“That kind of intensity”: Why ‘Seven Wonders’ is Stevie Nicks’ finest vocal performance of all time
Before Stevie Nicks entered the scene, the title of best female voice in rock was reserved for names like Grace Slick and Janis Joplin. As a young artist dreaming of singing on stage, Nicks could only aspire to reach the heights of such iconic figures. The Summer of Love set a high bar for groundbreaking vocalists, but, by the 1970s, Nicks had become quite the storm—utterly untouchable.
When Jefferson Airplane performed ‘White Rabbit’ live on The Smothers Brothers Comedy Hour in 1967, Slick’s subtle all-knowing smirk made audiences feel like they were in on some sort of joke, regardless of what it might have been—her piercing vocals complementing her somewhat stoic entrance in a way that brought the hypnotic nature of the counterculture movement to its pinnacle.
Vocals like Slick’s defined the era’s tropes purely because they arrived confident and sharp without appearing rash or brazen. Slick’s voice was hard-hitting because it enigmatically drew you in, delicate when it needed to be but harsh and commanding where it counted. Nicks might have longed to mirror Slick’s tone in the beginning, but her talent never really needed a muse.
The moment she entered the spotlight, Nicks adopted a mystical persona that set her apart from her peers. Unlike Slick and many other names that reigned supreme in the years prior, Nicks knew that she had to bring an element of showbusiness to her performances, partially due to the fact that it matched her personal whimsical interests but also because she had faced adversity her entire life.
Songs like ‘White Rabbit’ captured the essence of the 1960s counterculture and the psychedelic rock movement, but the emergence of vocalists like Nicks and her darker, more ethereal image signified a pivotal connection between the past, present, and future of rock music. Her ethereal delivery and powerful, gritty vocals made her an enduring icon, demonstrating that traditional rock could thrive even amidst periods of transition and innovation.
This is one of the most obvious reasons why Fleetwood Mac’s 1975 self-titled album and 1977’s Rumours did so well—John McVie might have been reluctant to allow Nicks into the band initially, but her inclusion marked a significant turning point for the band, contributing to them becoming one of the best and most popular bands of the 20th century. In short, Nicks’ voice is the sound of Fleetwood Mac.
Tango in the Night might not necessarily be regarded as a quintessential Fleetwood Mac album, in part because it began as a solo Lindsey Buckingham project, but, some of the songs, including ‘Big Love’, ‘Everywhere’, ‘Little Lies’, and ‘Seven Wonders’, ended up becoming staples. The latter, in particular, has become one of Nicks’ most career-defining songs, mostly because of how utterly powerful her completely flawless vocal delivery is from start to finish.
There are many things that make this song one of the greatest Fleetwood Mac songs ever recorded, including the overwhelmingly 1980s-esque synthesiser in the intro section that is enough to incite goosebumps, but the moment Nicks’ vocals arrive, there’s no doubt this is one of the most poignant and emotionally visceral performances you’ll hear in your entire lifetime.
Throughout this track, Nicks’ voice, while always unique, carries a sense of wistful yearning and mystical allure, which sits effortlessly in the mix of how she oscillates between the lighter, more breathy tones that appear almost childlike in tone. However, in the next second, she lets out a heady projection that reaches each corner of the soul, both powerful and tender, blending seamlessly with the song’s rich production.
Perhaps this seems like her most delectable and hard-hitting performance because she never strays from appearing clear and direct, carrying the narrative with an almost conversational intimacy. Then, as the song progresses into the chorus, her vocals swell with emotion, showcasing her ability to convey depth and intensity, the slight rasp in her voice adding a spine-tingling layer of rawness and authenticity.
She also elongates certain words and syllables, creating an overall hypnotic quality, leaving you no choice but to be drawn in. This is evident right from the start in lines like, “You touched my hand / On the way / On the way down to Emmeline,” with her signature vibrato permeating the following line, “If our paths never cross / Well, you know I’m sorry.”
The best example of this emotive explosion undeniably comes at the beginning of the second verse, when she sings: “So it’s hard to find / Someone with that kind of intensity.” It’s completely natural, mystical, immensely enchanting, in a way that Nicks hasn’t emitted before or after, a real demonstration of just how powerful she really is as a vocalist. Remember, this is a singer who once felt she needed to adopt a certain Slick-esque quality to make it, but, here, it’s all hers. One shining moment of complete perfection.
‘Seven Wonders’ was actually inspired by a fleeting, perfect moment so flawless that it remains unmatched in its beauty. This inspiration aligns with Nicks’ complete commitment to the song’s vocal delivery, where she prioritises performance over lyrics, creating a timeless sound. Her ability to blend vulnerability with strength is powerfully showcased, unlike any other song, capturing a moment in her career when she fully understood how to utilise her most potent asset—her voice.
