Yahoo Lifestyle Paul McCartney Electrifies New York’s 575-Capacity Bowery Ballroom With Career-Spanning Surprise Set: Concert Review
“Hey, that was a Beatles scream!” Paul McCartney said, responding to a female audience member’s shriek midway through his exuberant surprise concert at New York’s Bowery Ballroom on Tuesday night. “Okay girls, let’s get it over with,” he mock-sighed. “Let’s hear your Beatles screams.”
A huge percentage of the audience complied, producing a credible impersonation of the shrieks that shook the world in 1964 while McCartney listened, then nodded in approval and said, “OK that’s enough.” While some would have basked in the moment, Sir Paul has probably heard enough screaming in his 83 years to burst a thousand eardrums.
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But for the lucky people in the room, it was a night worth screaming over: Seeing Paul McCartney and his ace band play a 575-capacity venue that later in the month is hosting shows by such artists as Bartees Strange, Willow Avalon and Jesse Welles. The show was announced suddenly at noon, with no advance warning:
PAUL McCARTNEY ROCKS THE BOWERY
Tuesday, February 11th
Bowery Ballroom
5:00 Doors 6:30 Showtime
Tickets on sale now only at Bowery Ballroom box office. No tickets sold online.
First come, first served. One ticket per person.
And at 6:44 p.m. on the nose, the band — led by McCartney — walked down the narrow stairs leading from the Bowery dressing room to the stage and launched straight into “A Hard Day’s Night,” soaring through a tight but relaxed career-spanning set that featured lots of banter, much of it in direct response to comments shouted by audience members.
There was plenty to shout about: Although McCartney said they’d had just one rehearsal the day before, this band — guitarist Rusty Anderson, guitarist-bassist Brian Ray, keyboardist Paul “Wix” Wickens and powerhouse drummer Abe Laboriel Jr., accompanied on some songs by a three-piece horn section — has been together for a dozen-plus years and has toured nearly every one of them (and just wrapped a 23-date European jaunt last Dec. 19), so it’s safe to say they’re tour-tight even after one rehearsal.
And the show, with a tightened version of that tour’s two-plus hour setlist, spanned McCartney’s entire recorded career, from 1963 (“From Me to You”) to his 1970s solo hits and even last year’s “final” Beatles song, “Now and Then.” In between, of course, was nearly every song you’d need to hear: big crowd singalongs on “Hey Jude” and “Ob-la-di Ob-la-da,” romps through “Get Back,” “Jet” and “Got to Get You Into My Life”; deeper cuts like “Letting Go,” “Let Me Roll It” and “Mrs. Vandebilt”; a pair of 21st-century tracks (“My Valentine,” “Come on to Me”); acoustic songs like “I’ve Just Seen a Face” and a solo “Blackbird.”
As always, McCartney switched between bass, guitar and piano, and he was in strong voice, hitting essential high notes with ease but without overdoing it. While all of the bandmembers are strong musicians, Laboriel is the most interesting: a bruising but nimble drummer who has been allowed much more room to roam than most of McCartney’s accompanists, dropping complicated fills in between the beats but always holding it down, taking liberties with some of Ringo’s best-known flourishes without being sacriligious.
But the most remarkable thing about the show — well, apart from seeing Paul McCartney perform 15 feet in front of you — was the banter. McCartney is usually quite chatty during his shows, but everyone knows his jocular comments in arenas aren’t actually directed at any one person, even if he makes it seem that way. Here, he was responding directly to fans’ shouts, which this time he could actually hear, although they were usually “We love you!”s or calls for relatively obscure songs. After one man shouted loudly for the flop 1980 single, “Temporary Secretary,” McCartney chuckled and said to the band, “Can we work that one in?”; after another shouted “Yeah!” to a mundane comment, he joked, “You’ll say ‘Yeah!’ to anything!”
But there were more serious comments as well. He talked about how much audiences in Ukraine loved the “Ho, hey-ho” chorus on “Mrs. Vandebilt” and how joyous those concerts were. “Hopefully it will be like that again soon,” he sighed. He also recalled how young the Beatles were on their first American visit — “I’ve got grandchildren older than we were!” — and how impressed he and John Lennon were with the unconventional chord progression they placed in the middle of “From Me to You” — “G-minor, hey, we’re really coming along!” And he made multiple references to New York City, notably how much Lennon “loved living here — let’s hear it for John.”
After a finale of “Lady Madonna,” “Let It Be” and a massive “Hey Jude,” McCartney and the band bowed and exited the stage precisely 90 minutes after they’d walked onto it (probably by accident, but they’re such a well-oiled machine that it wouldn’t be surprising if it was intentional). Of course, they were back for an encore after just a couple of minutes: The “Golden Slumbers-The End” finale of “Abbey Road,” which saw McCartney, Anderson and Ray trading off the famous guitar solos while Wix held down the bass on keyboards. It’s an impossible song to follow (except with “Her Majesty,” which he didn’t).
“This has been a blast — we’ve looved it,” McCartney said as the band left the stage for good, also speaking for seemingly every person in the room, most of whom had woken up on Tuesday with no idea that they’d be seeing a Paul McCartney concert at what is usually dinnertime.
But as much as it felt like a once-in-a-lifetime moment, we couldn’t help but notice that both of the Max McNown concerts originally scheduled for Tuesday and Wednesday at the Bowery have been moved uptown to the Irving Plaza. Hmmmmm…..
Paul McCartney setlist
Bowery Ballroom, New York, 11 Feb. 2025
A Hard Day’s Night
Letting Go
Got to Get You Into My Life
Let Me Roll It
My Valentine
Nineteen Hundred and Eighty Five
Maybe I’m Amazed
I’ve Just Seen a Face
From Me to You
Mrs. Vandebilt
Blackbird
Come on to Me
Jet
Ob-la-di Ob-la-da
Get Back
Now and Then
Lady Madonna
Let It Be
Hey Jude
Encore:
Golden Slumbers-The End
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