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Although Dave Brock remains the sole prevailing founder member of Hawkwind, the ensemble he has gathered around him, including former Coil avant synth wizard Thighpaulsandra, has ensured that they remain fit for many tours around the sun yet to come. There Is No Space For Us is about maintaining their vision, although its dystopian elements take on an unfortunate pertinence in the light of Trumpism, Elon Musk and the catastrophes they might portend.
There Is Still Danger There ignites perfectly, with its sequencer scamper, synths rising to a portentous crescendo, reaching full guitar throttle. Space Continues (Lifeform) and its synthscaping reminds us of Tangerine Dream in its sense of humankind in relation to the cosmos, awe-inspiring and indifferent to our planetary species. It’s a reminder that Hawkwind were probably the only early/mid-70s group with a similar vision, drive and scope to the Krautrock generation.
(Image credit: Marianne Harris)
The Co-Pilot makes a sudden, unexpected shift to the acoustic – a gentle, glistening stream of keyboards, before fireflies arise, a reminder of Hawkwind’s bucolic hankerings amid the kosmische frenzy.
The title track is another acoustic foray, initially – the potential meanings of the title are tantalising. Are we being somehow crowded out, or is the mental option of ‘space’ no longer available to us? Whatever, the guitars tilt upward for lift off amid ominously morose lyrical talk of the ‘epitaph for man’. But then comes the defiant cry of ‘All will start again – and we will live!’ as the synths put on a drone display of celebration.
The Outer Region Of The Universe is a Hubble telescope depiction, all billowing colours and bone-juddering guitars, while Neutron Stars conveys a vivid sense of alighting on the docking buoy of a vast, distant metallic orb, its spinning conveyed by a hectic, motorik riff. Finally, A Long Long Way From Home strikes a prolonged note of reconciliation and harmony, not the billowing, blazing blowout you might expect from a Hawkwind finale – a long, long way from home and happy to be as much.
This is, I guess, more Hawkwind, but that’s fine in an era in which rock has transcended time, history and notions of ‘relevance’ – when everything is happening everywhere from everywhen all at once. Hawkwind sit in 2025 alongside the kosmische likes of Berlin’s Arcane Allies, making similar forays into space. It’s all good – and this is certainly good.
David Stubbs is a music, film, TV and football journalist. He has written for The Guardian, NME, The Wire and Uncut, and has written books on Jimi Hendrix, Eminem, Electronic Music and the footballer Charlie Nicholas.
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
When Hawkwind recorded Stories From Time And Space last spring, the songwriting process yielded nearly 40 minutes of leftover material that just needed arranging – making There Is No Space For Us a sister album of sorts.
Since 2019’s All Aboard The Skylark, the group have sounded rejuvenated; and the new record is another instalment rich in immersive sonic detail, with considerable power and momentum allied to a vivid, panoramic sound.
The opener There Is Still Danger begins with Tim ‘Thighpaulsandra’ Lewis and Magnus Martin’s dancing sequencers and upward arcing synths. Dave Brock enters like an Old Testament prophet delivering judgement on our collective folly: ‘There was a moment in the past/When we could have changed our lives at last,’ he intones, prompting the band to launch into an urgent two-chord riff.
The album extends Hawkwind’s recent tack of mixing familiar elements with some stylistic surprises. Synth pulses act as a springboard for Richard Chadwick’s syncopated snare patterns on the instrumental Space Continues, with Brock’s guitar characteristically weaving in and out of the chord sequence, then a horn section emerges from out of the cosmic whoosh before it culminates in a mosaic of echoed keyboards.
Brock has addressed his mortality in recent songs… maybe there’s a feeling of resignation in his voice
The Co-Pilot starts with three minutes of a near-Latin groove and tuned percussion lines, before taking off with a tried-and-tested four-chord riff with added heavenly vocal chorales.
Elsewhere, Changes is a not-so-distant cousin of Doremi Fasol Latido’s Down Through The Night. Over its nine-minute course Doug MacKinnon introduces a monster riff, his bass roaming like Lemmy’s on Born To Go, while Lewis’ flamboyant synth solo gives an added dimension.
On 1971’s We Took The Wrong Step Years Ago, Brock reflected on how we’d strayed onto a path that led to environmental catastrophe. Here, on the similarly acoustic title track, it sounds like he’s run out of patience; in an apocalyptic mood he sings of ‘devastation of our land… Is this the epitaph of man?’ And with the human race gone, he adds, life on Earth will be rebooted in ‘a new creation,’ as the full band bring it to an uneasy conclusion.
The finale is the bittersweet, melodic A Long Way From Home, its sole lyric being Brock singing the title line at its close. He’s 83 in Earth years now, and he’s addressed his mortality in recent songs, so maybe that’s a feeling of resignation in his voice.
But if his implication is that he must travel further to find peace and resolution, then Hawkwind – his metaphorical means of transportation – are in as good a shape as ever.
Mike Barnes is the author of Captain Beefheart – The Biography (Omnibus Press, 2011) and A New Day Yesterday: UK Progressive Rock & the 1970s (2020). He was a regular contributor to Select magazine and his work regularly appears in Prog, Mojo and Wire. He also plays the drums.
“What angle have we missed on this? Ah yeah, getting some other ****er to sing it!”: the 10 best Manics songs featuring a guest singer (and the odd bassist and guitarist)
(Image credit: Shirlaine Forrest/WireImage)
For a band who came across as an impenetrable gang for their first few years, the Manics have dished out a surprising number of visitor passes over the course of their career. As singer and guitarist James Dean Bradfield said to this writer recently, the number of Manics songs featuring a guest has now reached the stage where they could even do a specially-themed gig. “Nick was saying that we could do a whole concert based on our duets,” he said. “We’ve done the set list, it looks amazing!”
One reason that the band like welcoming other artists into the fold, Bradfield explained, is that they have been together for so long. Their dynamic is well established so it’s good to mix things up now and then. “I’m the singing guitarist in the band, the audience has been listening my voice for 15 albums,” he said. “You realise that when somebody else sings, if you get two people to sing the same song, it can be a remarkably different result. A different singer does sometimes give new life to a song more often than not. That’s why we’ve always done it, because we’ve been together so long and sometimes you think, ‘What angle have we missed on this?’ Ah yeah, getting some other fucker to sing it!”
Sometimes, that approach has gone beyond a vocal change-up and into the instrumentation. John Cale has cropped up on a Manics track offering “keyboards and noise” (on the Futurology cut Auto-Intoxication), Nicky Wire has handed bass duties over to a Guns N’Roses legend, My Bloody Valentine’s Kevin Shields has added his trademark guitar menace to a song or two and more. It would certainly make for one long, brilliant gig. Here’s the ten best Manics songs featuring a guest, in order…
10. Between The Clock And The Bed feat. Green Gartside
Fellow Welshman and Scritti Politti frontman Green Gartside lends his honeyed vocal to this melancholic, electronic-pop highlight from 2014’s Futurology, his croon coming across as yearning and desolate at the same time. “This was a case of working with one of our heroes,” bassist Nicky Wire told me a couple of years ago. “We were a bit scared to ask him as we were such massive fans. We didn’t really give him any guidance, the results are absolutely magical, his phrasing and his harmonies are out of this world. A properly sublime vocal.”
Their 2013 record Rewind The Film is the Manics’ most wistful and stripped-down album and this plaintive, gently anguished opener set the tone perfectly. British singer-songwriter Lucy Rose’s haunted, airy vocal is a perfect counterpoint to Bradfield’s hushed delivery.
This cut from 2021’s chart-topping The Ultra Vivid Lament playfully pivots from minor-chord moodiness to a bright, uplifting chorus. Occupying the shady side of the room is a masterful vocal from the late, great Mark Lanegan, the only man in the world who could growl like that and still make you want to give him a hug.
Manic Street Preachers – Blank Diary Entry (Official Audio) ft. Mark Lanegan – YouTube
A folky breeze of a song lifted up by a light-as-a-feather vocal from Welsh singer-songwriter and producer Cate Le Bon, 4 Lonely Roads sums up the shrug-style ease that runs right through Rewind The Film, the most un-tetchy collection of work in the Manics’ catalogue. “Cate was living in LA when we sent her this song,” Wire said. “When the file came back, we were all blown away, we didn’t need to change a thing, it all just fitted perfectly. We left in the sound of her shoes as she walks to the mic at the start of the song. Little known fact – it’s the only Manics track that I play drums on. It took me three days because I had to record each drum separately.”
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6. The Secret He Had Missed feat. Julia Cumming
This driving, Abba-meets-The War On Drugs single from The Ultra Vivid Lament features a cracking vocal from Sunflower Bean singer Julia Cumming, an appearance that’s elevated by hearing an ice-cool New Yorker sing about Tenby.
Manic Street Preachers – The Secret He Had Missed (Official Video) ft. Julia Cumming – YouTube
5. Freedom Of Speech Won’t Feed My Children feat. Kevin Shields
In his time, My Bloody Valentine leader and sonic maniac Kevin Shields has been known to fashion a guitar sound that can make your intestines want to drop out of your arse, but he tones it down on this fierce standout from 2001’s Know Your Enemy, his maze of kaleidoscopic guitar sounds propping up the track’s melodic, R.E.M-ish veneer.
Freedom of Speech Won’t Feed My Children (Remastered) – YouTube
The emotional anchor of this stirring, sumptuous anthem from 2010’s Postcards From A Young Man is a poignant back-and-forth between Bradfield and Echo And The Bunnymen singer Ian McCulloch, one of the Manics’ most big-hearted and bombastic songs ever.
Manic Street Preachers – Some Kind of Nothingness (Official Video) – YouTube
3. A Billion Balconies Facing The Sun feat. Duff McKagan
One of the most pleasing Manics guest spots comes on this thrilling track, also from Postcards From A Young Man, bringing their Guns N’ Roses-aping Generation Terrorists-era material full circle. A year earlier, Duff McKagan had presented the band with their award at the Mojo Awards but their union went one step further with this sizzling rock gem, McKagan supplying one of his trademark lithe, leering bass parts and Bradfield responding with a Slash-style solo.
It could be top spot. Maybe it should be top spot. But it’s not top spot. Originally the band wanted Kylie Minogue to sing the female part in this mournful pop-rock epic from Generation Terrorists but it’s hard to see how Kylie could’ve topped the vocal from ex-adult actress Traci Lords, reflective and powerful and fuming and despairing all at once. A Manics classic. Kylie did get a go at it eventually, though, performing it with the band live on a handful of occasions.
Manic Street Preachers – Little Baby Nothing (Official Video) – YouTube
This gets top spot for being one of the most important Manics singles in their history, second only to A Design For Life for its reenergising alchemy. The trio were in a bit of a tight spot following the muted reaction to Lifeblood, a very good record but one that had a worringly minimal impact. This brought them back into the spotlight, heralding the masterful Send Away The Tigers and getting everything back on track. A crunching anthem featuring a big hook for its verse and a bigger hook for its chorus, the duet between Bradfield and Cardigans singer Nina Persson is an all-timer. “I remember collecting the vocal for Your Love Alone Is Not Enough,” Bradfield told me last year. “We finished recording in Ireland and I caught the flight from Shannon Airport over to New York and Nina Persson recorded her part right there. After the first take, I knew the song was going somewhere else from where it had lived for the last two weeks when we had recorded in Grouse Lodge, Ireland. I knew after the first take that with her singing it, the song had already found another destination, a higher plateau. It was stunning to see how somebody’s voice can do that to a song.”
Niall Doherty is a writer and editor whose work can be found in Classic Rock, The Guardian, Music Week, FourFourTwo, on Apple Music and more. Formerly the Deputy Editor of Q magazine, he co-runs the music Substack letter The New Cue with fellow former Q colleagues Ted Kessler and Chris Catchpole. He is also Reviews Editor at Record Collector. Over the years, he’s interviewed some of the world’s biggest stars, including Elton John, Coldplay, Arctic Monkeys, Muse, Pearl Jam, Radiohead, Depeche Mode, Robert Plant and more. Radiohead was only for eight minutes but he still counts it.
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
When Neil Young ventured back onto the stage in 2023 after a four-year break – the longest of his career – it felt tentative, as if the training wheels were back on. He promised deep cuts only (in the end, Heart Of Gold was aired almost nightly, as was Crosby, Stills, Nash & Young’s classic Ohio), but the unusually atmospheric album of the tour reverts to the original script and the big hits are nowhere to be heard.
Instead, I’m The Ocean, recorded with Pearl Jam in 1995, is slowed down and played as it might have been at Carnegie Hall in 1970, Young’s lonesome harmonica wail unmistakable.
Neil Young – Throw Your Hatred Down (Live) (From COASTAL: THE SOUNDTRACK) – (Official Audio) – YouTube
Love Earth, first taped with Crazy Horse in 2022, is turned into a campfire singalong, the audience as much a part of the act as Young himself. Buffalo Springfield’s originally jaunty I Am A Child is now sung in a surprisingly effective, almost whispered growl.
And When I Hold You In My Arms, a slightly lumpen filler on 2002’s Are You Passionate?, is tender and transfixing, with Young’s on-tour tech Bob Rice adding gently tinkling piano to his boss’s guitar.
Best known for the evergreen All Right Now, Free were part of the blues rock explosion of the late 1960s. Alongside Led Zeppelin and Fleetwood Mac, they took the music in a harder direction, laying the foundations of the house that hard rock built in the 1970s.
Formed in April 1968, they held their first rehearsal at the Nag’s Head pub in Battersea, South London, and knew they were onto something immediately. “We just played blues because everybody could play it straight away,” frontman Paul Rodgers told us. “We were four separate guys at the beginning of the afternoon, and by the end of the evening we were a band.”
They struck a deal with Island Records with the support of blues scene lynchpin Alexis Korner, and debut album Ton Of Sobs followed in 1969.
“We did the album, I think, in two or three days,” said drummer Simon Kirke. “It was a pretty good showcase of where we were at that time. We were essentially a blues band with adventurous leanings.”
1970 was their year. All Right Now was a massive hit, the band played to over half a million people at the Isle Of Wight Festival, and the Fire And Water album became a huge seller. At the same time, the success of All Right Now had created a problem.
“We were always a rock/blues band,” said Rodgers. “But a rift in our direction did start to become obvious – between the authentic and the obviously commercial.”
In May 1971 the group splintered, but they were back together within a year, albeit temporarily. By June 1972 bassist Andy Fraser had departed, Kirke had been diagnosed with appendicitis and tonsillitis, and Rodgers had started played guitar onstage after guitarist Paul Kossoff‘s drug use had rendered him incapable.
Final album Heartbreaker was released in January 1973, and Kossoff spent the next three years fighting addiction. He died on an overnight flight from Los Angeles to New York in March 1976.
These are Free’s six studio albums – and one live album – ranked in order of greatness.
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The Grateful Dead began their journey in Palo Alto, California, in 1965, initially playing as the Warlocks before adopting their iconic name later that year. Founding members Jerry Garcia, Bob Weir, Ron “Pigpen” McKernan, Phil Lesh, and Bill Kreutzmann fused folk, blues, jazz, and rock into a uniquely improvisational style that quickly distinguished the band in San Francisco’s vibrant counterculture scene. They gained prominence through their performances at Ken Kesey’s Acid Tests—psychedelic gatherings where music and LSD intertwined, shaping their lasting association with 1960s counterculture.
ZZ Top will launch the 51-date North American Elevation tour on June 1 in Victoria, British Columbia, with the fun currently set to conclude on Oct. 10 in Terre Haute, Indiana.
The Texas trio were the most active classic rock band in terms of touring last year, beating out fellow road warriors such as Judas Priest, Styx and Journey with 99 shows in 2024.
It looks like Billy Gibbons is determined to break into triple digits this year. The guitar legend began 2025 with a 25-date tour with his side band the BFGs, then immediately followed that up with 23 North American ZZ Top dates. On April 26 the group will begin a 12-date, three-week tour of Australia and New Zealand, then it’s off to Canada for the start of this latest North American tour, which will include the newly added dates.
In mid-March, longtime ZZ Top drummer Frank Beard announced that he would be taking some time off from the tour to focus on an unspecified health issues. John Douglas, a longtime member of the band’s tech crew and, most importantly a “fellow Texan,” has been filling in since that time. He joins Gibbons and bassist Elwood Francis, who took over for the late Dusty Hill in 2021. A timeline for Beard’s return has not been announced.
You can see ZZ Top’s complete tour itinerary below. Ticket information can be found at their official website.
ZZ Top 2025 North American Tour Dates
June 1: Victoria, BC – Save-On-Foods Memorial Centre June 3: Kelowna, BC – Prospera Place June 4: Tsuut’ina, AB – Grey Eagle Resort and Casino June 6: Enoch, Alberta – River Cree Resort & Casino June 7: Saskatoon, SK – SaskTel Centre June 8: Winnipeg, MB – Canada Life Centre June 10: Moorhead, MN – Bluestone Amphitheater June 12: Wait Park, MN – The Ledge – Waite Park Amphitheater June 13: Carlton, MN – Black Bear Casino Resort June 14: Davenport, IA – Rhythm City Casino Event Center June 18: Windsor, ON – Caesars Windsor June 20: Pickering, ON – Pickering Casino Resort June 21: Great Canadian Tornoto, ON – The Theatre June 22: Hamilton, ON – FirstOntario Centre June 25: Laval, QC – Place Bell June 26: Quebec, QC – Agora Du Port Du Quebec June 27: Moncton, NB – Casino New Brunswick Aug. 2: Sioux City, IA – Hard Rock Sioux City Aug. 4: Morrison, CO – Red Rocks Amphitheatre Aug. 6: Salina, KS – Stiefel Theatre for the Performing Arts Aug. 7: Washington, MO – Town & Country Fair Aug. 8: Arcadia, WI – Ashley for the Arts Aug. 10: Lincoln, NE – Pinewood Bowl Amphitheater Aug. 13: Salt Lake City, UT – Red Butte Concert Series Aug. 14: Pocattello, ID – Portneuf Health Trust Amphitheater Aug. 17: Eugene, OR – The Cuthbert Amphitheater Aug. 22: Coquitlam, BC – Great Canadian Casino Vancouver Aug. 23: Richmond, BC – River Rock Casino Aug. 24: Auburn, WA – Muckleshoot Casino Resort Aug. 26: Troutdale, OR – Edgefield Amphitheater Aug. 28: Saratoga, CA – Mountain Winery Aug. 29: Murphys, CA – Ironstone Amphitheater Aug. 30: Costa Mesa, CA – OC Fair & Event Center Sept. 3: Midland, TX – Wagner Noel Performing Arts Center Sept. 7: Tuscaloosa, AL – Mercedes-Benz Amphitheater Sept. 11: Selbyville, DE – Freeman Arts Pavilion Sept. 13: Asbury Park, NJ – Sea Hear Now Festival Sept. 17: New York, NY: Beacon Theater Sept. 19: Danville, VA – The Pantheon at Caesars Virginia Sept. 21: Bethlehem, PA – Wind Creek Event Center Sept. 23: Binghamton, NY – Visions Memorial Arena Sept. 24: Albany, NY – Palace Theatre Sept. 26: Providence, RI – Veteran’s Memorial Auditorium Sept. 27: Hampton, NH – Hampton Beach Casino Ballroom Sept. 28: West Springfield, MA – The Big E Arena Oct. 2: Barco, NC – Morris Farm Oct. 3: Winnsboro, SC – Field and Stream Music Fest Oct. 5: Athens, GA – The Classic Center Oct. 7: Knoxville, TN – The Tennessee Theatre Oct. 9: Northfield, OH – MGM Northfield Park Oct. 10: Terra Haute, IN – The Mill
Richie Sambora has detailed a conversation late in his Bon Jovi tenure that “shook” the guitarist.
During a recent appearance on the Magnificent Others podcast, hosted by Smashing Pumpkins’ Billy Corgan, Sambora – who departed Bon Jovi in 2013 – reflected on his final days in the band, noting how he and frontman Jon Bon Jovi seemed to be drifting apart..
“I felt like Jon was changing his focus and he often wanted to be a solo artist,” the guitarist noted. “And I go, ‘Go make a solo [album]’… He was definitely changing directions.”
Solo albums weren’t foreign to the musicians. In fact, Sambora himself had just come back from touring in support of his 2012 solo LP Aftermath of the Lowdown. When the guitarist reconnected with Bon Jovi to work on the band’s next album, he assumed he and the singer would handle the bulk of the songwriting duties, as they’d done for the majority of their successful career. However, Sambora soon realized something had changed.
“[Jon Bon Jovi] said, all of a sudden, ‘Nah, you don’t gotta worry about [songwriting],” Sambora recalled. “'[Session guitarist] John Shanks and I wrote like 30 songs.’”
Sambora Said the New Material ‘Sounded Like Every Song That I Didn’t Want to Write’
As Sambora noted, his songwriting partnership with Bon Jovi had proven incredibly fruitful up to that point. Across more than 30 years, the bandmates collaborated on such timeless tracks as “You Give Love a Bad Name,” “Livin’ on a Prayer,” “Wanted Dead or Alive” and “I’ll Be There for You.” Having that dynamic changed was startling to the guitarist.
“It shook me a little bit,” Sambora admitted. “But I said, ‘Alright. What do you got?”
In an attempt to keep an open mind, Sambora listened to the songs Bon Jovi and Shanks had worked on. “And it didn’t sound like Bon Jovi. It didn’t sound like the band,” the rocker explained. “It sounded like every song that I didn’t want to write.”
Sambora left Bon Jovi soon afterward, opting to focus on his family life. Bon Jovi’s next album, 2015’s Burning Bridges, was made up largely of material written with Shanks and producer Billy Falcon. Sambora received one songwriting credit on the LP for “Saturday Night Gave Me Sunday Morning,” a tune that was started prior to his departure. 2016’s This House Is Not for Sale marked the first Bon Jovi album without a Sambora songwriting credit.
Former Guns N’ Roses manager Alan Niven has claimed that frontman Axl Rose now collects 50% of the band’s income. Niven was speaking with Appetite For Distortion, the Guns N’ Roses-themed podcast hosted by Brando Weissle.
“It’s a control thing with Axl,” says Niven. “Here’s another little snapshot that is illuminating and goes to forming a correct perception. Axl takes 50% of the income of Guns N’ Roses now. 50%, okay? That, to me, is anathema. He is not Guns N’ Roses.
“They were five individuals. It was a chemistry. It was a moment. But Axl wants to be in control of everything all the time. And look what that gets you. A boring solo record and a shitty thing of punk covers. And that’s it.”
Niven is presumably referring to the last two Guns N’ Roses albums, 1993’s covers album, “The Spaghetti Incident?”, and 2008’s famously long-awaited Chinese Democracy.
This isn’t the first time Niven – who managed Guns N’ Roses from 1986 to 1991 and oversaw their chaotic rise to prominence – has criticised Axl Rose.
“I have no hope of, or interest in, a new Guns N’ Roses album,” he told Classic Rock in 2022. “The tantrums of youth look absurd on a 60-year-old. It’s a shame they have been creatively impotent since 1991.”
Alan Niven’s book Sound N’ Fury: Rock N’ Roll Stories is published on June 24 and can be pre-ordered now.
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Guns N’ Roses’ Because What You Want & What You Get Are Two Completely Different Things Tour kicks off at Songdo Moonlight Park in Incheon, South Korea, on May 1. Full dates below.
Guns N’ Roses Because What You Want & What You Get Are Two Completely Different Things Tour 2025
May 01: Incheon Songdo Moonlight Park, South Korea May 05: Yokohama K Arena, Japan May 10: Taoyuan Sunlight Arena, Taiwan May 13: Bangkok Thunderdome Stadium, Thailand May 17: Mumbai Mahalaxmi Racecourse, India May 23: Riyadh Kingdom Arena, Saudi Arabia May 27: Abu Dhabi Etihad Arena, UAE May 30: Shekvetili Parka, Georgia^ Jun 02: Istanbul Tüpraş Stadyumu, Turkey^ Jun 06: Coimbra Estádio Cidade de Coimbra, Portugal^ Jun 09: Barcelona Estadi Olímpic Lluís Companys, Spain Jun 12: Florence Firenze Rocks, Italy*^ Jun 15: Hradec Kralove Rock For People, Czech Republic*^ Jun 18: Dusseldorf Merkur Spiel-Arena, Germany^ Jun 20: Munich Allianz Arena, Germany^ Jun 23: Birmingham Villa Park, UK Jun 26: London Wembley Stadium, UK Jun 29: Aarhus Eskelunden, Denmark+ Jul 02: Trondheim Granåsen Ski Centre, Norway+ Jul 04: Stockholm Strawberry Aren, Sweden+ Jul 07: Tampere Ratina Stadium, Finland+ Jul 10: Kaunas Darius and Girėnas Stadium, Lithuania+ Jul 12: Warsaw PGE Nardowy, Poland+ Jul 15: Budapest Puskás Aréna, Hungary+ Jul 18: Belgrade Ušće Park, Serbia+ Jul 21: Sofia Vasil Levski Stadium, Bulgaria+ Jul 24: Vienna Ernst Happel Stadion, Austria# Jul 28: Luxembourg Open Air, Luxembourg# Jul 31: Wacken Festival, Germany*
* = Festival appearance + = with Public Enemy ^ = with Rival Sons # = with Sex Pistols featuring Frank Carter
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
Stevie Nicks has announced a run of 2025 tour dates. The new schedule will begin at the TD Garden in Boston, MA, on August 8, and wrap up on October 15 at the Paycom Center in Oklahoma City, OK.
“More solo shows are on the way in 2025,” says Nicks. “I can’t wait to share these nights with you.”
The new dates are in addition to the Fleetwood Mac legend’s previously announced stadium shows with Billy Joel, and tickets will go on sale this Friday at 10am local. A Live Nation/Ticketmaster sale will begin 24 hours earlier. Full dates below.
In 2018 it was reported that Buckingham had left Fleetwood Mac over a disagreement related to the band’s final tour, but it was later revealed that Buckingham’s tumultuous relationship with Nicks was at the root of the split.
Fleetwood has urged Nicks and Buckingham to take steps to repair their relationship, telling US Weekly, “I always have a fantasy that [Stevie] and Lindsay would pal up a bit more and just say everything’s OK for them both.”
Stevie Nicks: 2025 Tour Dates
Aug 08: East Rutherford MetLife Stadium, NJ * Aug 12: Boston TD Garden, MA Aug 15: Toronto Scotiabank Arena, ON Aug 19: Saint Paul Xcel Energy Center, MN Aug 23: Cincinnati Heritage Bank Center, OH Aug 27: Columbia Colonial Life Arena, SC Aug 30: Tampa Amalie Arena, FL Oct 04: Santa Clara Levi’s Stadium, CA * Oct 07: Phoenix PHX Arena, AZ Oct 11: Las Vegas T-Mobile Arena, NV Oct 15: Oklahoma City Paycom Center, OK Oct 18: New Orleans Caesars Superdome, LA * Nov 15: Detroit Ford Field, MI *
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* Previously announced stadium show with Billy Joel
