{"id":51103,"date":"2025-11-07T15:09:50","date_gmt":"2025-11-07T15:09:50","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2025\/11\/07\/got-back-tour-spreads-wings\/"},"modified":"2025-11-07T15:09:50","modified_gmt":"2025-11-07T15:09:50","slug":"got-back-tour-spreads-wings","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2025\/11\/07\/got-back-tour-spreads-wings\/","title":{"rendered":"‘Got Back’ Tour Spreads Wings"},"content":{"rendered":"


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\n\tThere\u2019s a moment around the halfway point of Paul McCartney<\/a>\u2019s current Got Back Tour<\/a> when things get decidedly weird. It\u2019s during the performance of \u201cNow and Then,\u201d John Lennon\u2019s unfinished 1970s demo that, with the help of some AI, was released in 2023 as \u201cthe last Beatles song.\u201d <\/a>Watching the song\u2019s polarizing music video<\/a>, which uses digital trickery to reunite the surviving Beatles with their late mates, projected behind McCartney and his band on a massive screen is trippy, and hard for the brain to comprehend.<\/p>\n

\n\tBut then again, so is seeing an 83-year-old Beatle onstage in 2025, more than 60 years since the Fab Four first landed in America.<\/p>\n

\n\tOn Thursday night in Nashville, McCartney brought his Beatles, Wings, and more spectacle of 30-plus songs to the Pinnacle, the smallest venue he\u2019ll play on his 2025 North American tour. While not as intimate as the tiny Bowery Ballroom<\/a> in New York, where Sir Paul delivered three pop-up shows in February, the 4500-capacity Pinnacle was appropriately cozy and made McCartney\u2019s the hottest ticket in Nashville this week (no small feat, considering Sabrina Carpenter set up shop for two sold-out nights<\/a> at the nearby Bridgestone Arena).<\/p>\n

\n\tThose lucky enough to make it inside \u2014 from gray-haired Beatles fans holding signs and at least two millennials holding babies, to former M\u00f6tley Cr\u00fce guitarist Mick Mars and jangle-pop hero Robyn Hitchcock \u2014 were treated to a classic McCartney revue. He and his longtime band, seven musicians in all, including the extraordinary Abe Laboriel Jr. on drums and a three-piece horn section, painstakingly recreated Beatles classics like \u201cGot to Get You into My Life,\u201d \u201cDrive My Car,\u201d \u201cGetting Better,\u201d and \u201cLady Madonna.\u201d They\u2019re also resurrecting \u201cHelp!\u201d<\/a> on this tour, marking the first time McCartney has played the song in its entirety since 1965. Rolling Stone<\/em>\u2019s Rob Sheffield called it<\/a> the \u201cemotional climax\u201d of the Got Back tour opener in Palm Springs in September.<\/p>\n

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\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n

\n\tIn Nashville, \u201cHelp!\u201d did its opening-number job of getting the crowd riled up, but here the emotion peaked not with one of McCartney\u2019s songs, but with George Harrison\u2019s \u201cSomething.\u201d Beginning with McCartney solo on ukulele, it was a gorgeous, understated rendition that hushed the audience, until the band joined in for its euphoric finish. McCartney\u2019s willingness to perform Beatles material not originally sung by him \u2014\u00a0Harrison\u2019s \u201cSomething,\u201d Lennon\u2019s \u201cHelp!\u201d and \u201cBeing for the Benefit of Mr. Kite\u201d \u2014\u00a0has kept his set lists from going stale, even as he delivers nightly workhorses like \u201cLet It Be\u201d and \u201cHey Jude.\u201d For the record, both of those piano ballads were particularly rousing on Thursday evening.<\/p>\n

\n\tBut even with all those Beatles selections, including a marvelously punchy \u201cGet Back,\u201d it was the Wings songs that distinguished this stop of the tour. Maybe it was because a new self-titled collection, Wings<\/em>, was just hours away from dropping, but McCartney and band seemed to relish playing the songs from his Seventies era. \u201cJet\u201d was supersonic, \u201cLet Me Roll It\u201d was notably funky, and \u201cLive and Let Die\u201d burned fierce, even if the pyro inside the Pinnacle was replaced by simulated images of fire.<\/p>\n

\n\tAlas, \u201cJunior\u2019s Farm,\u201d which Wings recorded in Nashville didn\u2019t make the set list, nor did McCartney follow the lead of Ringo Starr<\/a> back in January and talk about his time in Music City and how it influenced him and the Beatles. He did have some fun, however, by reading aloud signs held aloft in the audience, including one that said, \u201cI\u2019m gay; help me come out.\u201d \u201cSay \u2018I\u2019m gay\u2019 three times,\u201d McCartney advised. He also prefaced \u201cBlackbird\u201d with an inspiring story of the time the Beatles threatened to bail on a segregated concert in Jacksonville, Florida, if the promoter didn\u2019t let Black fans sit with white. (The promoter relented.)<\/p>\n

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\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n

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\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n

\n\tAfter leaving the stage for a quick break following the requisite singalong of \u201cHey Jude,\u201d McCartney and his band reemerged to play a mini-Abbey Road<\/em> suite. But first they waved flags: the U.S., the Union Jack, the Tennessee state flag, and a Pride flag. It was a set piece, but one that resonated with fans grasping to find any sign of unity in a country that feels so divided. Maybe for this night, anyway, it was provided by the music of the Beatles, or at least an octogenarian who remains unafraid to offer the piece of advice that gave this great night one of its sweetest moments: \u201cIn the end, the love you take, is equal to the love you make.\u201d<\/p>\n

\n\tSet List:<\/strong>
\u201cHelp!\u201d
\u201cComing Up\u201d
\u201cGot to Get You Into My Life\u201d
\u201cDrive My Car\u201d
\u201cLetting Go\u201d
\u201cCome On to Me\u201d
\u201cLet Me Roll It\u201d
\u201cGetting Better\u201d
\u201cLet \u2018Em In\u201d
\u201cMy Valentine\u201d
\u201cNineteen Hundred and Eighty-Five\u201d
\u201cMaybe I\u2019m Amazed\u201d
\u201cI\u2019ve Just Seen a Face\u201d
\u201cIn Spite of All the Danger\u201d
\u201cLove Me Do\u201d
\u201cEvery Night\u201d
\u201cBlackbird\u201d
\u201cNow and Then\u201d
\u201cLady Madonna\u201d
\u201cJet\u201d
\u201cBeing for the Benefit of Mr. Kite!\u201d
\u201cSomething\u201d
\u201cOb-La-Di, Ob-La-Da\u201d
\u201cBand on the Run\u201d
\u201cGet Back\u201d
\u201cLet It Be\u201d
\u201cLive and Let Die\u201d
\u201cHey Jude\u201d
\u201cI\u2019ve Got a Feeling\u201d
\u201cSgt. Pepper\u2019s Lonely Hearts Club Band\u201d
\u201cHelter Skelter\u201d
\u201cGolden Slumbers\u201d
\u201cCarry That Weight\u201d
\u201cThe End\u201d<\/p>\n<\/div>\n


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