoughtful reflection on losing one's virginity - and a
song deemed too risqué for booty-loving MTV, an irony Carlton noted
during her tart introduction of the song.

E-mail gtarlach@....

*******************************************************************
Big Mac Attack
A Fleetwood Mac fan just aint gonna take it.

June 30, 2005

Letters to the Editor
In the blurb for the Stevie Nicks/Don Henley show at Mohegan Sun in
your 7 Days column [June 2], you seem to have allowed for factual
errors and omissions in favor of a clever way to promote the double
billing. I don't find anything in their history that merits their
being called a "bluesy band that shared turf with Deep Purple or the
Stones," neither of which did much in the way of Peter Green's minor
blues style, a style that was the hallmark of the early Fleetwood
Mac style, which ended in 1970.
Real music fans, and real Fleetwood Mac fans, would probably see the
Stevie Nicks addition to the Mac as just one more step in trying to
keep a band going. There were many shifts in style that have been
omitted. Even the style exhibited in the 1975 Buckingham Nicks
album, while serving as a wonderful resume for Fleetwood Mac, and
the source for Crystal , offers little evidence that this influenced
the Mac's shift to "adult lite mode." Ironically, the breakup of
their romance created internal tensions, said to have been the basis
for the songs for 1977's Rumours , their biggest commercial success.
There is no doubt that they brought distinctive talents to the band.
There was Buckingham's devotion as a skilled pop craftsman, capable
of arranging a commercial song while keeping it musically
adventurous. And there was Nicks' songwriting style and a sexy,
hippie-gypsy stage persona, which gave the band a charismatic
frontwoman, which it had never had. I really don't see the analogy
to Yoko!

It was luck that after the Mac moved to California in 1974 to
revitalize their viability, they heard the duo's recording while
auditioning recording engineers and asked them to join Fleetwood Mac
to complement an already mainstream pop/rock influencebegun with the
leadership on 1971's Future Games coming from Christine McVie and
Danny Kirwan. New guitarist Bob Welch exerted a heavy influence on
1972's Bare Trees , which saw the band move more to the rock end of
the spectrum.

Initially conceived as a hard-edged British blues combo in the
late '60s, the band constantly evolved over the course of a decade.
Though Peter Green named the band for the blues rhythm section of
Mick Fleetwood and John McVie, with whom he played in John Mayall's
Bluesbreakers, it was he and slide guitarist Jeremy Spencer who
provided the band with its gutsy, neo-psychedelic blues-rock
influence. Throughout all of their incarnations, the only consistent
members were Fleetwood and McViethe rhythm section that provided the
band with its nameand they have always had the least influence over
the musical direction of the band.

From those very early blues purist roots, their constant evolution
began with the release of their debut album; the instrumental "
Albatross" saw them experimenting with jazzy riffs, and on "If I
Loved Another Woman" Green offered us an early glimpse of the Latin-
blues fusion that he would perfect with the next album's "Black
Magic Woman." Their next album, 1970's Then Play On , produced their
first U.S. commercial hits, "Oh Well" and "Man of the World," and
made it to number 2 on the charts. Although this success did prompt
Epic Records to re-release their first two UK albums and Fleetwood
Mac in Chicago, where they backed up blues legends such as Otis
Spann, most people still probably think "Black Magic Woman" is a
Santana song!

When Stevie Nicks arrived, she added to Fleetwood Mac's latest
evolvement. Though I still favor the Peter Green incarnations, I
will not fault Nicks for her contribution to a style that she was
only asked to join five years into that particular phase of the
band's evolution. Though I might be prone to fault her with helping
the Mac achieve status as one of the longest, continuously playing
American bandsa 40-year evolving legacy!

David Melhado

Middletown

***************************************************************8
Friday, June 17, 2005

Artist of the week

Henley, Nicks team up for a stop in Clarkston

Promoter says expect to see more short concert tours featuring
special packages in the future.

By Jill Kipnis / Billboard


Jim Shea

Don Henley and Stevie Nicks are part of a seven-date tour that began
June 3.




Stevie Nicks and Don Henley


8 p.m. Saturday

DTE Energy Music Theatre

Sashabaw Road in Clarkston

Tickets $26 - $86.50

Call (248) 377-0100

Comment on this story
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LOS ANGELES -- Don Henley and Stevie Nicks' first co-headlining tour
may be short, but it's expected to be very sweet.

"The combination of Stevie Nicks and Don Henley is something that I
have dreamt about for a long time," says Bruce Kapp, senior vice
president of touring for Clear Channel Music Group, promoter for
most of the Henley/Nicks dates. "These are two of the most prolific
songwriters of the past four decades."

The "Leather and Lace" singers' seven-date arena/amphitheater
outing, which began June 3 in Philadelphia, features Nicks and
Henley performing solo hits as well as tunes from their respective
bands Fleetwood Mac and the Eagles. The pair also will take the
stage together when they perform Saturday night at the DTE Energy
Music Theatre.

Special VIP packages are available through iloveallaccess.com. A
five-star package includes a ticket in the first 10 rows, a special
gift bag, on-site concierge services, parking and preshow
hospitalities. A four-star package includes a seat in the first 20
rows and a special merchandise item.

Thus far, sales have been strong, though sellouts are not widely
reported.

Both artists, though, have notable track records. Nicks' 2001 tour
grossed more than $13.3 million, according to Billboard Boxscore,
and was attended by about 295,000.

Henley's few 2004 solo dates grossed more than $2.8 million and were
attended by more than 46,000. His March and April dates with the
Eagles grossed $26.2 million and drew more than 266,000.

Kapp says that the ticket sales for the dates have, overall, "been
doing fairly well."

An e-card featuring music and video was also sent to potential
patrons, and TV spots will run in select markets.

Kapp says the promotions are mostly aimed at 30- to 50-year-olds,
though attendance is likely to include several generations, given
the scope of Henley's and Nicks' careers.

The shortness of the tour is a simple result of busy schedules.
Nicks just played a four-night stint at the Colosseum at Caesars
Palace in Las Vegas, and Henley is rejoining the Eagles for more
dates beginning Aug. 11.

But Kapp says fans may not have seen the last of the pairing. "I
wouldn't be surprised if we see this package again next year. I
think first-time package tours like this will continue to be a trend
in the industry."




********************************************************************
Rocking chair rockers

The no-longer-boys of summer get ready to start it up - again

By DAVID HINCKLEY


Mick Jagger and the Rolling Stones are touring this year.


Paul McCartney is readying tour.


John Fogerty (above) will join forces with John Mellencamp.

So much about summer is timeless.
Like the smell of French fries in the salty ocean air.

Or the wall of warmth that hits you as you walk outside.

Or the lineup of rock stars dusting themselves off to play another
round of the hits they recorded 20, 30 or even 40 years ago.

With the Rolling Stones and Paul McCartney getting ready to hit the
road this summer and Bruce Springsteen, Bob Dylan and U2 already
there, it's as if the plaques at the Rock and Roll Hall of Fame have
busted off the walls, grabbed guitars and come to full-color 3-D
life.

But in truth, says Gary Bongiovanni, editor of the concert trade
magazine Pollstar, this doesn't separate the summer of 2005 very
much from other summers.

"Except for the fact that two of the highest-profile artists are out
this year - McCartney and the Stones - this is a pretty normal
summer in terms of vintage acts," he says.

True, two of rock fans' fondest fantasies - reunion tours by Cream
or Pink Floyd (the former played a four-night stand in London, and
the latter is reuniting for a one-shot show for Live 8, also in
London) - did not materialize. Still, Robert Plant is coming around.
So is Chicago with Earth, Wind and Fire. Santana. The Moody Blues.
James Taylor. And tomorrow night, the Jones Beach Amphitheater
presents what's billed as the Strange Days tour, featuring current
incarnations of the Doors, Steppenwolf, Vanilla Fudge and the
Yardbirds.

Don Henley took a break from Eagles tours to team up with Stevie
Nicks. John Mellencamp and John Fogerty are rocking together. Brian
Wilson's out there, and so are the Allman Brothers and Journey.
Carole King is back, and Loggins & Messina have apparently made up.
The list goes on.

"A lot of artists just tour in the summer now," says industry
consultant and analyst Bob Grossweiner, and it becomes even more of
a stampede "because the amphitheater season is short, so promoters
try to pack in as many shows as possible."

Vintage artists march around this circuit every summer for a simple
reason.

"Artists who haven't had a new song on the radio for years, like
Steve Miller, still have a large fan base," says Bongiovanni. "Their
fans haven't stopped enjoying music, even if they're not keeping up
with top 40 any more. They like what they know.

"It's one of their rituals of summer to see James Taylor or Jimmy
Buffett. They'll spend the money when they know they'll have a good
time." (The top ticket for JT at Jones Beach is $69.50, Buffet's
sold-out Mohegan Sun appearance carries a $200 top.)

While Bongiovanni says the concert biz is working to rebound from a
stagnant 2004, Grossweiner warns that McCartney, the Stones and U2
could take business from other artists.

"The big acts suck a lot of the dollars out of the market," he says,
while gasoline prices and other expenses could also mean some
fans "will see three shows this year instead of, say, five."

Bongiovanni says that after being singed in 2004, "Some promoters
are trying to be more consumer-friendly this year - trying to hold
ticket prices down a little, making the venues nicer, knocking a
dollar off a beer."

Whatever the details, anyone who grew up on rock from the mid-'60s
has multiple options this summer, and the summer circuit remains the
backbone of a business whose top 100 tours in 2004 grossed $1.96
billion.

Moreover, Bongiovanni notes, it was vintage acts that held steady
last year while Britney Spears, Jessica Simpson and Christina
Aguilera were canceling shows.

"The future will be interesting," says Bongiovanni. "You can't build
a business forever on Rod Stewart and Chicago, because at some point
they will retire.

"So the question is whether in 10 or 15 years Green Day will be the
next Who and John Mayer will be the next James Taylor. We just don't
know."

Originally published on June 17, 2005

*********************************************************************
Short Takes: Henley and Nicks hit right harmonies
Tuesday, June 14, 2005

Pittsburgh Post-Gazette

Arts & Entertainment writers offer capsule comments on this, that
and the other thing ...

Don Henley and Stevie Nicks

Their bands paralleled each other throughout the 1970s, and their
solo careers did the same in the 1980s. Now Don Henley and Stevie
Nicks intersect on their shared coast-to-coast concert tour.

The two headliners brought their overlapping performances to a soggy
Post-Gazette Pavilion on Saturday. Four songs into the former Eagles
songwriter's set, as he sang the "Hotel California" line, "There she
stood in the doorway ...," Nicks appeared in silhouette. The
Fleetwood Mac star stayed for three songs, then left Henley to
finish the set with his road band.

After a quick stage set, Nicks and her band played four songs before
Henley joined them for two. The co-headliners shared a three-song
encore and a cuddly slow dance to close the show.

Artistically, it was interesting to hear the old friends dueting on
each other's classic songs. With her husky whisper and growl, Nicks
took the lower register while Henley wailed the high parts of
his "Hotel California," "New York Minute" and "Last Worthless
Evening" and her "Gold Dust Woman" and "Stop Draggin' My Heart
Around." They reprised their hit duet "Leather and Lace" and covered
a beautiful Bonnie Raitt ballad, "Circle Dance."

True to form, Henley stuck to familiar studio versions of his songs
and those he wrote with The Eagles. Nicks, however, stretched and
molded her parts of the show to better fill the needs of a live
performance.

-- Review by John Hayes,
Post-Gazette staff writer

*******************************************************************
Posted on Mon, Jun. 13, 2005



NBC
Don Henley performs on the Eagles farewell tour. He'll join Stevie
Nicks on tour near Chicago this Sunday.






Eagles frontman labors to preserve hometown

By Eric R. Danton

Hartford Courant


While there's a lull in the ongoing personality conflict known as
the Eagles, Don Henley has found other ways to keep busy.

There's his current tour with Stevie Nicks, for one. (They'll be at
the Tweeter Center in Tinley Park, Ill., on Sunday.) He hopes to
find some time in July to record songs for a solo record.

And he's increasingly involved in historical preservation,
particularly in Linden, the small East Texas town where Henley grew
up. (Linden is also the birthplace of jazz pioneer Scott Joplin and
blues great T-Bone Walker.)

"I think it's a natural outgrowth of my interest in environmental
work," Henley says by phone from his home in Dallas. "I think
history and beauty is worth preserving, whether it's in the natural
world or whether it's man-made."

He moved back to Texas from Southern California in the '90s after an
earthquake destroyed his house. Henley, who turns 58 next month,
says Texas is also a better place to raise his three children, ages
5, 7 and 9.

"I wanted them to grow up in the territory where I grew up," he
says. "When you see kids in high school with Gucci handbags and cell
phones driving Mercedes convertibles, it's a little disconcerting."

Such things aren't in great supply in Linden. The town of 2,400 in
the northeastern corner of Texas is part of the poorest county in
the state, Henley says, and times have been tough recently.

"It's suffered, like a lot of small towns across the country; it has
suffered a severe economic decline, to no small extent because of
the proliferation of chain stores and superstores," Henley said.

There's only so much the singer and songwriter (and drummer) can do
about that, but he's playing an active role in restoring the town
center, including what he says is the oldest operating courthouse in
Texas and some nearby buildings.

"I'm going to restore them to their original condition," he
said. "I'd say these buildings average around 85 or 90 years old,
some of them, and we're going to restore those and see if we can get
some viable businesses in there."

He'll need to monitor the restoration from afar starting in August,
when the Eagles begin a three-month trip through California as part
of the band's ongoing farewell tour.

"This may be the final stage of it," he says. "This may be the final
stage, period, of the whole thing. Some people in the group are
talking about retirement."

Talking about it doesn't necessarily mean it's going to happen,
however.

"It's just a big dance, and I've danced it," Henley says. "It's
specific to that strange and rare species called the rock band.
There's nothing like it."

There's even a chance the band will record a new album, which would
likely stave off retirement for a bit longer. Henley sounds bemused
when he talks about it, though.

"I could spend July working on the elusive Eagles album. But if in
the next few weeks I get indications that there isn't going to be
any Eagles album," he'll spend the time working on his own record
instead.


*******************************************************************
Stevie Nicks off the old block



By BRITTANY SCHAEFFER
DAILY NEWS FEATURE WRITER


Nicks wanna-bes imitate the Fleetwood Mac singer at Night of a
Thousand Stevies.

Perched atop patent-leather platform boots and wrapped in a gold-
threaded shawl, Cathy Cervenka tugs her curly blond wig down over
her eyes.
"Perfect — just like Stevie," she says to the mirror.

Swiveling on 4-inch heels, Cervenka stomps and twirls to the voice
of Stevie Nicks singing "Edge of Seventeen."

"There's something so special about Stevie," says Cervenka
breathlessly. "Nobody else in rock 'n' roll has a style like hers."

Indeed, three decades since she fronted Fleetwood Mac, Nicks
maintains a massive cult following.

Nicks and her former fling, the Eagles' Don Henley, play Friday at
Jones Beach, but her uber-fans warmed up last month at the 15th
annual Night of a Thousand Stevies — an all-night party celebrating
Nicks' music and her taste for leg warmers, hippie shawls
and "tamboquets." (That's a tambourine adorned with flowers and
fabric.) Nearly 30 acts at the Knitting Factory copped her songs,
her dance moves and, especially, her clothes.

Cervenka's group, the HoHos — which also includes Jill Pangallo and
a trio of male dancers — has been playing the Thousand Stevies event
since 1992. For its devotion to the cause, the group was assigned
the night's much-coveted theme song: "Gold Dust Woman," Nicks' fairy-
tale tune about love — and also possibly her decade-long cocaine
addiction.

In a short video introduction/send-up, Cervenka plays Nicks,
ostensibly snorting coke and refusing to come out of her dressing
room, while Pangallo and the dancers act as members of Fleetwood Mac
who try to coax her onstage. "Stevie's songs are famously hard to
understand," says Cervenka. "So we stretch the story to fit our own
vision of it."

As the video screen lifted, Cervenka and Pangallo appeared dressed
as Stevie while dancers Wilson Chan, Mike Albo and Wilder Selzer
interpreted the lyrics.

"Rock on — gold dust woman ... Take your silver spoon ... And dig
your grave."

Cervenka belted out the song, while Pangallo screeched backup vocals
intermittently, playing a hysterically strung-out Stevie. "We are
comedic," says Cervenka. "But it's lovingly that you make fun of
her."

Other performances ranged from soloist cross-dressers lip-synching
to acts by such serious rock royalty as Debbie Harry of Blondie.

But the devotion for some goes beyond parody. Days after Thousand
Stevies, Cervenka and Pangallo jetted to Las Vegas to see the real
Stevie Nicks' performance in Celine Dion's mega-theater.

"We got Stevie-fever, and we decided that we had to go to Vegas,"
says Cervenka. "It's not even like I'm spending money — it's more
like destiny calling."

Originally published on June 7, 2005

*******************************************************************
Concert review: Stevie Nicks, Don Henley
(Reuters, Wednesday June 8)
HOLMDEL, N.J. (Hollywood Reporter) - Big-ticket heritage acts have
been propping up the listing concert business for years now, and if
this is the way it must be, the industry would do well to take a
close look at a novel (but too-brief) new tour from Stevie Nicks and
Don Henley -- one of the most magical rock shows in a long while.
More than just the standard double bill, these songwriting legends
(and fronts for two of the greatest bands of all time, Fleetwood Mac
and the Eagles) work hand in hand, interpreting each other's stuff
in a way rarely done by truly big stars.

On the second night of this 10-date swing, Henley, up first, got
things rolling with some dry wit and a well-received "Witchy Woman."
Quickly he was into the big stuff -- "Hotel California" -- during
which Nicks sauntered in from the wings to join him, setting off the
kind of frenzied, organic ovation that touring's modern-day
corporate labs simply cannot manufacture. ADVERTISEMENT



Superstar pairings are best, of course, when there is mutual
admiration between the artists and a career path that is somehow
parallel yet also different -- as with Billy Joel and Elton John.
Tortured friendships are also great for the box office (Eric Clapton
and George Harrison) -- and if the two were also lovers back in the
day, well, that's a grand slam.

Henley and Nicks -- both pioneering California rockers -- were
indeed an item in the late 1970s (after her split from FM bandmate
Lindsey Buckingham) and have remained friendly. While they don't
quite set off the unrequited sparks that the Nicks/Buckingham-led
Mac still produces to this day, there is a familiarity about them
that lends both comfort and renewal to hits such as "The Last
Worthless Evening" (his) and "Gold Dust Woman" (hers).

On this particular night, there was also a defiant "Stop Dragging My
Heart Around," a wistful "New York Minute" and their lone hit
together, 1981's "Leather and Lace."

Each also worked hard separately. From his seemingly inexhaustible
supply of frothy radio singles and sturdy album tracks, Henley
pulled out "Dirty Laundry," "Life in the Fast Lane" and the
brilliant "Heart of the Matter." Nicks, who only gets better with
age, countered with an ethereal "Rhiannon," and dramatic versions
of "Stand Back," "Edge of Seventeen" and others from her long
career, all set off by her usual costume array of flowing ribbons,
scarves and ponchos.

Though this terrific evening ran almost three hours, there was still
a lot missing, including the rumored set-closer "Desperado" --
something they're bound to get to if this limited run becomes the
full-fledged tour promoters are said to be banking on for next year.

Reuters/Hollywood Reporter
Copyright © 2005 Reuters. All rights reserved.


*********************************************************************
Stevie's not nixed after all
Nicks will headline on her own July 4
By GEMMA TARLACH
Journal Sentinel pop music critic
Posted: May 16, 2005
Good news for Stevie Nicks fans: Turns out she was not just a wish,
and a memory's not all that's left for you now - you'll see
your "Gypsy."

Summerfest



Photo/AP

After last month's cancellation of a Summerfest show with Don
Henley, Stevie Nicks has announced she'll headline a solo stop at
the Marcus Amphitheater on July 4.

Headliners
June 30: John Mellencamp with John Fogerty
July 1: Tom Petty and the Heartbreakers, Black Crowes
July 2: Kenny Chesney, Gretchen Wilson
July 3: Santana, Los Lonely Boys
July 5: The Allman Brothers Band
July 8: BoDeans, Wallflowers
July 9: Tim McGraw
July 10: James Taylor

Related Coverage
Section: Summerfest

Advertisement

The singer, who canceled a Summerfest double bill with Don Henley
back in April due to scheduling conflicts, will be performing at the
Marcus Amphitheater after all.

Nicks will headline the Big Gig's biggest stage at 8 p.m. July 4.

Known for her vocal and songwriting contributions to Fleetwood Mac
as well as for her own successful solo career and collaborations
with fellow Summerfest headliner Tom Petty - and Summerfest no-show
Henley - Nicks' evocative, alluring alto and romantic gypsy persona
have developed an adoring fan base. The singer put her indelible
mark on such classic rock songs as "Stand Back," "Rhiannon," "Edge
of Seventeen" and, of course, "Gypsy," and also has influenced
subsequent generations of female musicians, with everyone from
Courtney Love to Sheryl Crow citing Nicks as an inspiration for
their own careers.

An opening act will be announced at a future date.

Tickets go on sale 10 a.m. May 23 at the Marcus Amphitheater box
office and all Ticketmaster outlets, including www.ticketmaster.com
and (414) 276-4545.

Reserved seating tickets are $33.75, $48.75 and $58.75, excluding
service charges. Ticket prices include general admission to the
Summerfest grounds for the day of the show.

A limited number of bar-coded wristbands, good for general admission
lawn seating, will be distributed for free on a first-come, first-
served basis on the day of the show in the Marcus Amphitheater
forecourt. The wristbands do not include admission to the Summerfest
grounds, which must be obtained separately through purchase or
promotion.

Summerfest 2005 runs June 30 through July 10 at Maier Festival Park.

E-mail Gemma Tarlach at gtarlach@...
********************************************************************
Stevie Nicks to perform at Summerfest


Summerfest distributed the following news release this morning:

MILWAUKEE—May 16, 2005—Summerfest officials have announced that
Stevie Nicks is slated to perform at the Marcus Amphitheater on July
4 during Summerfest 2005. The World's Largest Music Festival will
take place at Maier Festival Park on Milwaukee's beautiful lakefront
Thursday, June 30 through Sunday, July 10.

Stevie Nicks has been captivating audiences since the early 70s,
both as a solo artist and singer/songwriter for Fleetwood Mac. Her
debut solo album Bella Donna went multi-platinum thanks to hits
like "Stop Draggin' My Heart Around" and "Edge of Seventeen." Along
with her wildly successful solo career, Stevie's vocals on several
Fleetwood Mac songs contributed to the success of the album Rumours,
released in 1977, which sold over 17 million copies and stood for
several years as the best-selling album of all-time. Stevie last
performed at Summerfest with Fleetwood Mac in 2003.

The performance will begin at 8:00 PM on July 4, with an opening act
to be announced in the near future. Reserved seat tickets will be
available for $58.75, $48.75 and $33.75 and will go on sale to the
public at 10:00 AM on Monday, May 23 at the Marcus Amphitheater Box
Office and throughout the Ticketmaster system. Summerfest admission
is included in the price of the concert ticket.

(more)

Tickets will be available at the Marcus Amphitheater Box Office,
Ticketmaster Ticket Centers, online at ticketmaster.com and through
Ticketmaster Phone Charge at 414.276.4545 (Milwaukee), at
920.494.1414 (Green Bay), 608.255.4646 (Madison), and TTY service
will be available at 800.359.2525. Patrons may also
utilize "ticketfast" at ticketmaster.com to print bar coded concert
tickets in their own home. A convenience fee will be added to all
ticket purchases.

A limited number of bar-coded wristbands will be available for free,
general admission lawn seats on the day of the concert. The bar-
coded wristbands will be issued in the forecourt of the Marcus
Amphitheater on a first-come, first-served basis on the day of the
show to patrons who have already obtained admission to the grounds.

Summerfest, the World's Largest Music Festival, operates from Noon
until Midnight daily, providing an unforgettable live music
experience featuring over 800 performances in just 11-days. The
food, attractions and activities are as diverse as the musical line
ups offering patrons of all ages a quality, festival experience.
Patrons can also enjoy Miller Lite, the Official Beer of Summerfest.
For more details on "The World's Largest Music Festival" visit
www.summerfest.com.