“Silver Springs” itself was a boomerang-the story of Stevie Nicks in miniature. “You’ll never get away from the sound of the woman who loves you.” “Time cast a spell on you, but you won’t forget me,” she sings on one of her greatest songs, “Silver Springs,” giving those words the shuddering portent of a hex. They are about the heart’s ancestry, the force of the natural world, and the lovestruck sob into the void that comes echoing back 20 years later at an alarming volume. Her songs are in communion with the eternal. Stevie Nicks’s music is timeless: She frees that word from overuse and turns it into something strange, forceful, and a little bit spooky. And nobody will know who I really am.” -Stevie Nicks “I’ll be very, very sexy under 18 pounds of chiffon and lace and velvet. Of her sartorial philosophy, Stevie Nicks once said, “I’ll be very, very sexy under 18 pounds of chiffon and lace and velvet. (In 1973, a photographer, along with a demanding bandmate, had coerced her to take her top off when shooting the cover of the self-titled Buckingham Nicks album the incident made her feel uncomfortable, and after that she vowed to assert more control over her style.) A shawl can be a way for a small person to take up more physical space, to cut a shape in the world more like the image she has of herself in her own mind: epic, dazzling, impossibly birdlike. Stevie Nicks owns hundreds if not thousands of them at this point, and sometimes in concert she changes them depending on the mood of the song: a ruby-beaded one to conjure “Gold Dust Woman,” a playful polka-dot one for the new-wavey “Stand Back,” a black mourning cape to set the tone of “Silver Springs.” A shawl, Stevie knows, is a distinctly feminine kind of shield, swaddling the body when it needs warmth, yet also obscuring the particulars of its shape when it would rather not be imparted to a particular kind of gaze. A shawl is a self-selected aura a shawl is makeshift set of wings.
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