Stevie Nicks dusted the floor not with 24-karat gold but with dark cloaks and fur-trimmed coats.
Atlanta was the seventh stop on Stevie Nicks’ "24 Karat Gold Tour," so I was aware Nicks had used the first six to dust off old tracks that usually didn’t get played live.
This show was no different.
From the songs Stevie boasted were written in Tom Petty’s basement to the ones that got caught up in the music industry’s red tape, she played underrated songs sprinkled with a few hits. It was a setlist homage to those who had heard live versions of "Gyspy" countless times but never even listened to "Belle Fleur."
Before she kicked off the show with "Gold and Braid," she explained to the audience that the "24 Karat Gold Tour" was meant to be something different. It was what she wanted, for a change, she said.
After a decades-long career as rock’ n ‘ roll’s “good witch,” yes, she finally could do she wanted. The one thing that likely didn’t change from her previous live music performances was the sentiment.
“This is definitely gonna take you down memory lane,” Nicks knowingly said to the crowd.
I’m not sure if it was the middle-aged man yelling, more like begging, for "Sara" repeatedly or the groups of women rocking top hats with feathers, but she was right. Nicks’ show is like opening a time capsule for people of all ages.
For some in the concert’s crowd, Nicks revives their wild memories of the 1970s and all the feelings that came with them. For others, Nicks is the sound of their childhood, as she now nears the age of their parents.
Whatever category into which the audience members fell, they certainly walked through the memory lane to which Nicks referred. Her performance was as enchanted as all people describe her career.
Although the concert started with a slow pace, Nicks gently reigned in the crowd with "If Anyone Falls" and "Dreams." But, it wasn’t until her emotional versions of "Stand Back" and "Moonlight" that she finally had the older crowd on its feet.
She gave brief explanations between songs, deeming herself the teacher of “Music 101.”
The concert was backed by animated pictures of a young Nicks, the moon, the stars, Prince and other engaging images. When “Moonlight,” kicked off with notes from the grand piano, Nicks returned to the stage in a fur coat, standing in front of a realistic moon image.
She sang a raw, passionate version of "Moonlight" that was only sold short with her explanation it was inspired by the "Twilight" trilogy. She defended herself well, though, saying you couldn’t help where you got inspiration.
Who could blame her?
Between watching her tangle with the scarf tied around her microphone, wagging her finger back and forth in the sassy songs and whipping the tambourine around, Nicks was unbelievably charming. At one point, she looked up into the crowd and asked the question on everyone’s mind: “Is that a car up there?”
In the Philips Arena, somewhere around Row Y sits a white car, for no apparent reason. Nicks jokingly asked if it would be presented to her at the end of the night.
Although it wasn’t, no one seemed to oppose the thought of her presenting her with a giant gift at the end of the night. After all, she had delved out "Rhiannon" and "Leather and Lace" for her encore.
As I left the performance, I heard two women who kept saying, “It was personal.” That is the magic of Stevie.
She can’t not be personal.
Gold and Braid
If Anyone Falls
Stop Draggin’ My Heart Around
Outside the Rain
Moonlight (A Vampire’s Dream)
Crying in the Night
If You Were My Love
Gold Dust Woman
Edge of Seventeen
Leather and Lace