(August 13, 2016; BUSCH STADIUM, Saint Louis MO)
It’s really worth a moment of reflection here: What’s it like to be Paul McCartney? None of us can really know. McCartney is almost unarguably the most successful and influential singer/songwriter/musician in the history of popular music. He’s reached a place no one else has gotten to, a rarified zone of rock royalty where interest and reverence for him is ongoing, on a global scale. Taylor Swift and Bruce Springsteen may be able to sell out stadiums at times, and the Rolling Stones can say they’ve been around as long still doing their classic rockin’ thing. But NO ONE has had the impact through multi generations, the acknowledged cultural influence, the extensive body of work and the ability to sell out shows around the world, like Sir Paul McCartney. On the pop culture landscape, it’s like there is Mount McCartney, soaring high towards the clouds to a peak you can’t even make out or even comprehend, and then way below, there are some other peaks that are also impressive but not as gigantic. Mount Dylan. The Jagger-Richards Range. Who International Park. Et cetera.
You get the idea. So beloved are the Beatles, and so deep and enduring is the nostalgia for all that they represented, all the good memories they provided for millions, that people around the world want to experience any taste of that magic again, and to believe that Beatlemania is not just a thing of the past. Sir Paul McCartney bears that burden (not discounting Ringo here, but he doesn’t tour as much and he simply wasn’t one of the prime architects of that Beatles songwriting thing that changed the world) on his 74-year-old shoulders, and he does so with class, good cheer and almost unbelievable energy. Mount McCartney indeed! And we fans are lucky enough to still climb those musical heights each time Paulie decides to perform. He’s doing it often these days, and it is never less than a spectacle. He might be technically a senior citizen, but man oh man, Mister McCartney still shows he’s got it, and that he loves doing it. Song after song after song.
At Busch Stadium, August 13… nearly 50 years since the Beatles played here at the stadium’s previous location (the year that REVOLVER, one of their very best albums came out!), McCartney treated a wildly enthusiastic crowd to a generous platter of classic songs and some obscurities, from throughout his career. He opened with “A Hard Day’s Night,” a timeless classic that he’d not done before live. Another from that beloved movie, “Can’t Buy Me Love,” soon followed. I’m sure I wasn’t the only long-time fan to experience a chill or two just from those two rockers. Dressed smartly in a purple jacket and dark jeans, McCartney sounded and looked younger than his age, and wasted no time chatting up the audience. Miraculously, considering that the acoustics for a sold-out stadium show are by no means always optimal, you could hear just about every word he uttered. And you WANTED to “listen to what the man said” because, hey, how often do you get to share time with him? At one point, McCartney took time to acknowledge all the many signs people were holding up in the stadium. There were the usual lovey-dovey kinda things, but a young girl held up a sign that said (I had high-powered binoculars to try to catch all this), I think, “Loved you as a bug, loved you as a wing and love you still today.” I saw her laugh delightedly when McCartney mentioned that sign. In fact, the ample projection screen repeatedly showed people laughing, dancing, and singing along to favorite tunes. It was a celebration, after all, McCartney being “one on one” (as it was billed) with thousands and thousands of delighted fans. And the set list was by no means predictable. Sure, you’d be reasonably safe to expect stuff like “Back In the USSR,” “Let It Be,” the inevitable “Hey Jude,” “Maybe I’m Amazed” (and yeah, he DID mostly hit those high notes despite a few subtle strains evident in his vocals here and there) and the great “Band on the Run,” one of his finest solo songs. But genuine surprises (unless you were an internet set list junkie) included “I’ve Got a Feeling,” “We Can Work It Out” (a personal favorite), a warm and tender “Here, There and Everywhere,” “And I Love Her” (gorgeous) and “Fool on the Hill.” At one point, McCartney gave a nice mini-talk on where songs come from, something he’s obviously been asked a zillion times. He explained that sometimes it’s a melody, sometimes a lyric idea, and sometimes an insistent chord progression that has “potential.” He began playing one such evocative progression on guitar a few times until it evolved, marvelously, into “You Won’t See Me,” another delightful surprise. And what else can be said about brilliant songs like “Eleanor Rigby” and “Blackbird,” two of the many, many touchstones in Macca’s career, never losing their beauty or impact?
Of course, there were not just Beatle songs on the list. Solo numbers as diverse as “Let Me Roll It,” “Temporary Secretary” (I personally enjoyed this one though others apparently were not in my company), “1985,” a searing “Hi, Hi, Hi” (an early Wings classic) and a clutch of tunes from McCartney’s last disc NEW (“Save Us” and “Queenie Eye” among them) sounded just fine, although it was amusing to see McCartney gesture or feign mock disappointment when the reaction to less famous songs was not as thunderous as that for Beatle classics. McCartney knows full well that fans want to hear the tunes they grew up on, and he is incredibly generous (he has been for many years) in bulking up beloved tunes on set lists these days. Two potently touching and dramatic moments occurred in the middle of the show. “Here Today,” the song McCartney wrote as “a conversation I never got to have” with John Lennon, is a tune he almost always plays in concert, but it had an intense emotional resonance to it in this performance… delicate, tender, unbearably sad… and the legend almost looked like he was tearing up anew as he sang. The audience was spellbound. Another genuine surprise was “In Spite of All the Danger,” a song the boys conceived in their Quarrymen days, and which McCartney explained they cut in a primitive studio as a demo. This event is depicted at the end of the movie NOWHERE BOY, which I’d been lucky enough to see, so it had a major impact on me, and McCartney seemed delighted to tell the story. For a song that few at the stadium could have known, it was staggering that McCartney was able to get the crowd to sing the repeated “Whoa oh oh oh” chorus with almost perfect timing. Maybe I’m amazed by this, indeed! Also a sweet and tender “My Valentine,” which he dedicated to his wife Nancy, was subtly compelling in its intimacy, and featured visual aids by Natalie Portman and Johnny Depp on the adjoining screens, something that struck me as surreal but beautiful. But it was old Beatles classics that got the crowd really jazzed: “Lady Madonna,” “Ob-la-di, Ob-la-da,” the George Harrison tribute “Something” (which McCartney began on ukulele as expected, but this time it quickly evolved into a full Beatle-y band arrangement, unlike the last time I saw him perform it), and a stirring “Love Me Do,” complete with the precise harmonica part that Lennon played all those years ago. No one can ever say that Paul McCartney is not a good team player, by the way… the band he’s with now, which consists of some of the most crackerjack players around (keyboardist Paul “Wix” Wickens, bassist and guitarist Brian Ray, guitarist Rusty Anderson and drummer Abe Laboriel, Junior), has been with him for 14 years plus, longer than the Beatles were together! And any encore that includes the perfection that is “Yesterday,” the White Album novelty “Birthday” and the gripping “Golden Slumbers” section of the dazzling ABBEY ROAD medley, well, it lets you know in no uncertain terms that you are one lucky fan to be at this concert. You’re getting rock history live, right here, right now.
Paul McCartney’s importance is not just his place in the musical scheme of things, it’s the fact that he is a living testament to the ongoing power of songwriting, performing and communicating with fans. He’s had to endure continual comparisons to his former partner Lennon, judgments about his work since the Beatles, and the always fascinating reappraisals of his recordings that new writers always feel motivated to offer. For example, the once-maligned RAM album is now considered a charming low-key classic by most, and Wings, who nearly always got short-changed in the 70s by snobby comparisons to the Beatles, now have their own special fan base, and McCartney knows that. More than anything, what McCartney knows is that music can transform, inspire, document, delight and be really, really personal for different people, different generations, over a long, long time. You just don’t get to go on the kind of journey Paul McCartney has been on, very often. Because of the volatility of the times he flourished in, and the unimaginable success, McCartney gets to see the impact of his life’s work over and over, and to keep writing, recording, and rocking. And somehow he still manages to do it with that same boyish glint in his eye that he had back on THE ED SULLIVAN SHOW. That is one staggering triumph of an artist and a human being, across six decades, and still going. How can you not regard Mount McCartney with absolute awe? And he’s still here today, his legend secured for all time.
