paul mccartney on the run tour

Friday, July 15, 2011 › Thursday, November 29, 2012

On The Run Tour

By Paul McCartney

Last updated on November 7, 2020

• First date: Jul 15, 2011
• Last date: Thursday, November 29, 2012
• Number of concerts: 40
• Number of countries: 18

Band members

Paul McCartney

Rusty Anderson

Abe Laboriel Jr.

Paul Wickens

Albums covering this tour

On the Run in Montreal

On The Run - Bologna, Italy - November 26, 2011

On The Run Italy

On The Run - Bologna, Italy - November 27, 2011

On The Run Liverpool

On The Run - Hartwall Areena, Helsinki December 12, 2011

On The Run Moscow 2011

Aztec Night: Live from Mexico City 2012

Searching for Him Everywhere 2001-2014

Where Footprints Never Go - Unofficial Rarities - Ultimate Archive Collection

From Wikipedia :

On the Run was a concert tour by English singer-songwriter Paul McCartney. The tour began on 15 July 2011, with McCartney’s first two concerts at Yankee Stadium in New York City. McCartney’s appearances at Yankee Stadium occurred nearly two years to the day after his 17, 18, and 21 July 2009 concerts at Citi Field, documented on the Good Evening New York City CD/DVD. Contents Background The tour was promoted by AEG Live, and six of the eight shows in the first leg (with the exception of the Yankee Stadium shows) were presented by HP. The Mexican concerts were promoted by Nextel. In an interview with Billboard in February 2012, McCartney said of his tour band: “Aren’t they cool? We’re having a really great time, and last year we played quite a few dates. They’re such a pleasure to play with. We all enjoy each other’s company and the musicianship, and next month we will have been playing together 10 years. That’s long enough to make us a proper band.” In North America In response to overwhelming popular demand for tickets to McCartney’s 15 July Yankee Stadium debut, a second date was added for Saturday, 16 July. McCartney also performed on three more dates on the tour: 24 July at Comerica Park in Detroit, Michigan, 31 July at Wrigley Field in Chicago, Illinois, and 4 August at The Great American Ball Park in Cincinnati, Ohio. McCartney’s Detroit, Chicago and Cincinnati stadium gigs were hugely anticipated returns to cities with that have hosted historical performances in the past: The 24 July Comerica Park and 31 July Wrigley Field shows were his first visits to the Detroit area and Chicago since 2005 (McCartney has not performed within Detroit City limits since 1976 during the Wings Over America Tour), while the 4 August Great American Ball Park was his first Cincinnati appearance in 18 years, his last show in the city being on The New World Tour in 1993. In Latin America In Montevideo, Uruguay all tickets were sold-out in about 40 minutes. On 15 April, McCartney performed for over a 54,000 sold-out crowd in the Estadio Centenario for the first time in Uruguay. The artist also visited Asunción, Paraguay for the first time in his career. In the Defensores del Chaco stadium he gave a show for more than 30,000 fans (29,000 sold tickets). He claimed after the show in his website that “he will never forget the lively Paraguayan crowd”. On 27 March, 29,000 tickets for McCartney’s 19 April first ever show in Colombia became available; 24 hours later 90% of the tickets were already sold. Days before the concert 2,000 extra tickets became available and sold-out in a couple of days. Hours before McCartney performed for the very first time in Colombia, less than 900 tickets hadn’t been sold, which made the concert a sold-out show. Paul performed for a 32,000 crowd at the Stadium El Campin for more than two hours and a half and declared that the audience in the show where possibly the best one he have had during all his career. For the first time in 19 years, McCartney performed the song “ Hope of Deliverance ” in Bogotá, Colombia, on 19 April, being it the very first time that he performed a song from Off the Ground album with his current line-up. Paul McCartney performed on 5 May 2012 at Omnilife Stadium at Guadalajara, Jalisco, Mexico, his first concert in that city. For the first time, on 8 May 2012, he performed at Estadio Azteca, stating he was in front of “the loudest crowd ever”, and he finished his tour in Mexico with a free show at Zócalo; for this last one, attendance was estimated to be around 250,000 people, making it the biggest audience since the Kiev (350,000) and Quebec (250,000) shows.

From paulmccartney.com , October 10, 2011:

Today, Paul announces his new ‘On The Run’ tour is coming home and he will bring 2011 to a close with 11 special shows. Starting out with his first ever show in U.A.E at the Abu Dhabi Grand Prix, the tour will then rock n’ roll into Europe and Russia. It concludes with a concert in Paul’s hometown of Liverpool exactly a year to the day since he played a tiny intimate show at Liverpool’s O2 Academy late last year, which ended with Paul handing out hot drinks to fans waiting outside the venue in freezing weather conditions. Paul is already earning something of a reputation for his extraordinary Christmas homecoming shows after a series of special UK shows last December as well as his first ever, much talked about show at London’s O2 Arena in December 2009. These new dates will also take in the O2 Arena once more, Paul’s first visit back to the venue since using it to rehearse for his massive 2010/2011 ‘Up and Coming’ tour. As well as his first visit to Abu Dhabi, the ‘On The Run’ tour will see Paul’s first ever live show in Bologna, Italy as well as his first shows in Sweden and Finland in seven years. He also returns to France, Germany and England and will make his third ever appearance in Russia; his first of which was immortalised in the historic 2003 DVD ‘Paul McCartney Live in Red Square’ and his last being in 2004 in St Petersburg.

Playing live is one of the most exciting parts of my job. I’m really looking forward to the next run of shows and to playing places that I have never played before with my band. I’ll be starting with my first ever U.A.E concert and from there I’m on the run across Europe and Russia, before finally getting back to my hometown of Liverpool in time for Christmas. My audiences seem to get better each year and the band and I love the buzz and feedback that they give us. I can’t wait to see you all for some wild nights of rock n’ roll and partying Paul McCartney – From paulmccartney.com , October 10, 2011

40 concerts • 18 countries

1st north american leg.

USA • New York • Yankee Stadium

Jul 15, 2011

Jul 16, 2011

USA • Detroit • Comerica Park

Jul 24, 2011

Canada • Montreal • Bell Center

Jul 26, 2011 • There is 1 album covering this show

Jul 27, 2011

USA • Chicago • Wrigley Field

Jul 31, 2011

Aug 01, 2011

USA • Cincinnati • The Great American Ball Park

Aug 04, 2011

U.A.E • Yas Island Abu Dhabi • Grand Prix Circuit, Yas Arena

Nov 13, 2011

1st European leg

Italy • Casalecchio di Reno • Unipol Arena

Nov 25, 2011

Italy • Bologna • Unipol Arena

Nov 26, 2011 • There are 2 albums covering this show

Italy • Milan • Mediolanum Forum

Nov 27, 2011 • There are 2 albums covering this show

France • Paris • Bercy Omnisport Arena

Nov 30, 2011

Germany • Köln • Lanxess Arena

Dec 01, 2011

United Kingdom • London • O2 Arena

Dec 05, 2011 • There is 1 album covering this show

Sweden • Stockholm • The Globen

Dec 10, 2011

Finland • Helsinki • The Hartwall Arena

Dec 12, 2011 • There are 2 albums covering this show

Russia • Moscow • The Olympinski Arena

Dec 14, 2011 • There is 1 album covering this show

United Kingdom • Manchester • The MEN Arena

Dec 19, 2011 • There are 2 albums covering this show

United Kingdom • Liverpool • The Echo Arena

Dec 20, 2011 • There is 1 album covering this show

2nd European leg

Netherlands • Rotterdam • Ahoy Rotterdam

Mar 24, 2012 • There is 1 album covering this show

Switzerland • Zurich • Hallenstadion

Mar 26, 2012 • There is 1 album covering this show

Belgium • Antwerp • Sportpaleis

Mar 28, 2012 • There is 1 album covering this show

United Kingdom • London • Royal Albert Hall

Mar 29, 2012 • There are 2 albums covering this show

Latin American leg

Uruguay • Montevideo • Estadio Centenario

Apr 14, 2012

Apr 15, 2012

Paraguay • Asuncion • Estadio Defensores del Chaco

Apr 17, 2012

Colombia • Bogota • El Campin Stadium

Apr 19, 2012

Brazil • Recife • Estadio Arruda

Apr 21, 2012

Apr 22, 2012

Brazil • Florianopolis • Estádio da Ressacada

Apr 25, 2012

Mexico • Guadalajara • Estadio Omnilife

May 05, 2012 • There is 1 album covering this show

Mexico • Mexico City • Stade Azteca

May 08, 2012 • There are 3 albums covering this show

Mexico • Mexico City • The Zocalo

May 10, 2012 • There is 1 album covering this show

2nd North American leg

USA • Saint Louis • Scottrade Center

Nov 10, 2012

Nov 11, 2012

USA • Houston • Minute Maid Park

Nov 14, 2012

Canada • Vancouver • BC Place

Nov 25, 2012

Canada • Edmonton • Rexall Place

Nov 28, 2012

Nov 29, 2012

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Average setlist for tour: On the Run Tour

• Magical Mystery Tour ( The Beatles  song) Play Video
• Hello, Goodbye ( The Beatles  song) Play Video
• Junior's Farm ( Wings  song) Play Video
• All My Loving ( The Beatles  song) Play Video
• Jet ( Wings  song) Play Video
• Sing the Changes ( The Fireman  song) Play Video
• Drive My Car ( The Beatles  song) Play Video
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• Let Me Roll It ( Wings  song) Play Video
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• Mrs. Vandebilt ( Wings  song) Play Video
• Eleanor Rigby ( The Beatles  song) Play Video
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• Band on the Run ( Wings  song) Play Video
• Ob-La-Di, Ob-La-Da ( The Beatles  song) Play Video
• Back in the U.S.S.R. ( The Beatles  song) Play Video
• I've Got a Feeling ( The Beatles  song) Play Video
• A Day in the Life ( The Beatles  song) Play Video
• Let It Be ( The Beatles  song) Play Video
• Live and Let Die ( Wings  song) Play Video
• Hey Jude ( The Beatles  song) Play Video
• Lady Madonna ( The Beatles  song) Play Video
• Day Tripper ( The Beatles  song) Play Video
• Get Back ( The Beatles  song) Play Video
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• Helter Skelter ( The Beatles  song) Play Video
• Golden Slumbers ( The Beatles  song) Play Video
• Carry That Weight ( The Beatles  song) Play Video
• The End ( The Beatles  song) Play Video

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Band on the Run: Paul McCartney’s 1972 European mystery tour

Fifty years ago, with a couple of vans, children and dogs in tow, Paul McCartney set off to Europe with a new band to realise a dream

Jeremy Blackmore

Later this month, Paul McCartney will become the oldest performer to headline Glastonbury as, just days after his 80th birthday, he rolls out Beatles and solo classics to an audience of 100,000 and millions watching live on TV. Fifty years ago, though, with a couple of vans, children and dogs in tow, McCartney was setting off with his new band to realise a dream he’d had in the dying days of the Beatles, to play small venues and rediscover the love of playing live.

Heading north up the M1 and turning up unannounced at universities along the route, Wings raced through a set made up of 1950s rock’n’roll classics and a handful of new songs, promoting the back-to-basics Wildlife album before a sell-out tour of Europe that summer. It was the approach the Beatles had taken in January 1969, seen recently in Peter Jackson’s Get Back , before John Lennon ended any hopes of more concerts by telling Macca, “I think you’re daft. I want a divorce.”

Wings travelled the continent in a brightly painted open-top double-decker bus with mattresses on the top deck for sunbathing and a playpen for the children, playing to adoring crowds at night. Racking up over 7,500 miles in two months, they performed 25 concerts in nine countries, bringing a taste of Beatlemania to European fans who had not seen McCartney live since 1966.

Original Wings drummer Denny Seiwell recalls: “We did grunt work. We were out in the trenches. We were finding an audience, not just a Beatle audience. We had our own thing and people really listened hard. They were very indebted fans.”

Seiwell first auditioned for McCartney’s second solo album, Ram , in New York in autumn 1970. The former Beatle had recently released McCartney, a largely homemade low-fi recording deemed inconsequential by critics, and he relocated Stateside to work with the cream of New York session men on the follow-up.

He warmed instantly to the genial, towering Seiwell, a laid-back Pennsylvania native with a winning sense of humour. First introduced to drums by his father at the age of five, Seiwell later played in boys’ bands and navy big bands before moving to New York, where he became one of the most in-demand jobbing drummers, playing jazz in clubs at night and then swinging from session to session during the day, often not knowing who he was playing with until he arrived.

That October, turning up to a demo recording near Hell’s Kitchen, he was instantly suspicious. The brownstone building looked derelict. Directed downstairs to a dingy basement, Seiwell feared he was about to be mugged. Waiting for him instead was one of the world’s most famous musicians.

“I go down there on heightened alert. There’s Paul and Linda sitting over the corner of this dirty basement. There’s no furniture. There’s a set of drums in the middle of the room. I said, ‘Hey, you’re Paul McCartney. What’s going on here?’ He said, ‘We’re coming to town to make a record and we’re looking at drummers. Do you mind playing for me?’ It was as simple as that.

“So immediately, I went right into Ringo and I had some fun with it. I think he liked my sense of humour. We had a few laughs. I gave him some shuffle, some rock, different beats. He said, ‘That’s all I need, thank you. That’s great, man’.”

Over the next few days, with New York’s music community abuzz with talk of the auditions, Seiwell was duly hired. By bizarre coincidence, he’d recently taken up the chance to buy the drum kit Ringo Starr played at the Beatles’ legendary Shea Stadium gig after a friend acquired it at auction. McCartney turned up to day one of recording to find Seiwell sitting behind a kit bearing the Beatles logo.

During a Christmas break back at the family farm in Scotland, McCartney took the painful, tumultuous decision to file a lawsuit against the other three Beatles and Apple Corps in the high court. It was the only way to be free of controversial manager Allen Klein and formally dissolve the Beatles’ partnership.

By contrast, back in New York, the Ram sessions found a playful McCartney revisiting the rock’n’roll of his youth with full-throated Little Richard-style vocals. The rockers were interspersed with moments of whimsy, pastoral folk and classic pop with Beach Boys harmonies and lush orchestrations. Seiwell’s versatility from hundreds of hours of session work equipped him perfectly.

“Paul came in fully ready,” says Seiwell. “It was in his head; he knew what he wanted. He didn’t tell us what to do. One time only did he tell me to come up with a different part than I came up with. He would play the song for us on piano or guitar and sing it through and then we’d start coming up with parts. We worked fast and we worked hard. It was very rewarding in every regard.”

The album was a big commercial hit across Europe and America, but savaged by critics, who took Lennon’s side in the increasingly bitter Beatles divorce. It is now viewed as a classic. Then, perhaps stung by the reviews and missing the camaraderie of a band, McCartney called Seiwell and former Moody Blues guitarist Denny Laine to Scotland and invited them to form a new group. As rehearsals got under way, Seiwell and his wife, Monique, rented a home with a sea view near the McCartneys’ farm in Campbeltown on the Kintyre peninsula.

The songs demoed at McCartney’s Rude Studios in Scotland and recorded at Abbey Road in London were very different to the intricate material on Ram . They were raw and captured a band finding its sound. The album was done and dusted, including overdubs, inside two weeks. McCartney eschewed anything Beatley in favour of a new direction. A high concept album this was not, but his sense of fun and melody shines through on a set of songs given an extra sheen on this year’s 50th anniversary limited-edition vinyl release.

“It was Paul’s idea to give the world a first look at a new band,” said Seiwell. “We didn’t want to pull any punches and spend a year making a record that didn’t even come close to Let It Be. We wanted to show the world this is a new band, give it a chance. So, five of the eight songs were first takes.”

Without the security of his long-time Beatles bandmates on stage, McCartney found comfort in having Linda alongside him. As with Ram , Wildlife was notable for the couple’s intertwined vocals, with Laine adding an extra ingredient that made up the classic Wings sound. The European jaunt was Linda’s first major outing as a musician, and she came under fierce scrutiny from the music press.

Says Seiwell: “What Paul talked about many times was having that timbre of voice that didn’t exist in the Beatles, having that added to his music. He really liked that a lot.”

With Henry McCullough recruited as lead guitarist, Wings began rehearsals ahead of a live tour. They played 11 shows, crisscrossing England and Wales with only an equipment truck and a 12-seater passenger van. They stopped at university towns, sending roadies to tell incredulous student union reps they had Paul McCartney in a van outside, ready to play a gig. While equipment was set up, the band went in search of accommodation for the night.

Determined not to play any Beatles material, they barely had enough songs to fill half an hour, and repeated the upcoming single Give Ireland Back to the Irish (McCartney’s response to the events of Bloody Sunday) twice to fill the set.

“It was short but sweet and a lot of fun,” says Seiwell. “It really broke us in. It made us a band. Travelling together, eating chip butties, stopping in pubs and having fish and chips and staying in hotels, not five-star hotels, by the way. At the end of the night, after we were done with the show, we’d all get in the van again, with a box of money. One for you, one for you, one for you.”

After initial sessions for what would become the 1973 album Red Rose Speedway , Wings set off on tour across Europe in July 1972. There were again no Beatles songs. Wings were a new band, not about resting on past glories, explained McCartney. Hi, Hi, Hi , written on holiday in Benidorm immediately before the tour, was added to the set as an up-tempo rocker and became a hit single later that year.

Red Rose Speedway was a poppy affair, but recordings from the European shows reveal a tight band unafraid to rock, exemplified by McCartney’s raw powerful vocals and McCullough’s bluesy lead guitar.

Opting for an open-top tour bus to catch some sunshine as they travelled, McCartney wanted something psychedelic. He tasked Tom Salter, tour manager and promoter and owner of the Gear boutiques in Carnaby Street, to give the bus a Magical Mystery Tour/Yellow Submarine theme. Otherwise, accommodation was basic, with standard bus seats downstairs and a galley.

The band began their European jaunt with a show at the Centre Culturel de Châteauvallon in Ollioules in south-eastern France on July 9. From there, they snaked their way around southern France for further gigs in Juan-les-Pins and Arles before heading north to play L’Olympia in Paris.

The means of travel may have been rudimentary by 70s rock star standards, but the accommodation was not.

“We stayed at the Cap d’Antibes for five days,” says Seiwell. “That cost a fortune. We never made that money back. We lost money on the European tour. And we had full houses, 20,000-seaters, packed, sold out every time. And we lost money because of the expenses. But we stayed in some beautiful places.”

From Paris, the band ended July in Munich and Frankfurt before heading to Switzerland for performances in Zurich and Montreux. The speed of their bus meant they often ran late.

“That bus only went 35 miles an hour, maybe downhill too,” Seiwell laughs wryly.

“There were times when we’d have to do like 200 miles between shows on the motorway in Germany. Two hundred miles at 35 miles an hour takes a long time. So, we’d have been late. We’d have to stop someplace at a gas station and call the promoter and say, send cars to pick us up, we’ll never make it in time for the show tonight.

“I remember once, five lime-green, brand-new BMWs showed up. Each one had their own limo, and they just hit the road at 130 miles an hour.”

In August the band was in Scandinavia for shows in Denmark, Finland, Norway and Sweden, where the McCartneys were arrested and fined £1,000 for possession of marijuana. The tour wound up with a final run through Belgium and the Netherlands, including a show at Concertgebouw, a venue immortalised in the lyrics of 1975 Wings track Venus and Mars/Rock Show . The tour wrapped finally in West Berlin on August 24.

Early 1973 saw Wings touring Red Rose Speedway and bathing in the success of the Bond theme Live and Let Die , which Seiwell watched McCartney compose on the spot fresh from reading the Ian Fleming novel. Recorded live with an orchestra in George Martin’s Air London studios, it is still the performance Seiwell is most renowned for.

McCartney, who was keen to introduce his new bandmates to the world, had started to emerge, finally, from the Beatles shadow as a major solo artist. But just as the band were due to decamp to Lagos, Nigeria, to start work on what would become Wings’ most celebrated work, Band on the Run , the fallout from the Beatles break-up finally caught up with them. First McCullough left, then Seiwell on the eve of the band’s departure.

McCartney had been unable to access most of his assets because they were frozen due to the court receivership of Apple.

“We neglected some things that needed attention and that was the only reason I’m still not in the band,” says Seiwell. “The Beatles eventually worked its way into our orbit and the trouble Paul was having with the legal side of all of that stuff. That’s where the court receivership was established. The way I was told, we couldn’t even have an agreement that would be legal due to the court receivership of Apple.

“We were working on good faith, on the hippie handshake as they called it. We were all supposed to be part of a shareholder in this company that Wings was and we were all supposed to receive royalties and everything and some of that stuff slid by the way. We were so anxious to get the band going and establish ourselves … so some things were neglected and skipped over and pretty soon, we’re living on very little money and it became difficult for the band. We’re selling millions of records and we’re worried about paying our rent.”

Seiwell decided to head back to his regular session work in New York. It remains one of his only regrets.

Exactly 20 years later they were reunited backstage at a gig in Anaheim. By now living in California, the Seiwells asked a security guard to get a message to McCartney. A golf cart was sent to pick them up and take them for an emotional reunion.

The pair remain close. McCartney gave his seal of approval for Ram On – The 50th Anniversary Tribute to Paul & Linda McCartney’s Ram , Seiwell’s recent collaboration with Fernando Perdomo (available on Cherry Red records).

Looking back, Seiwell says: “It was such fun. Paul and I had a bond I’d never had with any other musician, period. We just knew intuitively what to do musically to make something happen. I’ve never experienced that with anybody. I worked with some of the best bass players but Paul, he was top of the heap. With him, it was all intuitive. It just came from another place, another source.”

Postscript: The Wings Over Europe tour bus is currently being renovated in the UK after being discovered lying in a dusty ravine in Tenerife. There are plans for it to become a living, mobile museum and to support charity fundraising. For more information on how to support the project: www.1972wingstourbus.com

Jeremy Blackmore is a freelance journalist, editor and copywriter

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• 10 Best Paul Mccartney And Wings Songs of All Time

List of the Top 10 Best Paul Mccartney And Wings Songs of All Time

When it comes to the timeless sound of rock music, few names shine as brightly as Paul McCartney, especially during his prolific years with Wings. After the Beatles disbanded, McCartney didn’t just rest on his laurels; he soared to new heights with Wings, crafting some of the most iconic and enduring songs in music history. From anthems that defined a generation to ballads that tug at the heartstrings, Paul McCartney and Wings have left an indelible mark on the world of music. But which tracks stand out the most? In this article, we dive into the top 10 most popular Paul McCartney and Wings songs of all time, celebrating the hits that have captivated millions and continue to resonate with listeners across the globe. Whether you’re a lifelong fan or new to their music, this countdown will take you on a journey through some of the finest moments in rock history—melodies that have stood the test of time and lyrics that still echo with meaning. Get ready to rediscover the magic of Paul McCartney and Wings, and perhaps find a new favorite along the way!

Table of Contents

1. “Band on the Run” – 1973

Released in 1973, “Band on the Run” is arguably Paul McCartney and Wings’ most iconic song. The track is a brilliant, multi-part narrative that captures the essence of freedom and escape. Opening with a haunting melody that transitions into an upbeat rock anthem, “Band on the Run” tells the story of breaking free from the constraints of life, whether they be physical, emotional, or societal. McCartney’s seamless blending of genres and his knack for storytelling made this song an instant classic. It not only topped the charts but also became a defining anthem of the 1970s, showcasing the enduring genius of McCartney post-Beatles. The song’s intricate arrangement and memorable lyrics continue to inspire generations of musicians and fans alike.

2. “Live and Let Die” – 1973

“Live and Let Die,” released in 1973, stands as one of Paul McCartney and Wings’ most electrifying tracks. Composed as the theme for the James Bond film of the same name, this song is a fusion of orchestral grandeur and rock intensity. McCartney’s ability to capture the cinematic essence of a Bond film while delivering a song that stands on its own is nothing short of remarkable. The explosive instrumental breaks, coupled with McCartney’s powerful vocals, create an unforgettable listening experience. The song was not only a commercial success but also earned an Academy Award nomination, further cementing McCartney’s unparalleled versatility as a songwriter.

3. “Jet” – 1973

Also from the “Band on the Run” album, “Jet” is a high-energy rock song that quickly became one of Wings’ most popular hits upon its release in 1973. With its catchy chorus and driving rhythm, “Jet” captures the exuberance and freedom that were hallmarks of McCartney’s work with Wings. The song’s lyrics are often interpreted as a reflection on McCartney’s experiences during his post-Beatles life, though the true meaning remains a delightful enigma. “Jet” was a commercial success, reaching the top 10 in both the UK and the US, and it remains a staple in McCartney’s live performances.

4. “Maybe I’m Amazed” – 1970 (Live Version: 1976)

“Maybe I’m Amazed” is one of Paul McCartney’s most heartfelt compositions, originally released on his 1970 solo album, McCartney. However, it was the live version from the 1976 Wings over America tour that truly resonated with audiences, propelling the song to new heights. The powerful ballad is a tribute to McCartney’s wife, Linda, celebrating their love and partnership. The raw emotion in McCartney’s vocals, combined with the soaring piano melody, makes this song a timeless classic. It’s a track that has connected deeply with fans over the decades, often cited as one of McCartney’s greatest love songs.

5. “Let Me Roll It” – 1973

“Let Me Roll It,” another standout from the Band on the Run album, is a bluesy rock song that showcases McCartney’s versatility as a musician. Released in 1973, the song features a hypnotic groove and a distinctive guitar riff that have made it a favorite among fans. The lyrics, often interpreted as a response to John Lennon’s music, add a layer of intrigue to the track. The raw, almost primal delivery of the song contrasts with the polished production, creating a sound that is both gritty and infectious. “Let Me Roll It” continues to be a highlight at McCartney’s live shows, where its powerful riff and driving beat never fail to energize the crowd.

6. “My Love” – 1973

Released in 1973, “My Love” is a tender ballad that became one of Wings’ biggest hits. Written as a love letter to his wife Linda, McCartney’s heartfelt lyrics and the lush orchestration make this song a quintessential soft rock classic. The song’s soaring string arrangement, coupled with McCartney’s sincere vocal delivery, creates an atmosphere of pure romanticism. “My Love” topped the charts in the US and remains one of McCartney’s most enduring love songs. Its timeless appeal lies in its simplicity and emotional depth, making it a favorite at weddings and special occasions around the world.

7. “Silly Love Songs” – 1976

“Silly Love Songs,” released in 1976, is McCartney’s cheeky response to critics who accused him of writing too many love songs. Rather than shying away from the criticism, McCartney embraced it, crafting a song that is both a celebration and a defense of love songs. The track features an infectious bassline, catchy melody, and lush harmonies, all hallmarks of McCartney’s pop sensibilities. Its light-hearted, playful tone resonated with audiences, propelling it to the top of the charts in the US. “Silly Love Songs” is a testament to McCartney’s ability to turn even the simplest of concepts into a pop masterpiece.

8. “Uncle Albert/Admiral Halsey” – 1971

“Uncle Albert/Admiral Halsey,” released in 1971, is one of McCartney’s most whimsical and inventive tracks. The song is a medley of contrasting sections, blending elements of pop, rock, and vaudeville in a way that only McCartney could. The quirky lyrics and playful arrangement make it a unique entry in McCartney’s catalog. Upon its release, the song became a surprise hit, reaching number one on the Billboard Hot 100. The track’s experimental nature and nostalgic feel have made it a beloved classic, showcasing McCartney’s creativity and willingness to push the boundaries of popular music.

9. “Hi, Hi, Hi” – 1972

Released in 1972, “Hi, Hi, Hi” is a raucous rock track that captures the rebellious spirit of the early 1970s. The song’s energetic rhythm and provocative lyrics quickly made it a fan favorite, though it also sparked some controversy. The BBC even banned the song for its suggestive content, which only added to its mystique. Despite the controversy, “Hi, Hi, Hi” was a commercial success, particularly in the US, where it became a top 10 hit. The song’s infectious energy and McCartney’s unrestrained vocal delivery make it a standout track in the Wings catalog, exemplifying the band’s rock-and-roll edge.

10. “Mull of Kintyre” – 1977

Released in 1977, “Mull of Kintyre” is a folk-inspired ballad that became one of Wings’ most unexpected hits. Written as a tribute to the picturesque Mull of Kintyre in Scotland, where McCartney owned a farm, the song features a traditional Scottish arrangement, complete with bagpipes. The nostalgic lyrics and haunting melody struck a chord with listeners, particularly in the UK, where it became the first single to sell over two million copies. “Mull of Kintyre” was a massive success, topping the UK charts for nine weeks and becoming one of the best-selling singles of all time in the UK. Its enduring popularity is a testament to McCartney’s ability to craft songs that resonate deeply with a wide audience.

Edward Tomlin is a frequent contributor to Singers Room. Since 2005, Singersroom has been the voice of R&B around the world. Connect with us via social media below.

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Penned on the Run: ‘GOT BACK’ Tour 2022 Part 2

The GOT BACK tour blog from Paul's US publicist Steve Martin continues, as Steve reports from Fort Worth, Winston-Salem, Hollywood, Orlando and Knoxville.

Hard to believe that we’re already more than a month into GOT BACK . As Paul has been known to ask at the close of ‘Maybe I’m Amazed’, “Where does the time go?"

In terms of hard facts and figures, the time has gone by in the form of GOT BACK’ s first six shows in Spokane, Seattle, Oakland and Los Angeles — all attended by capacity crowds singing along to every word, the media singing unanimous praise, and new memories to last a lifetime for those witnessing Paul live for the first time to the Paul veterans ecstatically pushing their show counts into the dozens and hundreds.  

FORT WORTH:

When you’ve lived, loved and rocked a life like Paul’s, you inevitably form relationships of special significance with multiple locales spanning the globe.  Some of these places might seem obvious ( see previous entry’s notes on Los Angeles, Oakland and Seattle ), and some less so.

Fort Worth, Texas is one of those places. As the archive-ologists specializing in Paul’s Wings era will attest, the city affectionately known as Funkytown (among other sobriquets) hosted Paul’s first-ever post-Beatles concert in the United States. It was in fact on May 3, 1976, at the Tarrant County Convention Center in Forth Worth, that Paul led Wings through the first night of the Wings Over America tour — a 21-city, 31-show extravaganza that marked Paul’s return to the road in North America, and utilized cutting edge audiovisual wizardry to create the template for the ‘70s arena rock experience.

Now for the first time since that historic 1976 Wings Over America tour opener, Paul finally GOT BACK to Fort Worth. With a setlist featuring such songs in common with that 1976 outing as ‘Let Me Roll It’, ‘Maybe I’m Amazed’, ‘Lady Madonna’, ‘Live And Let Die’, ‘Blackbird’, ‘Letting Go’ and ‘Band On The Run’, Paul added another illustrious chapter to his history with Fort Worth.

Following a customarily thorough soundcheck — and the videotaping of a personal Platinum Jubilee message to her majesty Queen Elizabeth II, as well as a note to The British Book Awards, aka The Nibbies, graciously accepting Book of the Year: Non-Fiction Lifestyle honors for THE LYRICS … both shot from the stage — it was arena rock time for Fort Worth. The confines of the Dickies Arena were relatively intimate venue in comparison to L.A.’s sprawling SoFi Stadium, but the crowd that packed Dickies put forth a convincing impression of a throng two to three times its size. From those first careening notes of ‘Can’t Buy Me Love’ through the bittersweet coda  of ‘The End’, Fort Worth raised its collective voice "like a de facto backing choir,” observed the Fort Worth Star-Telegram, adding "The sing-along nature of the evening was strong and powerful and provided more proof of how deep the man’s songs have resonated with the world."

46 years between shows evaporated in the blink of an eye, as the capacity crowd was swept up in a sea of new memories being formed in real time: a supercharged ‘Got To Get You Into My Life’, a downright raucous ‘Get Back’, the eternally uplifting optimism of ‘We Can Work It Out’ and ‘Let It Be’, and a stripped down ‘Love Me Do’ were just a few of the classics receiving their first Fort Worth airings this night — not to mention the wealth of highlights written in the decades between Paul’s shows in the Queen City of the Prairie: The sublime minor chords of ‘My Valentine’, an Egypt Station double shot of ‘Fuh You’ and ‘Come On To Me’, McCartney III standout ‘Women and Wives’, the title track from 2013’s New , the choreography-enhanced ‘Dance Tonight’ from 2007’s Memory Almost Full , and the perennially tearjerking note to John Lennon that is ‘Here Today’ from 1982’s Tug Of War . 

At the close of a performance the Dallas Observer described as "a joyous revelry, a dazzling demonstration of craft as foundational to pop music as piano keys, guitar strings or drumsticks,” Paul promised “We’ll see you next time” and by the time that rain of confetti had cleared, GOT BACK was en route to…

WINSTON-SALEM:

"Well, the rain exploded with a mighty crash…”

No lyric could have painted a more vivid picture of the local weather mere hours before Paul was expected onstage at Winston-Salem NC’s Truist Field at Wake Forest University. The picturesque home of the Demon Deacon football team was being hammered by near-horizontal torrential rains as forecasts predicted thunderstorms to pass directly over the stadium.

Paul however was undaunted in his optimism that the clouds would break and the skies would remain clear for his first ever show in Winston-Salem. A few songs in, with the weather holding and his prediction proven correct, Paul said confidently, “I think we’re going to get lucky with the weather,” before launching into a stomping ‘Come On To Me’. 

And get lucky Winston-Salem did for the next few hours. While the weather remained calm, the tens of thousands in the sold-out stadium did anything but—case in point being Paul’s request to the crowd following ‘Love Me Do’ — “Come on, girls, let’s have a Beatles scream” — being answered in eardrum-shattering fashion, as the Charlotte Observer noted: "Right on command, for 10 long, deafeningly loud seconds, thousands of women tested the limits of their vocal cords with shrieks and hoots and hollers that filled the air near the university’s campus with euphoria. There was a lot more where that came from inside the stadium over the course of the evening…”

Understatements are understandably an occupational hazard of reviewing a Paul McCartney show — especially a debut concert taking place in such an esteemed local landmark — so suffice to say, there was certainly “a lot more where that came from” and then some: the roar of pleasure as ‘Something’ kicked in from Paul’s ukulele/vocal intro to the full band accompaniment, an ‘Ob-La-Di Ob-La-Da’ singalong that would have raised the roof had this venue had one, the howls of instant recognition that greeted the very first opening notes of ‘Get Back’ that mounted in volume with the addition of Peter Jackson’s bespoke montage of imagery from the series… and so many more—not least of which greeting ‘Band On The Run’, possibly enhanced by the fact that the rain did not explode at any point throughout the show.

Speaking of Mr. Jackson’s gifts to Paul and the GOT BACK audiences, the encore treated Winston-Salem to the second ever stadium scale rendition of the Paul/John virtual duet on ‘I’ve Got a Feeling’. Words inevitably fall short when attempting to convey the emotional impact of witnessing this reunion, especially on this scale, but kudos to our friends at the Charlotte Observer for a valiant try: "at once a simple, beautiful, reverential and ever-so-slightly sorrowful sight to behold.”

A volley of ‘Birthday’, ‘Helter Skelter’, ‘Golden Slumbers’, ‘Carry That Weight’ and ‘The End’ later — with the crowd’s volume still pinned in the red as the Hot City Horns played Paul onto the waiting bus with ‘Nothing Could Be Finer’ — it was time to say good night at the close of an experience that moved Yes! Weekly to sum up, “McCartney got back, all right. And it felt like we all belonged”.

Next stop would be the most intimate venue by far to host a GOT BACK show, the 7000-capacity Hard Rock Live in the Seminole Hard Rock Hotel & Casino Hollywood, Florida.

Those lucky enough to score tickets to see Paul in this room a fraction of the size he’d usually play in the region — Miami’s Sun Life Stadium in 2010 and American Airlines Arena in 2017 come to mind as recent examples — would soon be making a racket to rival the crowds that filled those venues (especially the general admission floor crowd). But first, it was time for a reunion of a rather unique sort. As Paul’s motorcade rolled up to the back entrance of the Hard Rock, they were greeted by a vision from 50+ years ago: the Magical Mystery Tour bus. Accessorized with a “Remember Me?” sign and featuring its original blue and gold paint job, rainbow logo and shooting star details, the actual bus from The Beatles’ 1967 movie had been transported from the Hard Rock memorabilia archive (and through the very mists of time) to be reunited with Paul, kicking off a momentous evening with a bonus bit of history.

Speaking of history, there’s always an additional jolt of electrification that comes with hearing Beatles numbers like ‘Can’t Buy Me Love’ or ‘Love Me Do’ played in a room the size they might have been played in during the ‘60s. But the evening Paul spent with 7000 of his most vocal fans in the Hollywood FL area (and quite a few from out of town, to whom Paul welcomed on behalf of the local tourism board) was one with highlights as varied as they were unforgettable. There was a rendition of ‘Blackbird’ that "dazzled in the song's utter simplicity” per the Miami New Times, emphasizing the intimacy of the small arena /large theater environs—and on the absolute other end of the spectrum there were the pyrotechnic salvos of ‘Live And Let Die’ that, while undoubtedly adjusted for scale, nevertheless seemed to threaten to turn the Hard Rock Live into an open air venue. 

Going off the uniformly ecstatic reaction of the entire crowd, from the GA floor to the not-so-distant-as-usual upper balconies, you’d think Paul was personally serenading each and every audience member. And in a way, he was—the physical proximity couldn’t help but to have that effect. Whether dashing off a deceptively breezy ‘I’ve Just Seen A Face’, working the pulsating piano rhythms of ‘Let ‘Em In’ in sync with those marching on the video backdrop, howling with an elemental fury through a rambunctious ‘Helter Skelter’, the kaleidoscopic range of emotions stirred by Paul’s stagecraft was amplified a thousandfold… or make that 7000-fold.

Nowhere in the evening was this more apparent, according to Boca Raton Magazine, than ‘I’ve Got A Feeling’. Of this most up close and personal performance of the Paul and John virtual reunion, the magazine’s reviewer remarked, "If you closed your eyes, you’d think Lennon was in the room with his former partner of the greatest songbook in pop history... it certainly worked its magic on me, as did the entire transportive evening.”

Nearly 10 years had passed since Paul last took to the stage in O-Town — since the May 2013 kick-off of the North American leg of the Out There tour, to be more precise. If the hero’s welcome offered up by the crowd filling the massive Camping World Stadium (home to the likes of the NFL Pro Bowl, Citrus Bowl, and more), Orlando had been clamoring for Paul to Get Back since those final notes of ‘The End’ echoed throughout the Amway Center in 2013. 

While it’s always a challenge to single out peaks of Paul’s highlight-packed shows (more on that later — I’m looking at you, Knoxville…), it is consistently fascinating to take note of which songs receive particularly effusive reactions across various nights, locales, venues and sundry other X-factors. On this beautiful late May evening in the open air environs of this Orlando football stadium, there was a roar that punctuated the opening strains of ‘My Valentine’—and that only seemed to escalate throughout ‘Nineteen Hundred and Eighty-Five’ and continued to surge repeatedly throughout the evening, especially noticeable when following the reverent pin-drop rapt attention devoted to ‘Blackbird’ and ‘Here Today’.

GOT BACK ’s audience seems to have expanded at both ends of the generational spectrum — an example of the younger range being one fan’s sign that caught Paul’s eye, as he read aloud, “I missed senior prom to see you,” and asked the teenage fan, “Well, are you having fun?” — Presumably the answer was a resounding yes, but it was instantly drowned out by the entire stadium’s very vocal, very affirmative response. 

"Pure joy and bliss emanated from the stage and throughout the seats,” observed the Orlando Sentinel. "As if 30 songs weren’t enough, McCartney and his cohort of musicians came back to rock out with six more songs, waving Ukrainian, American, United Kingdom, Florida and rainbow flags as they returned to the stage for their encore.”

And what an encore it was… Another stadium scale ‘I’ve Got A Feeling’ duet with Paul and John’s harmonizing voices soaring into the central Florida skies — the same skies whose clouds became illuminated with crackles of heat lightning enhancing an already frenetic ‘Helter Skelter’ (I swear it was a natural occurrence and not part of the GOT BACK production — at least as far as I know!). Finally, as with all good things, Paul’s triumphant return to Orlando came to an end, or if we’re being literal, to ‘The End’. And with a promise of seeing Orlando next time amid a hail of confetti and fireworks, Paul concluded GOT BACK ’s swing through the Sunshine State and was onto the tour's next stop in Knoxville, Tennessee.

One final note: Doubling back to that encore interval... Our own DJ Chris Holmes — a touring veteran of hundreds of Paul shows for 10+ years, and whose own return as support has been welcomed warmly every night of GOT BACK — was literally moved to tears by the overwhelming intensity of the waves of applause that bridged main set closer ‘Hey Jude’ and encore opener ‘I’ve Got A Feeling’. And let’s just say he wasn’t alone… this man and these songs' ability to unite tens of thousands of hearts and voices in unconditional, sheer joy and love — transporting them to a place where differences, conflicts, troubles disappear for close to three indelible hours — it really is the closest thing to a miracle one — or in the case of Orlando, tens of thousands — can witness.

"How do I pick a notable moment from a show that was nothing but?”

That question from the writer from Auburn University’s WEGL FM perfectly sums up the quandary posed to us all — fans, media, GOT BACK crew members alike — by Paul’s Knoxville debut. At turns joyous, bombastic, tender, reflective and more, Paul's unforgettable first visit to the Thompson-Boling Arena was everything anyone could want from his usual masterclass and so much more. It would, in fact, be impossible to pick a better closer to this chapter of the GOT BACK tour blog than this perfect complement to Fort Worth's return to the site of the Wings Over America tour opener… Yes, Knoxville was that good.

“You are a great crowd, Knoxville!” Paul exclaimed early on to the adoring masses voicing their gratitude for his first visit to the gateway to the Great Smoky Mountains.  And it was immediately and abundantly clear that this was indeed an exceptional crowd filling this arena’s particularly cavernous interior, one that was not shy in the least in showing their appreciation that Paul had at long last made it to their hometown. For the next nearly three hours, there would be non-stop singing, dancing, and full throated jubilation — all the manifestations of the unique magic that only a first-time Paul show can conjure.

The constantly heightening exchange of electricity was mutual, Paul and the band and the people of Knoxville amplifying one another all night long — As ‘Let Me Roll It’ steamrolled into ‘Getting Better’, the latter’s refrain became the theme of the evening, as the momentum built with each of these songs, by this performance and this audience continued to gain exponentially. The irresistible positivity of ‘We Can Work It Out’ made a perfectly occasioned return to tonight’s setlist, while ‘Dance Tonight’ spurred an impromptu exhibition dance-off amongst thousands of participants. Elsewhere, the supercharged crowd took in the tributes of ‘Something’ and ‘Here Today’ with an intensified reverence that equalled the ebullience of their response to the opening notes of ‘Lady Madonna’, the pyro-kinetic thrill ride of ‘Live And Let Die’… and it almost goes without saying: their absolutely deafening A+ effort to claim the title of loudest ‘Hey Jude’ singalong of the tour.

But don’t take my word for it—to sum up, here’s a snippet from the Knoxville News Sentinel’s review, one comprised largely of some very familiar lyric excerpts and (para)phrases: "After more than 30 songs, unexpected pyro hot as sun and John Lennon coming together with the band in virtual fashion, it’s safe to say people won't forget the time or place they saw McCartney – that lucky day he came to Knoxville. While everyone has had a hard couple of years, everyone let their hair down, had a good time and surely will be listening to the music playing in their head over and over for days to come."

And in an inspired final moment of off-stage performance, The Hot City Horns played Paul onto the waiting bus with an homage to Dolly Parton (a nod to Dollywood’s location about an hour away in Pigeon Forge TN), and with that it was time for GOT BACK  to head northeast… Please tune in again when we resume reporting from Syracuse.

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Penned on the Run: ‘GOT BACK’ Tour 2022 Part 1