Paul McCartney gives once-in-a-lifetime show at surprise NY gig: Review and setlist

NEW  YORK – Sometimes, even the larger-than-life Paul McCartney likes to scale things down.

Arguably the most esteemed contemporary musician on the planet, McCartney stepped away from the stadiums that have been his playground for decades to enthrall a crowd of about 500 at the Bowery Ballroom Tuesday night.

The surprise show was announced earlier that day, with tickets only available to purchase in-person at the box office and, as one might expect, sold-out in minutes.

A few hours after the concert was announced, the fabled club on the Lower East Side of Manhattan – an unholy trifecta of grungy, elegant and cool that has witnessed many a megastar on its small stage – welcomed an icon among icons and his longtime band of ace players.

The 100-minute set started with that guitar note, the one that even dogs can probably identify as “A Hard Day’s Night,” as a grinning McCartney gripped his left-handed bass and bobbed his head with the same enthusiasm of 60 years ago.

At 82, McCartney was still a vision of graceful nonchalance in his fitted black jacket and crisp white shirt, hair grayed at the temples but still boyishly brushing the back of his collar.

The intimate environment evoked memories of The Beatles’ earliest gigs at the dank Cavern Club in Liverpool, and McCartney and his quartet generated high spirits and energy early with Wings’ “Letting Go.”

“I feel like letting go tonight! The Bowery! New York City! Yes, I do!” McCartney yelled after removing a pick from his mouth and leading the crowd in an overhead clap.

Why was Paul McCartney playing at Bowery Ballroom, a small New York venue?

If an artist of McCartney’s stature opts to pop up for a tiny show, it usually is tied into a new release (see: The Rolling Stones promoting "Hackney Diamonds" at RacketNYC in 2023) or a tour announcement.

But this night seemed to be solely about the musician, two days removed from a Super Bowl appearance in New Orleans and a little over a week after his 19th Grammy win, wanting to enjoy playing at a club like the ones that nurtured his career.

“So here we are, New York City,” McCartney said three songs into the night, later mentioning that he and his band had only rehearsed once the day before. “Some little gigs. Why not?”

No one needed more of an explanation when a few seconds later they kicked into the sumptuous “Got To Get You Into My Life,” a mellifluous romp punctuated by the brass of the Hot City Horns nestled at the back of the stage.

Paul McCartney taps into The Beatles, Wings and solo work at surprise New York show

Though McCartney’s voice occasionally sounded a bit gruff on the high notes, he also hit some beautiful ones.

Behind his upright piano decorated with a kaleidoscope of colored streaks, he evoked a lounge vibe on “My Valentine,” a song written for wife Nancy, and uncorked the ragged cries of devotion in “Maybe I’m Amazed.”

Following his urgent piano playing on “Nineteen Hundred and Eighty Five,” McCartney propped his elbow atop the piano and with chin resting on hand took a look around the cramped club. “I can’t believe we’re here. But we are. We are here. Doing this,” he said.

It’s amazing that performing still provokes such a genuine response in him.

The pristine sound at the Bowery matched with the band’s intensity as they dabbled in many eras of McCartney magic, showcasing the cheerful bop of “From Me to You” alongside Wings’ escalating frolic “Mrs. Vandebilt” (a song McCartney said was a favorite when they played it in Ukraine years ago) and a hushed “Blackbird” spotlighting McCartney solo with an acoustic guitar.

Following the poignant ballad, he told a story about The Beatles refusing to play in Jacksonville, Florida, when they learned the audience would be segregated.

“We put it in our contract that we would never play a segregated city (or venue),” he shared.

A kinetic “Get Back” (“Girls, give me a Beatles scream,” McCartney joked) and playful “Obi-la-di, Ob-la-da” engaged a crowd that spanned generations.

Paul McCartney pays tribute to John Lennon in concert

On. Feb. 2, The Beatles won their first Grammy since 1997 for “Now and Then” (best rock recording), a song McCartney and Ringo Starr deemed the last “new” Beatles song cobbled from an old John Lennon demo and previously recorded George Harrison guitar and assembled with the help of artificial intelligence.

McCartney played the song Tuesday – a definite rarity – from behind his piano, with horns adding texture, Rusty Anderson handling the slide guitar solo and all of the band faithfully recreating the harmonies from the recording.

“Thank you, John,” McCartney said wistfully at song’s end. “New York City. He loved it so much here. Let’s hear it for John!”

More: Is the Beatles' 'Now and Then' about Paul McCartney? Is it really the last song?

After sweet renditions – and singalongs of the prayerful refrains – of “Let it Be” and “Hey Jude,” McCartney, Anderson, drummer Abe Laboriel Jr., keyboardist Paul “Wix” Wickens and guitarist Brian Ray returned for an encore of his usual show-closer, the famed “Abbey Road” medley of “Golden Slumbers,” “Carry That Weight” and “The End.”

The final line – “the love you take is equal to the love you make” – was especially fitting as a lot of love left the Bowery and headed into a snowy night.

Paul McCartney Bowery Ballroom setlist

• 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/Carry That Weight/The End

This article originally appeared on USA TODAY: Paul McCartney surprise New York concert: Review and setlist