fleetwood mac tour 1977

What It Was Like Seeing Fleetwood Mac’s 1977 Rumours Tour

Feature Photo by Brian Kachejian

The summer of 1977 stands as one of the most spectacular summers of all time for rock concerts. I was 16 at the time. Between the months of June and August 1977, I saw Led Zeppelin, Fleetwood Mac, Pink Floyd, Emerson Lake & Palmer, and Yes all perform at New York’s Madson Square Garden. Earlier in the year, I had seen Boston, Foghat, ELO, and Queen. There were many more besides that, as 1977 was the most incredible year for rock concerts I can remember. It was a time when most teenagers could easily afford to go to concerts.

The average ticket price for a concert was between four and ten dollars. It was a time when you purchased tour tickets at the theater box office or at record stores or department stores hosting Ticketron outlets. Ticketron eventually became Ticketmaster in the 1990s. It was pretty easy to get tickets for most concerts except for bands like Led Zeppelin, Pink Floyd , or Bruce Springsteen , in which fans had to use forms from newspapers to order tickets through the mail.

Attending concerts in the 1970s was an addiction. It was what young rock fans did. It was a very different world, and I am so glad that I grew up then without the distractions that the internet and cell phones now have on today’s youth.

The record industry evolved dramatically in 1976 when Peter Frampton’s Frampton Comes Alive album became the biggest-selling album of all time for that moment. It changed the music business because the record industry learned that with the proper promotion, they could make millions by promoting an album to a mass cultural audience beyond the rock niches they had previously been targeting. Over the next couple of years, a series of releases would benefit from that new strategy. One of them would become Fleetwood Mac’s Rumours .

Even though it was Fleetwood Mac’s 11th studio album, it was only the second album with the band’s new lineup that featured newest members Stevie Nicks and Lindsey Buckingham along with longtime members Mick Fleetwood, John McVie, and the late Christine McVie. Rumors would become, at the time, the biggest-selling album in history. It also happened pretty quickly. Rumors sold ten million copies within 30 days of its release. That was unheard of back then.

Forty-seven years later, it remains in the top 10 of the biggest selling albums ever. Younger people who were not even born at the time may ask what fueled the album’s massive success. Well, there are multiple reasons, but one of the biggest was the public’s infatuation with the beautiful Stevie Nicks. When tickets went on sale for the Rumours tour, she was the number one reason why I wanted to see Fleetwood Mac . I was not alone.

Fleetwood Mac played two nights at Madison Square Garden at the end of June 1977. Earlier in the month, I saw Led Zeppelin in the same arena, So it would be pretty difficult for any musical artist to match the excitement of seeing the greatest rock band of all time in New York City. Still, Fleetwood Mac was probably the most famous pop band in the world on a mass level after having broken all sales records. There was plenty of excitement in seeing the band.

The opening act for Fleetwood Mac was Kenny Loggins . He was the perfect opening act. He had not yet established his huge solo career as he would eventually do so. However, he was well known based on his fabulous catalog of Loggins and Messina albums and songs.  I don’t remember much from Kenny Loggins’ set, as the crowd was restless while he performed. I remember that the song that got the most enormous response from the crowd was “Danny’s Song.”

It wasn’t too long after Kenny Loggins left the stage before Fleetwood Mac arrived. In the 1970s, unless you knew someone who had seen a previous show or read a review in the newspaper, you had no idea what songs the band was including in their setlist. We always tried to guess what song a band would open the show with.

Fleetwood Mac hit the stage hard opening with the song “Monday Morning” from their 1975 album Fleetwood Mac . It’s interesting how many bands open shows with songs that also opened up the first side of their albums. I was sitting in the lower-level bowl at Madison Square Garden. I was lucky to have gotten the first row. My friends and I purchased these tickets at the Madison Square Garden Box Office. When you purchased tickets directly from the arena’s box office, you always had a better chance of getting good seats than the Ticketron outlets.

The band was smoking right from the start. What was most noticeable in the opening number was the immense presence of Lindsey Buckingham on guitar and vocals. He is probably one of the most underrated guitar players in rock. After watching him dominate that stage on the opening number, you would not have thought that.

The band wasted no time in presenting their crown jewel. So many of us were there to see Stevie Nicks in the flesh. She was one of the most beautiful female singers of all time. Her voice and mystique added to the crush that most 16 year old males like me had on her. Yet her fan base wasn’t just limited to male teenage fans. The females loved her, too.

For the second song of the night, John McVie began playing that iconic bass line to the song “Dreams.” The crowd went nuts. “Dreams” was the biggest single on the Rumours album, and the band gave it up very early in the set. “Dreams” was the only single from the Rumours album to hit number one on the Billboard Hot 100.

Stepping up to the microphone was the good witch, all dressed in black before a haunting but beautiful leafless tree showcased as a silhouette graced by a golden moon. It was such a gorgeous set design and just perfect. When Stevie Nicks began to sing “Now Here You Go Again,” it was just one of those moments you never forget. It was similar to when we all heard Robert Plant sing “I Had a Dream” just a couple of weeks earlier when the “Song Remains The Same” opened the Led Zeppelin show on the same stage. These were rock gods and goddesses. Witnessing this live, was the only way you saw these rock stars sing these songs. There was no MTV at the time, no computers, YouTube, or cell phones. This was the moment, and it was just breathless. The hold that Stevie Nicks had on the crowd was stunning.

After Stevie Nicks had pretty much put most of us in a trance, Lindsey Buckingham hit us all in the heads with his guitar pretty much saying it’s time to snap out of it. In a very surprising move, Lindsey Buckingham went onto the legendary guitar riff to Peter Green’s “Oh Well.” This was a track from the Fleetwood Mac era before Lindsey and Stevie had joined the band. I dont think anyone expected the band to play that tune because this was a different Fleetwood Mac . Yet Lindsey tore it up. Fleetwood Mac was a band, and Lindsey, along with John McVie and Mick Fleetwood, demonstrated some jaw-dropping musical skills on this one, reminding the crowd of the band’s past history as a blues band. I think both Stevie and Christine had left the stage for that song, but my memory is a bit cloudy on that.

After a raucous version of “Oh Well,” it was time to bring Stevie Nicks back center stage as we were astonished that only four songs into the set the band tore into their 1975 hit “Rihannon.” Once again, Stevie Nicks turned Madison Square Garden into her own garden. The wasy she danced around the stage in that long black outfit had us all once again gasping for air. It’s hard to put into words what it was like watching Stevie Nicks perform “Rihannon” in 1977. I have seen Fleetwood Mac many times since then over the years, and they have always been great, but no show ever compared to what it was like in 1977 when all of it was so new to both the audience and the band. I am sure being teenagers at the time played a role in the experience, but in the end, it was the time period of the 1970s that really made this so special.

While Stevie Nicks and Lindsey Buckingham dominated the early part of the show, Fleetwood Mac would eventually turn to another much-loved member, Christine McVie, when they dived into the song “Oh Daddy,” which featured Christine McVie on lead vocals. The balance that all three lead singers of the band brought to Fleetwood Mac was such a big reason why this band became so huge in the late 1970s and ever since

The rest of the show featured some of the best material from the 1975 Fleetwood Mac album and Rumours . Once again, Stevie Nicks captivated the Garden with stirring versions of “Landslide” and “Gold Dust Woman.” Christine McVie’s “Over My Head” and You Make Loving Fun” were also killer. Lindsey kept tearing it up on some of the songs that featured everyone on lead vocals with him up front, like “Go You Own Way” and “Second Hand News.”

The concert ended with a stunning encore that opened with a brilliant version of “The Chain.” I will never forget how powerful it was. The final song was a tender and sweet version of “Songbird” sung by Christine McVie. By that time, we were all done. Fleetwood Mac had taken us on a phenomenal musical ride. What was even more impressive looking back is songs from just two albums primarily fueled that ride. One of them being one of the most significant records ever released. To have seen a concert promoting that album meant we were a part of one of the most amazing stories in classic rock history. Of course, we didn’t realize it at the time; we thought all we were experiencing was going to continue forever………

We have so many articles on Fleetwood Mac on the site. You may like….

Fleetwood Mac: All You Need To Know, History And Directory Top 10 Fleetwood Mac Songs Top 10 Fleetwood Mac Love Songs Top 10 Fleetwood Mac Songs Sung By Christine McVie Top 10 Lindsey Buckingham Fleetwood Mac Songs Top 10 Stevie Nicks Fleetwood Mac Songs Top 10 Peter Green Fleetwood Mac Songs Top 10 Bob Welch Fleetwood Mac Songs Complete List of Fleetwood Mac Albums And Songs Top 10 Fleetwood Mac Album Covers Top 10 Fleetwood Mac Albums Ultimate Stevie Nicks Page

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About the author.

Brian Kachejian

Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

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The Story Behind Fleetwood Mac’s Rumours Tour: “We All Went Beserk”

Hedonism, drama and great music… Fleetwood Mac’s Rumours Tour had it all – as the ‘Rumours Live’ album proves.

When Fleetwood Mac embarked upon the Rumours Tour in February 1977, they were rock stars. By the time they wrapped up the tour in August 1978, they were a phenomenon.

In the intervening months, their 11th studio album, Rumours , had exceeded all expectations, selling over ten million copies worldwide in its first 13 months of release, and staying at the top of the US Billboard 200 for 31 non-consecutive weeks. In February 1978, the band and co-producers Ken Caillat and Richard Dashut won the Grammy for Album Of The Year.

The album’s success far eclipsed anything that any of the group had previously experienced, and had the effect of multiplying the troubles that had been brewing internally for the previous few years. Relationships that were already strained became dysfunctional, and yet the show went on – even the behind-the-scenes drama couldn’t derail the juggernaut that Fleetwood Mac had become. In fact, if anything, the soap-opera-like happenings only heightened the intensity of the live shows Fleetwood Mac performed on their Rumours Tour.

Here’s the story of how the Rumours Tour enabled the band to perform an emotion-filled catharsis on stage every night.

Listen to Fleetwood Mac’s ‘Rumours Live’ album here .

The performances: “i could have never planned any of this”.

Drummer Mick Fleetwood took a philosophical approach to the hedonistic madness that surrounded the group on tour, as he told Rolling Stone in 1977: “I could have never planned any of this. I don’t even believe in making plans. They only create an atmosphere of disappointment. So it’s not a day-to-day situation with us, but there’s always full potential of either great things happening or totally disastrous things happening… Fleetwood Mac, from point one, has been like that. We’ll always be able to move without breaking a leg.”

By the time the second North American leg of the Rumours Tour began, in May 1977, audiences were guaranteed fireworks. The version of Go Your Own Way , Lindsey Buckingham ’s kiss-off to Stevie Nicks , performed at the Fabulous Forum, Inglewood, California, on 29 August 1977, and released on the Rumours Live album, is a case in point. The studio sheen of the Rumours original is replaced by a gutsy and volatile-sounding take of the song, with Buckingham’s ragged vocals complemented by the kind of wild, distortion-drenched guitar solo more commonly associated with Neil Young And Crazy Horse.

Rumours Live proves that Nicks gave back as good as she got, as demonstrated by her performance of Dreams – the song she wrote after hearing Go Your Own Way. Nicks would later tell Mojo , “Dreams and Go Your Own Way are what I call the ‘twin songs’. They’re the same song written by two people about the same relationship.” While Buckingham’s anger feels palpable on his song, on the Rumours Live version of Dreams, Nicks’ vocals are relatively measured and cool, so when she spits out such pointed lyrics as “Women they will come and they will go”, it feels especially damning. The tension is heightened by Buckingham’s sizzling guitar playing – his way of responding to Nicks’ words.

The audiences: “They want the comfort of songs that feel like old friends”

The audience reaction is palpably ecstatic on Rumours Live – much as you’d expect from fans desperate to witness the hottest show in town. But when the Rumours Tour began it was a different story, as Nicks told B illboard in 2001: “I learned an important lesson back during the first Rumours tour with Fleetwood Mac. You can’t shove new songs down your audience’s throat. You can do three or four at the most… They want familiarity. They want the comfort of songs that feel like old friends.”

By the time the second leg of the tour started, however, fans knew the Rumours material inside out – though the group cannily included a nod to their past. A gritty version of their 1969 single Oh Well (Pt.1), written by original guitarist and founding member of the band, Peter Green , became a highlight of the set, giving Buckingham a chance to unleash some quicksilver blues licks while the original rhythm section of Mick Fleetwood and bassist John McVie laid down a suitably heavy backing.

In stark comparison to the rollicking blues of Oh Well was the song that became the Rumours Tour set closer – Christine McVie ’s Songbird. The performance captured on Rumours Live is a thing of bittersweet beauty, McVie’s masterful vocals and piano complemented by Buckingham’s subtle acoustic guitar, just as on the Rumours studio version. The crowd’s adoring reaction underlines how far the band had come since the tour started, and just how much power the best Fleetwood Mac songs had come to assume on stage.

The legacy: “We didn’t have any idea what was going to happen”

For Fleetwood Mac, more madness was around the corner, as McVie told The Independent in 2017: “You don’t see any money for a year after the album’s released, so when the first cheques started coming in, we all went berserk and went out and bought Porsches and Rolls-Royces.” This most famous of Fleetwood Mac’s line-ups would remain together for another decade, through the Tusk , Mirage and Tango In The Night albums, but, after the Rumours Tour wrapped, things would never be the same for the band again.

“There’s a picture of the five of us back in the day taken by [rock photographer] Neil Preston, and I always look at it and we’re laughing away, and we didn’t have any idea what was going to happen,” Mick Fleetwood reflected. “No one could have imagined the success and the hardship and the torment.”

Buy Fleetwood Mac’s ‘Rumours Live’ on vinyl.

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Fleetwood Mac / Rumours Live

Unreleased 1977 concert on 2cd and 2lp vinyl.

By Paul Sinclair

A 1977 live performance from Fleetwood Mac is being officially released in September.

Rumours Live captures the energy and excitement of the band’s opening night at The Forum on 29 August 1977. The nearly 90-minute performance includes live versions of most of the songs from the just released Rumours  and  Fleetwood Mac , the group’s No. 1 album from 1975.

Apart from ‘Gold Dust Woman’ (which appeared on the 2020 deluxe collection Live ), nothing from this show has ever been officially released before. Rumours Live will be available as a 2CD set or on a 2LP 180g vinyl gatefold edition (with th lacquers cut by Chris Bellman at Bernie Grundman Mastering). There’s a limited clear vinyl version of indie retail.

Rumours Live will be issued on 8 September 2023 via Rhino.

Compare prices and pre-order

Fleetwood Mac

Rumours live - 2cd set.

Rumours Live - 2LP vinyl

Tracklisting.

Rumours Live Fleetwood Mac /

• “Say You Love Me”
• “Monday Morning”
• “Never Going Back Again”
• “Landslide”
• “Over My Head”
• “Gold Dust Woman”
• “You Make Loving Fun”
• “I’m So Afraid”
• “Go Your Own Way”
• “World Turning”
• “Blue Letter”
• “The Chain”
• “Second Hand News”

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Thursday, January 03, 2013

Fleetwood mac's 1977 japanese tour footage surfaces, 19 comments:.

"I can't wait... I can't wait..."

This footage has been circulated among collectors for nearly two decades. It has been called "Backstage Rumors", "Uncirculated Rumors", etc. I personally have the 175 minute version and have watched it dozens of times over the years. It is truly fascinating. This 'bootleg" version is raw film footage with no editing. Some segments are 10 seconds, some segments are 10 minutes. It includes priceless artistic film moments such as an extreme close-up of Stevie's face while she applies her makeup in one continuous four-minute shot. It also includes unbelievably candid footage of drug use, such as Stevie, Robin, and their friends snorting coke with the aid of a facial steam machine. (I doubt that segment will be approved for release in any official documentary). The most precious moment is when Stevie loses her ring during the show, then a little girl scours the floor after the concert, finds it, and returns it to Stevie who is actually helping the crew pack up the stage! These were still the days when the band and the crew were literally one in the same... all equal players in the exhausting job of hauling a live show around the world from one city to the next. I don't know if an edited documentary of this previously circulated raw footage will be able to capture the essence of the bootleg version, but lets hope so if this project ever sees the light of day.

Actually there were two different shows filmed on the Rumours Japan tour. This concert that aired on TV and the backstage stuff that is part of a different show. In Mick Fleetwood's book he says they couldn't get any cocaine in Japan because the local mafia controlled the drugs and even rock stars couldn't get any. And it looks like Stevie is tripping on LSD as a substitute, as she was known to do at the stage of her life. The rest of the band just looks like they are more drunk than usual. And yes both of these shows have been around for many years, the concert is intersting in that back then they don't keep the camera on Stevie much, not yet realizing she was already a star in the US.

I haven't seen the part of Stevie and Chris snorting coke? Link??

These were uploaded March 17, 2011, almost 2 yrs ago.

They are not snorting coke with the steam machine. Stevie used that in those days for her ongoing throat problems. She even says in the footage that Boz Scaggs first showed her that the steam opened up her vocal chords. Of couse she used lots of coke, as did all of the Mac and almost every other rock group of the time. I also have all this footage and it almost shows them all doing drugs, but every time they edit out the actual taking of anything. At one point, Mick I think goes into a bathroom stall to take something. And you can tell the band was very aware that they were being filmed and not happy to have it take place in their dressing rooms before and after the show.

I think it is very suspicious that they are sprinkling white powder from a tiny vial into the facial machine before alternately inhaling long deep breaths from the device. I think the "Boz Scagg conversation" was an intentional distraction because they did indeed know they were being filmed. They even laugh sarcastically at the ludicrous Boz Scaggs explanation. And for the record, Christine is not included in this segment.

Robin Anderson was not in the band. She was Stevie's friend and traveling companion. Why would she need to steam her vocal chords?!

I thought that was simply what it is -- a vaporizer -- "so I can have a voice to sing with tonight", Stevie explains in the documentary. Never thought there could be cocaine in there... but who knows?

Who carries "facial powder" or "granulated throat remedy" in a tiny vial and painstakingly sprinkles it into an inhalation contraption before their friends subsequently take turns inhaling the "steam" and then holding their breath deeply? Regardless of what may or may not be happening in this segment of the film, it is a fascinating candid moment of Stevie and her friends that was captured backstage that night. It is actually the camera operator who can be heard asking "what is this thing?" as Stevie meticulously pours small quantities of the powder into the machine. Then she inhales most of it herself leaving whatever leftovers may remain for her friend to inhale! Lets be real here folks... in 1977 snorting coke from a bong-like gadget was common. Nobody thought twice about that sort of thing back then. Cocaine in 1977 was considered a recreational substance, not some sort of evil illegal scandalous drug requiring secrecy, as it does in today's world of political correctness and paparazzi-fueled microscopic surveillance of anybody in the public eye. Stevie and her friends may have been simply steaming their faces (I seriously doubt it). It seems more likely that the mysterious facial machine probably was being used as a cocaine bong. There is nothing shocking about that considering the time and circumstance. It's exactly the same thing as if three friends all passed around and shared one giant martini in the year 2013. Nobody would view that as questionable.

I'm watching this right now and to Anonymous at 4:32pm Jan 4th, they are not sprinkling white powder from a tiny vial into the facial machine. Robin sticks her face in for like 2 seconds looking like she's testing it's steam strength, then pours more water in from a cup and opens a small bottle and adds a cap full of another liquid. Then Stevie proceeds to steam her vocal cords all the while explaining what she's doing adding Boz Scaggs said it got him through a tough tour and Stevie said we thought we'd try it. Not a drug mechanism at all!

Haha - you can't use cocaine with a facial vaporizer!

OH, BROTHER, YOU SILLY FOOLS! They are using ESSENTIAL OILS for a facial steamer. It's done for singers all the time, including me! FOR HEAVEN'S SAKES..... That's ALL IT IS.

You're right, 1:22 PM Anonymous. It was probably eucalyptus oil being added to the vaporizer.

TRUE! Professional singers, especially those of us in musical theater who perform as much as 8 shows a week, constantly use humidifiers (especially when travelling and in the winter months) to hydrate the vocal chords. We also drink gallons of water, try not to talk much, and stay away from smoking, alcohol and even cold medications - anything that dries the chords. Still, I'm not sure if a few minutes at the steamer can reverse the damage of the heavy partying Fleetwood Mac confessed to during that time. if I'm not mistaken, didn't Stevie mention that Robin was a speech therapist who helped her to save her voice while touring? Some of this footage is or was available on youtube. In the backstage footage, Stevies hair is not as wildly permeded and teased as in the above clip.

where can you buy this?

No word on whether this will be released... Hopefully

Thanks! It would be great if it was released!

Seven years later and the footage has never seen the light of day.

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• classic rock
• Fleetwood Mac

5 Great Songs Written and Sung by Late Fleetwood Mac Alum and Solo Artist Bob Welch

by Matt Friedlander June 7, 2024, 2:12 pm

Today (June 7) marks the 12th anniversary of the death of Bob Welch , the singer, songwriter, and guitarist who played with Fleetwood Mac from 1971 to 1974 before launching a solo career. Welch, who had been suffering from painful spinal issues, died by suicide at his home in Nashville. He was 66.

Videos by American Songwriter

As a member of Fleetwood Mac, Welch helped bring the gap between the group’s early blues-oriented material featuring original frontman Peter Green and the band’s emergence as a pop-rock powerhouse after Stevie Nicks and Lindsey Buckingham joined the lineup.

Welch joined Fleetwood Mac in 1971, around the same time as Christine McVie, in time to record the Future Games album with the group. He quickly became an important songwriting contributor, while sharing vocal duties with McVie and, until 1972, Danny Kirwan.

[RELATED: 5 Greatest Fleetwood Mac Live Performances]

Welch was featured on five Fleetwood Mac albums, and he wrote and sung some of the group’s best-known early-1970s songs. During his tenure with the band, the group enjoyed little chart success, although his song “Hypnotized” received some radio airplay.

In 1974, Welch convinced Fleetwood Mac to relocate to Los Angeles, his hometown. In December of that year, he exited the group to start a solo career. He was replaced by Buckingham and Nicks.

During the late 1970s, scored a series of solo hits, some featuring contributions from members of Fleetwood Mac.

To commemorate the anniversary of Welch’s passing, here are five great songs he recorded, either with Fleetwood Mac or solo:

“Sentimental Lady” — Fleetwood Mac (1972) and Solo (1977)

“Sentimental Lady” was a delicately melodic love song that appeared on the 1972 Fleetwood Mac album Bare Trees , Welch’s second record with the group. The tune seems to be sung from the perspective of a guy who’s unsure about his lover’s dedication to him.

Welch recorded a new version of the song for his 1977 debut solo album, French Kiss . The then-current Fleetwood Mac lineup, minus Nicks, served as his backing band on the track, with Mick Fleetwood on drums, John McVie on bass, Christine McVie on keyboards, and Buckingham on guitar.

Buckingham and Christine McVie also contributed backing vocals to and co-produced the track, with Christine’s voice being particularly prominent.

The song became Welch’s biggest hit, peaking at No. 8 on the Billboard Hot 100.

“Bright Fire” – Fleetwood Mac (1973)

“Bright Fire” was a song from Penguin , the first of two studio albums Fleetwood Mac released in 1973. The song is a breezy pop-rock tune softly and sweetly sung by Welch.

The song features enigmatic, poetic lyrics that seem to be about embracing a passionate outlook on life.

“Hypnotized” — Fleetwood Mac (1973)

“Hypnotized” was a standout tune from Fleetwood Mac’s 1973 album Mystery to Me . Welch said the shuffling, jazzy song was inspired by his fascination with UFOs and the paranormal.

Christine McVie’s melodic backing vocals shine through on the track.

“Ebony Eyes” – Solo (1977)

“Ebony Eyes” was the second single Welch released from his debut album, French Kiss , and it was another hit. The song reached No. 14 on the Hot 100 in 1978.

“Ebony Eyes” is a catchy, mid-tempo rock tune about a guy who pursues a woman at a dance after he becomes obsessed by her dark eyes. Pop star Juice Newton sang backing vocals on the song.

“Precious Love” – Solo (1979)

“Precious Love” appeared on Welch’s second solo album, Three Hearts , which was released in 1979. The soaring, string-driven dance tune that finds the singer pouring his hear out to the object of his desire.

The song was Welch’s last Top-40 hit, reaching No. 19 on the Billboard Hot 100.

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Zach Bryan Never Covered Another Musician on an Album—That Is Until 20-Year-Old Singer/Songwriter Noeline Hofmann Brought Him to Tears

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Taylor Swift performs in France during the European leg of her record-breaking Eras Tour on June 2. Jeff Pachoud/Getty Images hide caption

As summertime gets into full swing, the charts of the country’s most popular songs and albums are still being dominated by two very familiar names: Post Malone and Taylor Swift. Given that summertime is usually ruled by individual (and often ephemeral) bangers rather thanfull albums, we might be seeing a full Swiftie season ahead on the albums chart. The Billboard Hot 100 songs chart, on the other hand, is less steady, especially in recent years, when we’ve seen the meteoric rise of newbies’ hits springing out of social media (" Rich Men North of Richmond ," anyone?), so that’s where we might see more movement in the weeks to come.

Most of this week's top five on Billboard’s Hot 100 looks remarkably like last week's: Post Malone's "I Had Some Help" featuring Morgan Wallen is at No. 1 for the third week in a row, trailed by Kendrick Lamar's "Not Like Us," Tommy Richman's "Million Dollar Baby" and Shaboozey's "Tipsy (A Bar Song)."

As summer starts, Taylor Swift, Post Malone and Morgan Wallen maintain chart reigns

There's one newcomer among their ranks: former Disney star-turned-singer Sabrina Carpenter, whose disco-inflected pop confection "Espresso" climbed one spot from No. 6 to No. 5. And right behind her, there's still another indication that 2024 will indeed be the Summer of Country: Zach Bryan's weeper "Pink Skies" makes its chart debut at No. 6.

This week also marks the annual return of (yet) another Billboard chart: Songs of the Summer , which the magazine introduced in 2010. This chart looks at songs' cumulative performance throughout the summer (which Billboard begins with this week’s chart and ends the week of Labor Day). This early in the season, this chart is a snooze -- all 20 positions are an exact replica of the top 20 spaces on the Billboard 100 chart -- but it will be worth keeping an eye on in the months to come.

In news that is most likely a surprise to no one, Taylor Swift's The Tortured Poets Department is spending a sixth week in the No. 1 slot on the Billboard 200 albums chart. What may be slightly more startling information: following a bump after she released many deluxe and special issues of Tortured Poets , Swift is starting to experience a downturn in sales and streaming — and she’s not the only one.

Last week , Swift moved (to borrow a reviled music industry term) 378,000 equivalent album units (I promise, that's the end of the jargon -- at least for now). This week, she only had 175,000 units, per Luminate , the company that compiles the data that make up the Billboard charts. That's a nearly 54% drop in just seven days -- and many psychic worlds away from the first week of Tortured Poets , when Swift earned 2.61 million equivalent album sales a mere month and a half ago.

But Swift may not the only artist starting to sing the summertime blues. Although Bilie Eilish's album Hit Me Hard and Soft is right behind Swift in the No. 2 spot for a second week in a row, she too has experienced a big drop with 145,000 units, down from last week's 339,000 -- which was a career high for Eilish.

While we’re not at the doldrums of the early 2010s , this is a trend to watch.

WORTH NOTING

One of the not-so-hidden industry secrets of the Billboard 200 chart is that generally, a rather bountiful proportion of its membership is comprised of so-called "catalog" titles: albums that have been commercially available for at least 18 months and sometimes for far, far longer than that.

This week's chart is a textbook case in point: By my cursory estimate, about 57% of this week's entries are deep catalog titles, with even more just approaching the 18-month mark. For example, Fleetwood Mac's Rumours , which was originally released in 1977, is currently at No. 31, having now racked up 583 weeks on this chart; the Bob Marley & the Wailers' perennially beloved greatest hits collection, Legend (issued in 1984), sits at No. 35, 837 weeks strong and counting. Other nearly eternally charting artists include Journey, Creedence Clearwater Revival, Eminem, Bruno Mars and Guns N' Roses.

All that is a reminder of just how hard it can be for current -- and especially emerging -- stars to break through all those longtime favorites, even at the more modest chart positions. If anyone is going to challenge Taylor Swift’s hegemony on the Billboard 200 this summer, perhaps it will be one of these elders.

• Taylor Swift
• Post Malone
• Billie Eilish
• Sabrina Carpenter

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Fleetwood Mac

• July 7, 1977 Setlist

Fleetwood Mac Setlist at Providence Civic Center, Providence, RI, USA

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• Say You Love Me Play Video
• Monday Morning Play Video
• Dreams Play Video
• Oh Well Play Video
• Rhiannon Play Video
• Oh Daddy Play Video
• Never Going Back Again Play Video
• Landslide Play Video
• Over My Head Play Video
• Gold Dust Woman Play Video
• You Make Loving Fun Play Video
• I'm So Afraid Play Video
• Go Your Own Way Play Video
• World Turning Play Video
• Blue Letter ( The Curtis Bros.  cover) Play Video
• The Chain Play Video
• Second Hand News Play Video
• Songbird Play Video

Edits and Comments

5 activities (last edit by event_monkey , 30 Nov 2022, 22:22 Etc/UTC )

Songs on Albums

• Go Your Own Way
• Gold Dust Woman
• Never Going Back Again
• Second Hand News
• You Make Loving Fun
• I'm So Afraid
• Monday Morning
• Over My Head
• Say You Love Me
• World Turning
• Blue Letter by The Curtis Bros.

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Toronto Music Venue The Phoenix Concert Theatre to Close In 2025

The 33-year-old club will play out its final days before shutting its doors on sherbourne street in january. in the meantime, the owners promise to find a new downtown home for the venue, with backing from city hall..

Finger Eleven at a live show at the Phoenix Concert Theatre

One of Toronto's longest running concert venues is closing early next year.

The Phoenix Concert Theatre at 410 Sherbourne Street will go dark effective on Jan. 15, 2025. The landmark concert venue and the 18,000 square-foot building it's housed in will be levelled to become a new residential housing development.

The concert hall has a long history in the city as an entertainment venue. In 1984, it was re-branded as The Diamond. That landmark club closed in 1990 and reopened as the Phoenix, with its own storied history. It's hosted concerts from The Rolling Stones to The Tragically Hip, Bob Dylan to Alanis Morissette. It also hosted a popular series of alternative dance nights, including live broadcasts from late Toronto radio DJ Martin Streek. It's also hosted a wide range of queer-friendly events, parties as part of Toronto Caribbean Carnival and much more.

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In 2014, former music biz executive and backer Zeke Myers took over the lease. Lisa Zbitnew has served as co-owner and president, keeping the venue independent — increasingly rare for a mid-level venue in Toronto. On the cusp of the Covid pandemic, Zbitnew and her partners reopened the Bronson Centre Music Theatre in Ottawa, a fully renovated 1,000 capacity live music venue, which also serves as a social enterprise.

The owners share the bittersweet news with a promise to look for a new downtown home for the Phoenix, with Toronto City Councillor Chris Moise and others at City Hall, as well as external partners.

"Being the custodians of The Phoenix for a decade has been an honour," Zbitnew says. "She is the grand dame of venues in Toronto, and we’ve seen some of the world’s biggest and best artists grace this stage. We are sad to see her go, but are also excited to turn our focus to writing the next chapter in our new home.”

Erin Benjamin, President & CEO of the Canadian Live Music Association, says the Phoenix is an example of the significance of live music and its spaces and shares hope "it will rise again."

“Venues are more than live music," she says. "A whole community is built around live performance, and the Phoenix is one of the most important examples of how the impact of live music venues extends beyond the artists and resulting employment opportunities. The Phoenix has always created space to bring an incredible range of diverse communities from across Toronto together, and in doing so has provided people with a sense of identity and belonging in their city."

In the meantime, the venue is planning programming that highlights the history of the venue for its final days on Sherbourne, including many of its beloved long-running nights and parties.

• CIMA Gala In Words & Pictures ›

Five Finger Death Punch’s ‘This Is the Way’ Scores DMX His First Mainstream Rock Airplay No. 1

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Five Finger Death Punch

The band extends its record for the longest streak of No. 1s in the chart's history, while the rapper earns a posthumous ruler.

Five Finger Death Punch extends its record streak of No. 1s on Billboard ’s Mainstream Rock Airplay chart, while featured artist DMX achieves a posthumous leader, as “This Is the Way” tops the June 15-dated survey.

The song is Five Finger Death Punch’s 11th straight Mainstream Rock Airplay No. 1, lengthening the longest streak of leaders in the chart’s 43-year history. The Ivan Moody -fronted band’s run began in 2018 with “Sham Pain.”

In all, Five Finger Death Punch boasts 15 No. 1s. That gives the band sole possession of the third-most in the chart’s history, breaking out of a tie with Foo Fighters and Metallica . Five Finger Death Punch first led in 2012 with “Coming Down.”

Most No. 1s, Mainstream Rock Airplay:

• 19, Shinedown
• 17, Three Days Grace
• 15, Five Finger Death Punch
• 14, Foo Fighters
• 14, Metallica
• 13, Godsmack
• 13, Van Halen
• 12, Disturbed

As for DMX, “This Is the Way” is the late rapper’s first No. 1 on Mainstream Rock Airplay, logged in his first appearance on the tally. The track is a mashup of two songs, mixing vocals from his “The Way It’s Gonna Be,” released in 2009, and Five Finger Death Punch’s “Judgement Day,” from the band’s 2022 LP AfterLife .

DMX now sports two No. 1s on Billboard airplay charts. His previously ruled Rap Airplay for six weeks in 2000 with “Party Up (Up in Here).” He died of a heart attack on April 9, 2021.

Concurrently, “This Is the Way” holds at its No. 9 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.3 million audience impressions, up 24%, in the week ending June 6, according to Luminate. On the most recent multimetric Hot Hard Rock Songs chart (dated June 8, reflecting data over May 24-30), the single ranked at No. 14, after reaching No. 4 in April; in addition to its airplay, it earned 576,000 official U.S. streams and sold 1,000 downloads.

“This Is the Way” is on the deluxe reissue of AfterLife , released April 5.

“The idea of collaborating with DMX had been in discussion for years, and it was a long and winding road to turn this particular item on our wish list into reality,” Five Finger Death Punch guitarist Zoltan Bathory said in a press release announcing the song. “He was a lyrical warrior, a true original who spoke his mind incorruptibly. We have always viewed DMX as the metalhead of hip-hop because of his aggressive, raw and untamed style. He growled and snarled, aiming to rattle some cages – an attitude we share, as Five Finger Death Punch has always been drawn to the fearless and the real. It made all the sense in the world, but today this is more than just a song; it’s a salute to a legend, a way to honor DMX’s memory.”

AfterLife debuted at No. 1 on the Top Hard Rock Albums chart in September 2022 and has earned 276,000 equivalent album units to date.

Five Finger Death Punch is on tour in Europe through July, ahead of a return to the U.S. beginning in August.

All Billboard charts dated June 15 will update on Billboard.com Tuesday, June 11.

This article was first published by Billboard U.S.