one4review | On 20, Aug 2026

Californian Maddi Fraser enters with the looks of an optimised Stevie Nicks for the era of 1978/79, and the persona to match in The Gypsy That I Was. It’s a classic look, often imitated but rarely perfected: lace, jewellery and a touch of rock ’n’ roll mystique. Edinburgh is under apocalyptic floods outside, but in this room, in Frankenstein’s bar and club, it just sets off nicely as the air becomes charged with something almost occult.
Starting with the crystalline vocals of Dreams, within seconds we know she’s got the pipes for this. Almost a séance of wonderment, conjuring the ghost of an era when songwriting was personal and didn’t rely on an algorithm.
Rhiannon and Gold Dust Woman on guitar are an absolute joy, and she’s turning up the heat. She’s created the live Nicks here, with the roughness in the voice that Rumours didn’t wholly capture but was such a highlight of Fleetwood Mac’s live shows of that era, as if possessed by some otherworldly spirit: an audacious choice and something very few can capture.
The chat between songs stays in character, with anecdotes explaining Nicks’ love for touring, dealing with the turmoil in the band, ex-boyfriends and the choices she’s made in her life.
Silver Springs is a real surprise, with Fraser on piano. A track recorded for Rumours but criminally omitted from the album, and not officially released until years later, it’s a joy, stripped bare and given that secret sauce that only Nicks could give it, sung with real control by Fraser.
Landslide and Leather and Lace, from her solo output, are similar bedfellows musically, both carrying an emotional, understated warmth. The sound is mixed beautifully, and Fraser’s playing brings out all the contours and contrast perfectly on piano.
Slightly more upbeat is her collaboration with Tom Petty, Stop Draggin’ My Heart Around, which again is gloriously recreated. Then comes the throat punch, the rousing brilliance of Edge of Seventeen. Fraser – can you handle this? Absolutely! Here is one more: Gypsy, which sends us out into the night, hearts raised high.
Fraser is technically flawless, with the phrasing, the tunings and, visually, she is Stevie. There are plenty of people on the circuit doing this type of show, but no one comes close to the complete package Fraser is creating here.
A glorious hour of analogue delight. Prepare to be bewitched.

*****
Reviewed by Steve H
Frankensteins Bier Keller
Until 30 August (not 24)
19.30 (1 hour)