Landslide - Tribute to Fleetwood Mac

Charlotte, and one player per seat

Landslide operates out of the Charlotte area of North Carolina and works as a five-piece — the smallest headcount that covers the Rumours-era Fleetwood Mac without leaning on backing tracks, with one player for each of Stevie Nicks, Christine McVie, Lindsey Buckingham, John McVie and Mick Fleetwood. Karen Pressley Byrd sings the Nicks parts. Payton Velligan takes Christine McVie's vocals and keyboards. Jake Haldenvang sings and plays guitar in the Buckingham role, Mickey Byrd plays bass as John McVie, and Jamison Sampson drums as Fleetwood.

The band's own account of what it does leans on fidelity rather than theatre: harmony stacks, chord voicings and the shape of the records, with a claim to have worked across the American Southeast and internationally. The pitch is aimed at a specific slice of the live market — theatres, performing arts centres, municipal amphitheatres, festivals, corporate bookings and private hire. That mix explains a diary that alternates between free town-park concerts with food trucks parked behind the crowd and ticketed rooms with a box office and an 8pm downbeat.

What changed between 2022 and now

The current line-up is not the line-up of four years ago. A local news notice published on 7 October 2022, previewing a free concert the following evening on the Rotary Performance Stage at Alexander County Courthouse Park in Taylorsville, North Carolina, named Karen Pressley Byrd as Nicks, Nadia Lena Shutkufski as Christine McVie, Jason Fava as Buckingham, Mickey Byrd as John McVie and Jamison Sampson as Fleetwood.

Three of those five are still in place. The two seats that have turned over since are the Christine McVie and Buckingham chairs, now held by Velligan and Haldenvang. For a tribute act that is substantial churn rather than a detail: the McVie chair carries Everywhere, Little Lies and Songbird, and the Buckingham chair carries both the lead guitar and the high harmony that holds the three-part blend together. Continuity sits with the Byrds and Sampson — the Nicks voice and the rhythm section.

The work is a repertoire, not a record

There is no discography to weigh here, so the work is the repertoire and the decisions inside it. The 2022 notice set the brief out plainly: the popular Fleetwood Mac songs of the 1970s and 1980s, plus hits from the members' solo careers. The band's current press material widens that to the catalogue across every era, and the two descriptions sit in mild tension — the first is a hits set with room to move, the second implies a reach back past 1975 that nothing in the public material actually itemises.

The solo clause is the more interesting half, because it widens the available ground considerably. Both Nicks and Buckingham built sizeable careers away from the band, and a tribute that allows itself that material has an escape route from the fixed sequence that a Rumours-only set forces on a two-hour slot. Aggregated listings file the act under tribute, rock, pop, blues, blues rock, soft rock and pop rock, which is less a genre reading than an acknowledgement that the source catalogue moved from a British blues band to American studio pop inside a decade.

What the band does not sell is a studio product. Its output is the live show, which is the norm in this field: the recording exists already, and the thing being sold is a room in which it is played by people.

How the diary is built, and what it costs

The booking terms are unusually visible for an act at this level, and they are informative. A trade listing prices the five-piece at $5,400 within a 45-mile radius of Charlotte, $6,075 between 60 and 120 miles out, and $7,425 for engagements two and a half to three and a half hours from base, with an additional hour of performance at $2,025. Those figures are quoted for non-ticketed free public events — the municipal and festival work — with the usual rider attached: production support, hotel accommodation, meals and green-room hospitality.

The standard engagement is two hours, offered either as a single set or split into two with an interval. Pricing the act in concentric rings out of Charlotte is a fair description of how the touring actually works: a dense local and regional base, with the longer runs costed as exceptions rather than as a routine tour leg.

Where things stand in October 2026

The band's own events feed shows a 2026 built on outdoor regional work: the Icehouse Amphitheater on 23 May in a 7pm to 9pm slot, Coach's Corner in Thunderbolt on 20 June, and the Blackmon Amphitheatre in Mount Airy, North Carolina on 8 August, again 7pm to 9pm. Immediately ahead are The Boatyard in Cornelius, North Carolina on 30 October and a New Year's Eve booking at the Lincoln Theatre in Marion, Virginia.

The ticketed dates currently on sale take the band well outside that radius. Belterra Casino Resort and Spa in Florence, Indiana is booked for 14 November 2026 at 7pm, and The Kessler at 1230 W. Davis Street in Dallas follows on 22 November 2026 at 8pm. Neither sits inside the Southeast, and the Dallas date in particular is a long way from a diary otherwise built on amphitheatres within a few hours' drive of home.

Two further dates sit on the same aggregated artist page and push the on-sale count to four: Lavenham Village Hall on 12 February 2027 at 7.45pm and The Maltings in Ely on 26 February 2027 at 7.30pm, both in England. No support act is named on any of the four listings.

A name shared by more than one band

Landslide is the obvious name for a Fleetwood Mac tribute, and more than one group has taken it. The aggregator that carries those four dates files the Indiana and Dallas shows and the two English bookings on a single artist page, while the Charlotte band's own calendar lists neither of the English dates, and a separate British act trades under a near-identical billing.

The practical consequence is that ticketing data under this name is pooled from at least two different bands, so an artist page is not a reliable guide to which five musicians will walk out. The venue's own announcement or the band's own events feed is the thing to check, particularly for the February 2027 village-hall and arts-centre dates, which look nothing like the rest of a North Carolina amphitheatre diary.

What the room gets

The format is consistent across the listings: five players, two hours, either straight through or in two halves. The free municipal shows are run as town events — food trucks on site, chairs and blankets brought in by the audience, and park rules banning alcohol, coolers, tents and dogs at the Taylorsville concert in 2022 — while the ticketed bookings are seated theatre and casino-resort rooms with fixed start times.

Nothing in the public material documents a staging spectacle, and the band does not claim one. It sells a casting of the five principals and an attention to the vocal arrangements, which is where the quoted praise lands too: a promoter's line that it is hard to see how a group could get any closer to the Fleetwood Mac sound, and a reaction crediting the band with a performance close enough to the originals to hear and feel them with eyes shut. Both quotes come from the band's own press kit rather than a review, which is worth saying — for an act at this scale, the independent written record is thin, and the evidence is mostly the diary itself.