" July 20, 2013 -- Macca Report News

Nirvana joins Paul on stage at Safeco Field in Seattle

Paul played to a sold-out crowd of 45,000 at Seattle's Safeco Field. This was the first time a concert was ever held at Safeco. The scoreboard was altered.

Surprise guests included the 3 surviving members of Nirvana, Dave Grohl, Krist Novoselic and Pat Smear who joined Paul for five encore songs, "Cut Me Some Slack," "Get Back," "Long Tall Sally," "Helter Skelter" and "Golden Slumbers/Carry That Weight/The End."

CONCERT SETLIST - July 19, 2013 - Safeco Field - Seattle, WA

1. Eight Days A Week
2. Junior's Farm
3. All My Loving
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady Coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. We Can Work It Out
13. Another Day
14. And I Love Her
15. Blackbird
16. Here Today
17. Your Mother Should Know
18. Lady Madonna
19. All Together Now
20. Lovely Rita
21. Mrs. Vandebilt
22. Eleanor Rigby
23. Being For The Benefit Of Mr. Kite!
24. Something
25. Ob-La-Di, Ob-La-Da
26. Band On The Run
27. Back In The USSR
28. Let It Be
29. Live And Let Die
30. Hey Jude

Encore One
31. Day Tripper
32. Cut Me Some Slack (with Nirvana -Dave Grohl - drums, Krist Novoselic, Pat Smear, Paul- cigar box electric guitar)
33. Get Back (With Dave Grohl on guitar, Krist Novoselic, and Pat Smear)

Encore Two
34. Yesterday
35. Long Tall Sally (With Dave Grohl on guitar, Krist Novoselic and Pat Smear)
36. Helter Skelter (With Dave Grohl on guitar, Krist Novoselic and Pat Smear)
37. Golden Slumbers/Carry That Weight/The End (With Dave Grohl on guitar, Krist Novoselic and Pat Smear)




http://themaccareport.com/news/report.htm

" I was at the Seattle show last night and it was incredible. You've seen the setlist, Paul was in top form and totally rocked !!!!!!  "

Congratulations .

I would like to nuzzle you .

" July 25, 2013 -- Rolling Stone

Q&A: Paul McCartney Looks Back on His Latest Magical Mystery Tour
As his Out There! world tour rolls into its final weeks, McCartney talks about how much fun he's been having on the road...

Anyone who's seen Paul McCartney on this year's Out There! world tour can tell you how much he loves being onstage. From Brazil to Poland to the U.S., he's delivered epic three-hour sets full of Beatles, Wings and solo classics, complete with lasers, pyrotechnics and a secondary stage that rises high above the crowd. "It's very exciting," McCartney tells Rolling Stone. "You've got the audience going crazy, and the age of the audience is wild, too ­ there's so many young people in there, digging it. Half of them know the words better than I do!"





The day after he brought out Nirvana's surviving members at a stadium gig in Seattle, McCartney called from Los Angeles, where he was putting the finishing touches on his next album (featuring production contributions from Mark Ronson, Paul Epworth, Ethan Johns and Giles Martin). He spoke about the high points of this tour, his memories of songwriting with John Lennon, why he'll never retire and more.

RS: Have you been having a lot of fun on this tour?

PAUL: Yeah, it's really fun. We've got a really good band. We're very happy with the show, 'cause we've honed it down over the years as to what we like playing and what we think the audience likes to hear. There's some stuff the audience doesn't even know ­ not many, I must admit, but a few little ones. So the show just seems to run itself now. I'm constantly amazed at it, actually. I get on there, do the opening things, and then suddenly I'm changing to electric guitar and I'm going, "Oh, this is nice" ­ you know, I always like to plug in an electric guitar. Then I'm swapping guitars for "Paperback Writer," and I'm thinking, "This is nice. I love this Epiphone Casino." [Ed. Note: For this song, McCartney plays the same guitar heard on the original 1966 recording.] Then, just when it could get boring, I move to piano, and I think, "Oh, this is cool!" I swap through instruments quite a lot, which keeps it nice and fresh for me.

RS: You've added a few new Beatles songs to the set ­ "Lovely Rita," "Being for the Benefit of Mr. Kite!" and "All Together Now." What's it like playing those live for the first time ever?

PAUL: That's challenging. I mean, something like "Being for the Benefit of Mr. Kite!" is hard to do. Ask a bass player who sings. It's contrapuntal, man! It really is. I've got to sing a melody that's going to one place, and then I've got to play this bassline that's going to other places. It's a concentration thing. But that's half the fun of the show. I'm still practicing, still trying to figure it out, particularly on the new numbers. It's like, "How does this one go again?"

RS: What made you want to revisit those particular songs?

PAUL: Well, for instance, "Mr. Kite" is such a crazy, oddball song that I thought it would freshen up the set. Plus the fact that I'd never done it. None of us in the Beatles ever did that song [in concert]. And I have great memories of writing it with John. I read, occasionally, people say, "Oh, John wrote that one." I say, "Wait a minute, what was that afternoon I spent with him, then, looking at this poster?" He happened to have a poster in his living room at home. I was out at his house, and we just got this idea, because the poster said "Being for the Benefit of Mr Kite" ­ and then we put in, you know, "there will be a show tonight," and then it was like, "of course," then it had "Henry the Horse dances the waltz." You know, whatever. "The Hendersons, Pablo Fanques, somersets" We said, "What was 'somersets'? It must have been an old-fashioned way of saying somersaults." The song just wrote itself. So, yeah, I was happy to kind of reclaim it as partially mine. But like I said, you've got to look what you're doing when you play that one.

RS: Does it feel like you're coming full circle when you sing those words in front of these huge crowds after all those years?

PAUL: You know, it's more a question of what a delight it is to finally play it. We played it when we recorded it ­ for instance, "Mr. Kite," when we recorded it, we laid down the track as a group, and then I put the bass on afterwards, as I often did in those days. So that gave me the opportunity to really think about the bassline and make it melodic. But, of course, if I'd have thought, like, "Tomorrow you're going to have to play this live," I don't think I'd have made it so complicated! "Day Tripper" was another one. I thought, "I just can't do it." It's like patting your head and rubbing your belly at the same time. It's not that easy to do. You've got to practice up on that. I goofed it a million times in rehearsal. Then, finally, I just thought, "OK, wait a minute, I'll do that . . ." And I worked out how I was going to do it. So it's great for me, reviewing the past, and just thinking, "This is cool." It's still up-to-date. The combination of all of that makes it quite a joy to do.

RS: Are there other Beatles songs that you've never played live that you'd like to do some day?

PAUL: Yeah, I think there are. What I do is, each tour or each concert we're going to do, I will go back into the catalog and think, "Wait a minute, we could do that one," and there are a few little hidden gems. I haven't actually decided which ones are which yet, but I know there's so much in there. It's like a little treasure trove, you know? It's really quite a cool feeling, because as I do the songs, I am made very aware that that period when we recorded ­ the 10 years the Beatles were together ­ was a particularly rich period for art, anyway, and for us. We just kept popping it in there! You can think of songs like "Why Don't We Do It In The Road" ­ you think, "You know, that could go live." And then I can think of Wings things. People keep requesting "Uncle Albert." It'd be great to do, but it's just a little bit of a challenge to learn, 'cause these are not twelve-bars. But once you get them, and once you do them right, they kind of feel like twelve-bars. That's the trick. [Laughs]

You played stadiums with the Beatles in the Sixties, obviously. Would you say that playing stadiums today is very different?

PAUL: Oh, yeah, hugely different. It's kind of amusingly different. I think the first big stadium show anyone ever played was Shea Stadium [in 1965], 'cause we were hot enough to have the power to fill a place like that, and no one had ever dared that with a rock & roll act before. But when you think that we played through the PA ­ it was the baseball system, where the guy played that little organ. I mean, that's what we played through, and we just had our little amps. God knows how the audience heard us. I don't think they did. Maybe that's why they were screaming ­ to make up for the lack of noise we were making. It's funny when you think about it. By the time we got to the Wings Over America period in the Seventies, it had got very much bigger, and it was the birth of real arena rock & roll. By then, we could actually hear ourselves, the audience could hear us, and whatever noise they were going make, we could get above them.

RS: Do you think you'll ever retire from performing live?

PAUL: I don't know, man. I can't imagine ever not doing it. It's what I do, and it's what I've always done, and I love it so much. Of course, there's got to be some kind of physical limitation. But I haven't found it. I mean, I did that show last night, and I'm thinking, "Jesus, God, man. You know, you're not 25." But then, my other side of my head's going, "Yes, you are! Get on with it!" So I haven't found my physical limitation yet. If I do, then I'll have a think about the question. 'Til then, I'm ignoring it.

--------------------------------------------------------------------------------


July 25, 2013 -- The Independent (UK)

Sir Paul McCartney at graduation of 'fame' school he founded

Sir Paul McCartney led graduation celebrations today at the "fame" school he set up in his home city - which included an honour for DJ and producer Mark Ronson.

Veteran US record label boss Seymour Stein - who famously gave Madonna her first deal - was presented, along with Ronson, with the Liverpool Institute for Performing Arts (Lipa) Companion award.

The pair were among six luminaries to be presented with the award by the former Beatle, who opened Lipa in 1995 after a long campaign.

Lipa awards its Companionships to figures who have made an outstanding achievement and practical contribution to students' learning.

Mark Featherstone-Witty, Lipa's founding principal and chief executive, said: "Despite the Government's enthusiasm - not - for the creative and performing arts, our annual graduate surveys have regularly shown that around 90% of respondents are in work, helped and inspired by our Companions and Honoured Friends.

"It's time that politicians recognised that they will, as years pass, be largely forgotten and that the creative and performing arts will not and will continue to define our time for those who come along after us."

Ronson is known for working with the late Amy Winehouse on her Back To Black album, as well as working on a number of records under his own name and with guest vocalists.

Ronson and Seymour - who signed Madonna to his Sire Records in 1982 - were joined by theatre design consultant Andy Hayles, Olivier Award-winning choreographer Stephen Mear and audio-industry magazine publisher and editor Zenon Schoepe.

Educator and theatre director Keith Johnstone was unable to attend the ceremony so his speech was shown on video.

Rowena Morgan, business development officer for the British Academy of Songwriters, Composers and Authors (Basca) became an Honoured Friend in recognition of her contribution to the development of Lipa's music masterclass programme.

More than 260 students from the UK and some 15 other countries, including India, Mexico, South Africa and Venezuela, graduated at the ceremony, having completed either foundation certificate or degree programmes.

Lipa is located in Sir Paul's old school, the Liverpool Institute for Boys, which underwent a multimillion-pound renovation to turn it into a state-of-the-art performing arts higher education institution.

It opened with the aim of providing the best teaching and learning for people who want to pursue a lasting career in the arts and entertainment industry, whether as performers or those who make performance possible. "

http://themaccareport.com/news/report.htm



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V




!!!!!

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  !!!!!!

" A jb return, at this point, would be anticlimatic. "

Joey, why has jb been scarce?



I think there's a lot of things at play. I think age is one thing. I think the older you get, it's quite difficult to talk about things that are going to relate to everybody in the same way. To talk about love to a 20-year old as to what's affecting you as a 50-year old is almost impossible. But, maybe, it's that things interest him in a different way and maybe the person he's moved into is quite a different person to the person he was then. And, in some respect U2 are very much a voice of that generation and now there's a new generation.

If you talk about it on a human level, what is there left to achieve? One tiny part of any one of those four people's lives most people never even get a chance to glimpse at, let alone have the whole package. So, to be able to sort of come back down to a place where you can appreciate and see things in the way everybody else does, I suspect that's what he means by relevancy.

So, to play a small club where people want to come and see you and be a part of that energy, and people want to come because this is one of the greatest rock 'n' roll bands on a live stage that there has ever been ... but would people think that U2 could still be that same band in their 50s, or would they be perceived as, like, the Rolling Stones? I know that Bono always struggles with that, because he never wants to lose sight of that person who grew up and he was part of that small band where it's driven totally by emotion. There's no intellect. There's no money. There's nothing else. And I think for him, that's what he would still be holding onto, but obviously it becomes incredibly difficult.

' joey   ........ why is jb so orgasmic today ?   '


*****************  "  SIGH !!!! "   ******************


" August 8, 2013 -- Macca Report News

More 'Out There' dates for the US?

Macca tour rumors circulating are saying that Paul might be planning 5 more US shows (September/October) before he heads to Japan (and possibly Australia) in November. Places that could see a Macca concert? Southern California. Stay tuned...


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August 8, 2013 -- Daily Mail (UK)

Surely you could afford a bigger boat? Windswept Paul McCartney sets sail in a dinghy in the Hampton




A windswept Paul McCartney was seen sailing out into the Long Island Sound in a very small boat, accompanied by one of his daughter's friends.




The Beatles star appeared to be teaching his young companion how to manoeuvre the vessel during a holiday in the Hamptons in New York with Beatrice, 9.




The tiny boat, which featured multi-coloured sails, had just enough room for the 71-year-old and the young boy.

Paul looked like he was in full holiday mode in floral-print shorts, pale blue T-shirt and baseball cap, for his excursion.

Despite his fatherly duties, the singer managed to squeeze in an outfit change earlier in the day, after taking his daughter sailing.




He swapped a pair of long shorts and a dark green T-shirt for more colourful attire before he set sail again.

The father-of-five, who is regularly seen in the area after buying a home in the Hamptons, was eager to head back out on the boat to catch the stronger winds.




Paul, who looked to be having a great time out at sea, soon returned to beach to join Beatrice who was playing in the sand.

The baseball cap is clearly an important accessory for the Liverpudlian rocker, who was spotted wearing the same one last week while out shopping with his wife, Nancy Shevell, nearby.

However he teamed it with a pair of chinos, blue shirt and brown, open-toed shoes.




Nancy flashed just enough leg as she strolled around alongside her spouse, checking out the wares in an art gallery and local bookshop.




The American businesswoman teamed the denim skirt with a loose floral top, bright pink cardigan and flip flops, with a straw hat and floral bag.   "

http://themaccareport.com/news/report.htm

Joey,Macca will be playing the Outside Lands Festival in San Francisco tomorrow. But I will not be there. I don't do festivals.

Joey wrote on Aug 8^th, 2013 at 2:22pm:


It's hot out there. Be careful of dehydration.

sweetcharmedlife wrote on Aug 8^th, 2013 at 3:25pm:

' joey   ......... is Sunday Evening really ' Concert Night  ' at brother jb's house ?  '


*************** " SIGH !!!! "  *******************



Of course , ............ Some Guy  :

Joey, why is jb bitter?

" August 14, 2013 -- Edmonton Journal

St. Albert musician graduated from Liverpool Performing Arts school



St. Albert musician Robert Mulder, fourth from left, with Sir Paul McCartney
after a songwriting session at the Liverpool Institute of Performing Arts

The first time you meet Paul McCartney, there are a few things St. Albert musician Robert Mulder wants you to know.

1) You'll be nervous, but it's only natural. McCartney, after all, is revered by tens of millions of adoring Beatles fans.

2) Sir Paul appears different in person than he does onstage. He's more soft-spoken - kind of like a friendly uncle.

3) The experience will seem surreal.

Three months later, Mulder is still awed by the rare opportunity he was granted: a half-hour, one-on-one mentoring session with the rock 'n' roll legend himself. It's one of the major perks of studying at the Liverpool Institute for Performing Arts, the university co-founded by McCartney in 1996.

"To be honest, it was kind of hard to look at him while I was playing these songs that I had spent so long trying to practise," Mulder says on the phone from Liverpool. "To hear him singing along and tapping his foot was amazing and something I'm never going to forget."

The session was "short, but very intense," says the 22-year-old. Besides getting feedback on his songs and the music video for his single, Mulder was able to chat with McCartney for about 15 minutes. And what exactly does one talk about with Sir Paul?

"I spent some time discussing with him just how to deal with fans, how to deal with paparazzi, how to deal with having a family and when you're on the road and just trying to balance everything out," Mulder says. "I think I was certainly nervous, but I think I was just more preoccupied with my song choice and what I was going to play for him."

And there's more. Mulder encountered McCartney a second time at his graduation ceremony in July. The two shook hands and quickly chatted onstage before McCartney decorated him with a commemorative pin.

But his two run-ins with McCartney aren't the only things Mulder is pinching himself about. His acceptance into the Liverpool Institute was a feat of its own - and highlights the singer-songwriter's potential.

Only four per cent of those who apply are accepted at the institute, once the site of McCartney's high school. But Mulder hedged his bets, wanting to focus on songwriting rather than the traditional musical education offered in Canadian universities (including Grant MacEwan University, which the Liverpool Institute representatives tour each year). Mulder was one of two students not enrolled at Grant MacEwan to gain admission to the institute.

It turns out that flying overseas and living in a foreign setting was the kick-start Mulder needed to pen his songs.

"I think it's hard to write stuff of substance without having really lived. And when I say lived, without having really made a lot of blunders and tried different things out.

"From my personal experience, it's very hard to write when things are going well and when you've got a bit of a plateau. I think my ideas are more visceral when it comes from a really strong emotion, and usually those emotions come from some sort of distress."

He is expanding those songwriting skills through his band, HighFields, which blends folk, rock and indie alternative music. He draws on the diversity of its members, who hail from South Africa, Singapore and Norway. They've recently released a single called The Chase (Oh Lord!), which has received airplay on BBC Radio 1 and was nominated for a Liverpool Music Award.

Although he's heading back to Edmonton this month, Mulder certainly won't be abandoning his English connection. He plans to apply for a visa to revisit the country that has birthed his career, and his idol's.

"England is a very small country and it's a small music scene and things get around fast. I'm just trying to bridge the two cultures and spread who I am and what I'm doing with as many people as possible."

And through it all, Mulder hopes to get by with a little help from his friend.

"When I meet Paul again, I'm not sure. It's a small enough industry that I'm sure we'll cross paths again. And hopefully, the next time, I'll have something more to show."



CONCERT SETLIST (Winnipeg) August 12, 2013

1. Eight Days A Week
2. Junior's Farm
3. All My Loving
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. We Can Work It Out
13. Another Day
14. And I Love Her
15. Blackbird
16. Here Today
17. Your Mother Should Know
18. Lady Madonna
19. All Together Now
20. Lovely Rita
21. Mrs. Vandebilt
22. Eleanor Rigby
23. Being For The Benefit Of Mr. Kite!
24. Something
25. Ob-La-Di, Ob-La-Da
26. Band On The Run
27. Back In The USSR
28. Let It Be
29. Live And Let Die
30. Hey Jude

Encore One
31. Day Tripper
32. Hi Hi Hi
33. Get Back

Encore Two
34. Yesterday
35. Mull Of Kintrye (with Winnipeg Police Pipe Band)
36. Helter Skelter
37. Golden Slumbers/Carry That Weight/The End

VIDEO - Paul leaves hotel in Winnipeg
VIDEO - CBC News clip "Eight Days A Week"
VIDEO - WFPtv - News clip "All My Loving"


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August 14, 2013 -- Brandon Sun (Canada)

McCartney's stage simple, songs sensational (Winnipeg)




'BLACKBIRD singing in the dead of night," Paul McCartney croons, and his voice wavers high and thin as darkness falls on Investors Group Field.

The man is rising skyward now, about 90 minutes into this stop on the Out There tour that stretches to almost three hours, he knows these tickets didn't come cheap. He is standing on a platform that rises slowly away from the front of the stage, coming to rest about 20 feet above the fans on the floor. The star is alone, for this one, just a legend and his guitar. Its strings quiver and glint as they catch just enough of the light.

From the concourse, if you squint a little, you can still see the outline of a young man with a mop-top boppin' on a Rickenbacker, but only faintly. Sir Paul has survived to grow past that, the shadow of his legend chased longer by the light of these golden years. He is timeless, which does not mean ageless. He is 71 years old.

"You were only waiting for this moment to be free..."

Oh, you know, Winnipeg has been waiting, we haven't seen him for 20 years. The promoter of that last show is now the mayor of Winnipeg, but the gig "seems like yesterday," McCartney will say. And doesn't everyone here believe in that?

Pause the record, spin it backward, start it again at 6:38 p.m. Sound check at Investors Group Field ran late, the opening of the gates was delayed, and so great masses of people shuffle in streams that snake down Chancellor Matheson Drive, that radiate over plots of grass that dot the university site, that rest against the hoods of cars in the parking lots beyond.

Merchandise tents have sprung up even outside the stadium, and they are thronged with lines. In these lines, fans clutch cash, point furiously at any of two dozen T-shirt designs. They are young men with beards and Lennon glasses and gnarled guitarist fingers. They are silver-haired women in denim jackets and heavy gold necklaces. They are men in McCartney shirts from the 1990s, 1980s, before, maybe they pulled it out of a keepsake drawer where it was once carefully folded and stored.

Most of all, they are here huddled in groups that span generations, Baby Boom grown-ups laughing giddy with their twentysomething sons and daughters. They have lived in McCartney's music together, passed it down like the family cabin, so warm when you breathe it in and sweet with last decade's smoke, and so familiar. And the sunrise still floods its windows, though they are old.

"Bon soir, monsieurs et madames," McCartney says, just over seven minutes in, the show began precisely at 8:30 p.m. On the dot as they say, on the nose. "Oh, hi guys. I think we're going to have a little bit of fun here this evening."

So that's it then, just a gathering of a man and his 31,200 closest friends. There was no opening act. When it was time for the show to start, McCartney just walked onstage, his band following behind. He was draped in a long navy jacket and black trousers, with the heels of his boots peeking beneath the hem.

He held up his hand, issued a wave typically seen on kings, and then he stepped to the microphone and he started to sing. We all started to sing. "Hold me, love me," he went, we went, all the people in this brushed silver shell went. "...Eight days a week."

The experience is styled in bright simplicity. There is little onstage that isn't necessary for McCartney and his band to perform, just video screens looming behind and beside them. When McCartney tosses off his navy jacket about 15 minutes in, he quips that it's the only costume change in the show, somewhere in the floor seats a man applauds. "Yes, yes, let the music speak for itself," the fan calls.

Even if McCartney had thought to dress flashy -- well, there is no time for that. The music flows over Investors Group Field so quickly, it streams up over the canopy and scampers off into the sunset, out to where people without tickets are hanging on the hoods of their cars.

"This song is for the Wings fans," or "I wrote this for my wife, Nancy." Or, at one point, "I wrote this song for Linda."




We are at the latter now, the 10th song in this marathon show, and McCartney's fingers are dancing over grand piano keys. Maybe I'm Amazed is a love song, but in the climax his forever boyish voice howls, hoarse with memory of the love who died in 1998.

The tour, it layers songs on songs and sing-alongs on even more familiar ones. When the darkness fully descends, lights are dancing over McCartney's head, and he's rocking now, shoulders shaking with each strum and riff and melody. He picks up a ukulele. "George Harrison was a really good ukulele player," McCartney says, and the crowd issues up a memorial cheer. "Actually, he gave me this ukulele."

The song was Something, and McCartney played it then, and the crowd shimmied and swayed and a moment later things really got going, as one of the most famous of old Beatles bops started up and the party began in earnest. Everyone sang, again, and the place came alive.

"Ob-la-di, ob-la-da, life goes on..."

And the show goes on. The main set closed on Hey Jude, the anthem of every generation since it was written, and then there was one encore, and then a second: he opened that one with Yesterday, just McCartney and his guitar and his voice a jewel here, and the crowd is still singing.

Then he pauses to bring a little something special: he likes playing in Canada, he says, because of all the Scottish people here. And as his band launches into the boozy Celtic rhythms of Mull of Kintyre, the entire Winnipeg Police Service pipe band marches out onstage, drums booming and pipes piercing the air, this seems a treat for the Winnipeg show.

When they finish, they bow, and tens of thousands of people can't stop cheering. "We're getting the feeling you want to keep rocking," McCartney says with a wink, and slams into the chords of Helter Skelter, riding its rawness to take the show home.


--------------------------------------------------------------------------------


August 14, 2013 -- Winnipeg Free Press (Canada)

Winnipeg pipe band surprises by taking stage with McCartney

Paul McCartney dazzled a sold-out crowd of 31,200 fans at Investors Group Field with a touch of Winnipeg flavor on Monday night. The Winnipeg Police Pipe Band joined McCartney for a song late into his set.

During McCartney's second encore, the Winnipeg Police Pipe Band joined the 71-year-old Beatle on stage to perform Wings' song Mull of Kintyre. The members stood around Sir Paul and his band as they performed the song during the surprise appearance.

Promoters of the show hinted there would be some kind of local connection during McCartney's nearly three-hour set which included over 30 songs.


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August 14, 2013 -- Winnipeg Free Press (Canada)

Sir Paul given Key to City

Sir Paul McCartney is the latest recipient of the Key to the City. The 71-year-old Beatle received the key from Mayor Sam Katz before taking the stage at sold-out Investors Group Field on Monday night.

"We are thrilled to present Sir Paul with the Key to the City," said Mayor Katz. "Not only have his songs touched generations of music fans, his many years of working with charitable organizations has set a tremendous example of caring and humanity for us all."

McCartney is considered one of the world's most successful musicians of all time. On top of his success as an artist, McCartney is also known for his philanthropy and activism working with organizations to bring awareness to animal rights, vegetarianism, musical therapy and education, and participating in benefit concerts.

In 1997, McCartney received his knighthood from Queen Elizabeth II for his service to the music industry.


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August 14, 2013 -- News Talk 980 CJME (Canada)

McCartney crew can't eat meat while preparing for show
Rocker requests only vegetarian meals during set-up

A whole lot of burly stage workers at Mosaic Stadium (Regina, Canada) are on a strict diet this week, thanks to Paul McCartney.

The former Beatle and rock legend is playing an outdoor show at the stadium Wednesday night. McCartney has long been known as a staunch vegan and a vehement supporter of animal rights, even travelling with his wife to northern Canada to protest seal hunting practices in 2006.

As part of the deal to bring McCartney here everyone who is working on the staging for the show is getting a taste of how he lives -- literally. Evraz Place Vice-President Neil Donnelly says the workers are being served vegetarian meals at Sir Paul's order.

"I think the bigger you get the more you want things done your way," he concedes. "So if it means traveling with your own folks to take care of that they can do that."

Donnelly says so far the workers have enjoyed the meals.

"Obviously there's a few jokes flying around about people ordering pizza," he laughs.

An Evraz executive later clarified that the Mosaic concessions will still be selling their standard fare, including meat products, though that hasn't been the case in the past at some venues.


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August 14, 2013 -- Macca Report News

Outside Lands Music Festival - August 9, 2013 - Golden Gate Park - San Francisco




CONCERT SETLIST - Outside Lands Music Festival - August 9, 2013 - Golden Gate Park - San Francisco

1. Eight Days A Week
2. Junior's Farm
3. Magical Mystery Tour
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. San Francisco Bay Blues (dedicates it to Shelley Lazar)
13. We Can Work It Out
14. Another Day
15. And I Love Her
16. Blackbird
17. Here Today
18. Your Mother Should Know
19. Lady Madonna
20. All Together Now
21. Lovely Rita
22. Mrs. Vandebilt
23. Eleanor Rigby
24. Being For The Benefit Of Mr. Kite!
25. Something
26. Ob-La-Di, Ob-La-Da
27. Band On The Run
28. Back In The USSR
29. Let It Be
30. Live And Let Die
31. Hey Jude

Encore One
32. Day Tripper
33. Hi Hi Hi
34. Get Back

Encore Two
35. Yesterday (with Kronos Quartet)
36. Helter Skelter
37. Golden Slumbers/Carry That Weight/The End

OUTSIDE LANDS CONCERT REVIEW by Chani, Macca Reporter

Seeing Paul at a music festival was worth spending money for the ticket and facing public transportation challenges. One might worry that Paul's performance wouldn't be the same as one of his own personal concerts, which I have been lucky to attend in the past. It wasn't. This performance showcased an incredible energy from Paul that I have not experienced before.

When he entered the stage singing "Eight Days a Week", the crowd just gasped in awe and yelled in a deafening roar. There were so many people seeing him for the first time. The night was overcast and there was a forest of trees surrounding the crowd. Lights and lazers from the stage lit the sky and the trees with shades of pinks, purples and turquoise blues. It was definitely a Magical Mystery Tour!

Paul asked during the concert how many lived in San Francisco, how many lived in America, but not in San Francisco, and how many didn't live in America. He welcomed the many international people in the crowd.

Three songs were added that he hadn't sang at concerts in San Francisco before and a few tunes that drew the crowd in to sing along with him and his band. People were singing at the top of their lungs.

Macca looked young and had endless energy. He played for almost three hours and the crowd was transfixed listening to The Beatles, Wings, and songs from his solo catalog of music. It was definitely the best I have seen him perform and no doubt a new experience for him as well. For the crowd it was "Festival Paul". We were all together having a great party at a once in a lifetime concert with Paul.


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August 13, 2013 -- San Francisco Weekly

Paul McCartney Shines at Outside Lands, 8/9/13

Outside Lands Festival

Better than: Breakfast with the Beatles

At Golden Gate Park, tens of thousands of people sang along to songs that are, in pop terms, ancient. The words, the melodies, and the voice carrying them arrived like a burst of long-captive air -- familiar, yet revelatory. Soul-stirring, even. These were Beatles songs, sung by Paul McCartney, who for the first night of Outside Lands 2013 took a sold-out San Francisco audience back to one of pop music's original supernovas, and let us bask in its incredible warmth for the best part of three hours.

At 71, Sir Paul can still sing, still play, and still charm (as two lucky, sign-waving ladies found out -- more on that later); just imagine impeccable, straightforward versions of "Hey Jude," "Back in the U.S.S.R.," "Daytripper," "Let It Be," "Get Back," "Eleanor Rigby," "Yesterday," "Something," "Blackbird," "Lady Madonna," "Helter Skelter," a bunch more Beatles and solo favorites, and "Live and Let Die" punctuated by gratuitous fireworks. Imagine that, and you've got a decent approximation of how it went.

So the question of whether or not it was a "good" show almost doesn't apply -- Paul McCartney playing Beatles songs was good in a way that no other show could be. (Inevitable nitpicking aside, of course.)

It is both tragic and convenient that the Beatles singer we're left with is the puppy dog-eyed, flirtatious, entertainer side of the leading duo. McCartney excels at the festival kind of spectacle, chatting up a polo field of probably more than thirty thousand people as if it were a half dozen friends in his living room. ("This is so cool, I've gotta just take a minute to drink it all in for myself, okay?," he asked early in the set, as if we might say no.) He is such a good showman that you forget he's being a showman.

His musical feel-good moments were absurdly effective. "Ob-La-Di Ob-La-Da" felt like a zillion adults shouting along to the soundtrack of their very first memory formation. (I think it's a stupid song, and yet even I couldn't help but sing along and shimmy to it.) His "Helter Skelter" was a slow-mo strafe of heavy-blues gunfire, loose and shambolic and yet perfectly targeted -- one of the very best of the night. "Band on the Run" fought against Wings skeptics with crisp, proggy turns, before settling into that golden lope we all know too well. Sir Paul began unfolding George Harrison's No. 1 hit "Something" with a ukulele, then let his band fall into place one instrument at a time, building up to a bittersweet guitar solo that Rusty Anderson ladled out faithfully. A thundering version of Wings' "Let Me Roll It" melted into a loose jam on the "Foxy Lady" riff, and ended with a story about Jimi Hendrix.

Much has been made about the songs Paul is playing on this Out There tour that he hasn't played before. But while "Lovely Rita" and "Being for the Benefit of Mr. Kite" and a couple others were curiosities, they weren't among the better tunes of the show. Other decisions were odd, too: Paul brought out Kronos Quartet for the encore's "Yesterday," but not for "Eleanor Rigby," where the live strings really would've helped. ("Rigby" was pretty great anyway, but it could've been so much better.) The inevitable padding of later Paul solo tunes was expected, and mostly fine. But, sorry Paul, "We're Going to Get High High High" does not belong in an all-Beatles encore between "Day Tripper" and "Get Back." It just doesn't. (WTF????!!!!)

And yet who are we to whine about lesser crumbs from this magnificent table? As if we hadn't heard enough greatness before, the night closed with a big chunk of the Abbey Road medley: "Golden Slumbers" into "Carry That Weight" into "The End" -- a trio of songs that's nearly 44 years old. Though released before Let It Be, Abbey Road was the last album the Beatles recorded, and thus its end is their end, the final burst of creative energy from the most important rock band of all time. It came out of Paul and Co. last night like a big, bright, bittersweet flash, an explosion of long ago just now arriving in San Francisco via the still-young voice of one of its architects. That light in the sky will always be out there, but last night Paul McCartney shined on it on Golden Gate Park. It's hard to imagine Outside Lands 2013 getting much brighter.



Paul giving teary fan a potential tattoo with a Sharpie

Paul the charmer: After noting that two young ladies in the crowd held signs asking Paul to give them their first tattoo, the Beatle brought them onstage, and signed their wrists -- while hugging them from the back, of course. His proximity drew a few "ooohs" from the crowd, but Macca feigned innocence: "It was the only way to get the angle!" he chirped.


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August 13, 2013 -- Rolling Stone

Outside Lands Kicks Off With Fireworks From Paul McCartney

But the biggest fireworks at Outside Lands' opening ceremony ­ literally and figuratively ­ came with the day's anchor act, The Beatles' Paul McCartney. Some fans found the performance cathartic. Some cried. Others had wide smiles from start to finish. Nearly everyone understood the weight of Sir Paul tearing soulfully through Beatles and Wings numbers with the conviction of the person who wrote those songs ­ "Blackbird," "Paperback Writer," "Hey Jude," "Eleanor Rigby," "Let It Be," and so on and so forth ­ which, individually and collectively, helped shape our very idea of rock & roll.




"This is so cool," McCartney told the audience. "I just have to take a minute to take it all in myself, okay?" He was talking about the act of performing music in San Francisco's Golden Gate Park, but the Beatles have their own history with San Francisco, having performed their last full concert ­ ever ­ at the city's Candlestick Park back in 1966.

McCartney has lost none of the charm that he had back then, entertaining the crowd with stories about Jimi Hendrix, dedicating songs to the loves of his life, and even bringing on stage two fans who held signs asking him to autograph their bodies so that they could get it tattooed. He obliged.

Of course, San Francisco being what it is, McCartney paused at one point to reflect on a long-standing local tradition at rock shows, which dates back to when the Grateful Dead performed for free in the same field: "It's a strange smell I'm smelling," he said coyly. "Something wonderful."

McCartney was also the second act of the day to employ the local Kronos Quartet, using them to augment "Yesterday" in a rendition that moved virtually every single person in the field, including security guards and food vendors.

Fireworks erupted from behind the stage for "Live and Let Die" and again following McCartney's final bow. Indeed, it seemed fitting. It was a particularly good start to a particularly good festival.  "

http://themaccareport.com/news/report.htm

sweetcharmedlife wrote on Aug 14^th, 2013 at 10:59am:



dont think nellie is losin any sleep over missin the gig