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Events took a yet more dramatic turn in February, when Buckingham had open-heart surgery.

Instead there was a 2017 Buckingham/McVie offshoot record on which all band members appeared except Nicks: something in the reunion had soured even then. Buckingham sued the band and the spat was settled out of court in December for an undisclosed sum.Д«ut even with McVie back in the fold, no new Fleetwood Mac album appeared in 2014, or 2015, or 2016. Nicks announced, via the bandвЂ™s manager, Irving Azoff, that she never wanted to share a stage with Buckingham again, and issued Fleetwood Mac with an ultimatum: him or her. Flashpoints reportedly included BuckinghamвЂ™s desire to tour his own solo album around the Fleetwood Mac world tour dates, and that he вЂњsmirkedвЂќ behind Nicks as she gave an acceptance speech at a gala performance. Last year, just when it seemed the sordid telenovela of Fleetwood Mac could provide no further twists, the band kicked Buckingham out, reportedly at the behest of Nicks.

вЂњI know thereвЂ™s nothing to say,вЂќ the song goes, resignedly, вЂњSomeone has taken my place.вЂќ He sings lead on his own composition, DonвЂ™t Dream ItвЂ™s Over (вЂњthis is a song of unity, without a trace of ironyвЂќ), which gets one of the biggest singalongs of the night, and all of BuckinghamвЂ™s songs, starting with Second Hand News. Then thereвЂ™s Neil Finn of Crowded House, tasked with rhythm guitar and vocals. For the latter half of the solo, Fleetwood straps on an African talking drum and faces off against percussionist Taku Hirano, prompting a mass exodus to the bar, and air punching in roughly equal measure. The exception is Fleetwood, the 6ft 5in court jester of British blues-rock, whose open-mouthed вЂњdrum-faceвЂќ is plastered all over the giant screens as he solos at length in the middle of World Turning, the kind of carry-on punk was invented to destroy. The brightly attired American also provides something for the eye to follow in what is largely a static band.

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(Henley and Nicks had a Rumours-era relationship.)Д¬ampbellвЂ™s role is to play вЂњmaverick lead guitaristвЂќ in someone elseвЂ™s band, unspooling solos and abetting a cover of PettyвЂ™s Free FallinвЂ™, sung by Nicks, in the encore. Campbell was the late Tom PettyвЂ™s guitarist in the Heartbreakers, played on NicksвЂ™s Bella Donna, and, incidentally, also co-wrote Don HenleyвЂ™s fantastic non-Eagles 80s hit, The Boys of Summer. Loudest to look at is lead guitarist Mike Campbell, a man whose big-hat-and-shades combo nods to Slash from Guns NвЂ™ Roses even as his bright yellow raincoat channels Paddington Bear. As its bass riff booms out across the stadium, keeping the rain at bay, two new links join this fraught concatenation. The Chain is pretty much the only song this schism-prone outfit ever wrote together. The crowd are perfectly happy to sing along with Neil Finn, rather than fold their arms in protest The results were immediate: two of the biggest albums in rock history, sacks of cash, dangerous liaisons, mucous membranes caked in вЂњbooger sugarвЂќ. Buckingham assented, but only if he could bring Nicks. Fleetwood asked Buckingham to join his band in 1974. The reunited classic 70s lineup of Mick Fleetwood, John McVie, Stevie Nicks and Christine McVie (back in the fold since 2013) has been touring for a year without guitarist and songwriter Lindsey Buckingham. You canвЂ™t help but wonder, though, what constitutes a quorum in Macworld вЂ“ a notoriously fickle place, which has seen a number of key personnel go missing.

One, the Peter Green-era blues Black Magic Woman, made famous by Carlos Santana, finds Nicks vamping her way through a female reading of the tune as the chandelier glitters darkly. The Fleetwood Mac setlist вЂ“ barely varying from Berlin to London вЂ“ is replete with peak-period hits and refreshed by a couple of deeper cuts. Super-producer Jimmy Iovine (Tom Petty and the Heartbreakers, NicksвЂ™s 1981 solo album Bella Donna) has flown over from the States, she says. Superfan Harry Styles has brought his mum, Nicks reveals, complimenting her on what a well-brought-up young man he is. Amusingly, it goes back up afterwards, reappearing and disappearing with every one of her compositions on the final night of Fleetwood MacвЂ™s European tour. On Dreams, a bittersweet classic written by an enduringly swirly Stevie Nicks, a chandelier descends from the rigging. A dozen people fill the vast stage, reproducing some of the most opulent harmonies and venomous kiss-offs of the late 20th century. Wembley Stadium is brimming with fans, even on a wet Tuesday.

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