The first time I saw Paul McCartney live in concert. I couldn’t have been closer. It was at Glastonbury 2004, and I endured sets from the likes of Joss Stone and the Black Eyed Peas in the early evening to get to the crash barrier at the very front of the field. It was worth it – getting so close to a living legend.
This time around, in December 2017, I couldn’t have been further away. I went for the cheapest GA standing tickets, not wanting to auction off my remaining kidney for a ticket closer to the stage. It was still a blast, and the hi-def, crystal-clear screens at the side of stage made sure I didn’t miss out on much.
The difference in set-lists between the two times I saw him play was quite interesting. At Glastonbury in 2004, he was playing the hits for what would ultimately be a BBC audience enjoying the festival on the television, sat at home minus the mud and discomfort. In Auckland a few weeks ago, on the final date of the band’s world tour, the set threw up some unexpected numbers.
Kicking off with A Hard Day’s Night – ostensibly a ‘John’ song – the set included a couple of other Beatles songs written predominantly by Lennon: Being For The Benefit Of Mr. Kite and A Day In The Life. Also played were a couple of genuine 50/50 co-written Beatles songs – I’ve Got A Feeling and Birthday – which I was surprised McCartney would even bother with.
Ever since the former Beatle was happy to lean on a Beatles-heavy set-list (post-Flaming Pie?), there’s always been an embarrassment of riches. He can’t possibly play everything, so this time there was no Drive My Car, no Get Back, no Paperback Writer. So it’s even stranger that he made the decision to play some of the songs that he did include. He played Mull Of Kintyre for fuck’s sake!
The Band On The Run record was well represented though. Band On The Run and Jet are probably a feature of the band’s set-list every night, and Let Me Roll It sounds like the kind of song they just love to play live, but it was the appearance of the album’s closer, Nineteen Hundred And Eighty-Five, that was the most surprising. At four songs, this made Band On The Run the most represented album in McCartney’s back catalogue – not including Beatles compilations of course – a testament to how strong the record is in relation to everything else he has produced in his career.
I prefer Ram, and always will, but it’s clear that Band On The Run is the closest McCartney ever got to replicating the strength of the Beatles’ output.
Hidden Gem: Nineteen Hundred And Eighty-Five