Liverpool Sound and Vision Rating 9/10
The love you take is equal to the love you make” sang McCartney’s sampled voice, mixed with some beats by the support DJ. It brought to an end the pre-show photo montage, which was accompanied by some fairly entertaining remixes of classic tracks.
Eschewing standard practice of the star following the rest of the band, Paul McCartney shuffled onto the empty stage alone, holding his signature Hofner bass…to a massive roar of the crowd, naturally. This humble manner was evident throughout the show. His in-between song banter is stilted and almost bashful; the polar opposite to his arguably over-rehearsed, P.R. style interview technique. McCartney realises that in the live situation, he doesn’t have to indulge in long introductions or throw rock star shapes. Rather, his astounding back catalogue does the talking and is actually the real star of the show.
No fan could possibly have gone away disappointed with the McCartney jukebox, all bases were covered with choice cuts from across his career and you don’t spend as long as he has in music without knowing how to pace a show and tonight was perfect. It rocked from the off with Eight Days A Week and Can’t Buy Me Love, settling into a groove which culminated with gentler songs The Long And Winding Road and Maybe I’m Amazed. This seemed to close a ‘first act’.
The concert was studded with unexpected gems which nicely segmented the show. A version of George Harrison’s Something was begun on a solo ukulele but eventually the whole band joined in, creating a crescendo which seemed to last the whole latter half of the song, such was its beauty. Lovely Rita and Being For The Benefit Of Mr Kite were pure psychedelic delights; overlooked Beatle gems given their due.
For a while, the Barclaycard Arena felt like an intimate acoustic venue as a handful of songs were performed solo, such as Paul’s touching tribute to John Lennon, Here Today. However, the audience were soon reminded where they were with the glorious 70s pomp-rock Live And Let Die firework-and-flame spectacle.
How could anyone possibly follow that? With Hey Jude, of course! The whole crowd were finally singing along, something which seemed to be missing up to that point; but then, no one is paying to hear the sound of their own voice or the person sitting next to them. As for McCartney’s vocals – they sounded in great shape and not as ravaged as received wisdom would have it. His band must get recognition for their harmonies which gave the arrangements a sheen deserved of an artist who defines sheen.
This may however, be the root of one complaint. The backing was so perfect, and crease-free, it could arguably occurred to some that occasionally Paul might as well have been singing to a pre-recorded backing track; however, this is the nature of the bombastic arena show, if you want to hear the sound of fingernails hitting the piano keys, visit a jazz club. Overall, the power of the music and sense of occasion would have anybody forgive the over the top guitar solos which steamrolled George Harrison’s subtle lines.
Show-stopper after show-stopper failed to be enough to actually stop the show and by the second encore, most of the crowd were on their feet. After the inevitable – but always beautiful – Yesterday, Golden Slumbers signalled the only way to end a McCartney show – with Abbey Road’s closing medley. It rocked, as did the whole night. And so, it ended as it had begun, with the hippiest of hippy lyrics from the inventor of the hippy…”The love you take is equal to the love you make…”
David Garside