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A time traveler from half a century ago would be astonished by the UK today—not so much by the political landscape, with a beleaguered Labour government and a rising far right, but rather by the omnipresence of Fleetwood Mac.
The West End debut of the Broadway hit Stereophonic, penned by David Adjmi, took place this week after it garnered the most nominations in Tony Award history (winning five out of 13, including Best Play). It invites audiences to revisit 1976 and “immerse in the electric atmosphere as an emerging rock band records the album that could launch them to stardom. Amid a volatile mix of drugs, alcohol, and jealousy, songs materialize while relationships crumble.”
If this storyline sounds strikingly reminiscent of Fleetwood Mac’s experience while recording Rumours, that’s precisely what album producer Ken Caillat thought: he filed a lawsuit against the play’s producers for its resemblance to his memoir, settling out of court earlier this year. However, Adjmi has consistently refuted claims that his play is solely about Fleetwood Mac, despite notable parallels.
Yet, Stereophonic represents only the surface of the Fleetwood Mac phenomenon observed in recent years. Readers of novels and viewers of television have been captivated by Daisy Jones and the Six, which similarly employs the Fleetwood Mac blueprint as its foundation. Their smooth, adult-oriented rock sound has also influenced music throughout the past decade, evident in albums by artists like Sharon Van Etten, Julien Baker, the Weather Station, and more. For a livelier take on the band, you can attend the club night Fleetmac Wood, featuring energized remixes.
Moreover, Fleetwood Mac remains immensely popular: last week’s album chart saw the compilation 50 Years – Don’t Stop at No 6 (after 340 weeks on the chart), while Rumours held the No 22 position (after an impressive 1098 weeks). Nearly five decades after the release of Rumours, Fleetwood Mac continues to be a significant force.
Part of this continued relevance can be attributed to the enduring appeal of the album’s narrative: two couples unraveling while committing their emotions to recording. (It’s not merely coincidental that Abba, another iconic 70s band marked by troubled relationships set to rich pop melodies, also retains unwavering popularity.) Furthermore, the music itself remains compelling: Rumours continues to be a delight when played.
“I believe Dreams, in particular, feels very contemporary in its sound,” remarks Tamara Lindeman, the Canadian artist known as the Weather Station. “The bare kick/snare/bass line; the absence of mid-range instruments, just a singular voice; the tight, short reverb; the compact, compressed drums.”
“This modern approach parallels a lot of R&B and hip-hop in its essence—it’s akin to how contemporary music occupies those frequency ranges. Additionally, I believe Stevie Nicks’ intrinsic sense of rhythm feels incredibly modern—the way she loiters around the beat, often slightly behind and swung. It differs from the singing style of her contemporaries.”
Dreams experienced a surge of viral fame after being lip-synced by cranberry-juice-drinking skateboarder Dogg Face on TikTok in 2020, and those who attended Fleetwood Mac concerts this century have noted a noticeable shift in the band’s demographic. Two decades ago, their audience was largely older couples, but by the time they held what turned out to be their final shows in London at Wembley Stadium in 2019, a significant number of young women were present.
For Lindeman, this evolution was unsurprising. “Stevie Nicks and Christine McVie both penned incredible hits. In many ways, this was a band led by women—two powerful voices and songwriters. Personally, I find the songs by Nicks and McVie to resonate and endure—these are the tracks you think of when Fleetwood Mac is mentioned, more so than Lindsey Buckingham’s hits. Naturally, young women are showing up.”
Nicks, whose troubled relationship with singer/guitarist Buckingham was one of Rumours’ focal points, has become a significant icon in recent years. “She has a remarkable ability to write intimately and candidly about her experiences, yet with a strength that shines through—it’s entirely vulnerable yet she remains resilient, like a superhero of the heart,” Lindeman observes.
Nevertheless, there are more mundane explanations for Fleetwood Mac’s ongoing cultural significance, particularly the active engagement they demonstrated throughout the first two decades of this century. While most legendary bands limit their performances over time, Fleetwood Mac consistently hit the road for extensive tours, keeping their name alive. They did not limit themselves to just a few stadium shows in major cities; their touring habits reflect a dedication to maintaining visibility. Moreover, they did not complicate their message by introducing new music; their focus remained steadfastly on the past.
This strategy has proven effective. Now, two and a half years after the passing of Christine McVie and the current state of the group (for now: drummer and co-founder Mick Fleetwood remains open to forming a new version), Fleetwood Mac stands as the trendiest older act in music.
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