The Cavern
Rock & Words
Paul McCartney, On The Run Tour, 2012
Omnilife Stadium
May 5th, 2012
Paul McCartney first came to Mexico in 1993 with the New World Tour. I was in the throes of a Beatles obsession at just 12 years old , but I caught up in all the excitement surrounding the Off the Ground tour, and around that time I couldn't stop singing "Hope of Deliverance ," which to this day remains one of my favorite McCartney songs. The thing is , in my city, Guadalajara, there wasn't yet the infrastructure for massive concerts. Proper venues had only been developed about six or seven years prior, so the big concerts were necessarily in Mexico City. For a 12-year-old kid, it was impossible to go alone, and my parents wouldn't budge. Later, on subsequent tours, also in Mexico City, things were complicated for various reasons. So, as soon as the date in my city was announced, I didn't hesitate for a second. Thanks to a friend, we got tickets two days before the official presale. Don't ask, haha.
So, I spent 19 years anxiously waiting to see Paul. 19 years!!!
But the day eventually arrives. I went with a group of friends, including a couple from what was once my first band, Moby Dick. We arrived at Omnilife Stadium at 7:15, with entry going quite smoothly, although there were already a lot of people around the stadium. I'd never seen so many Beatles t-shirts in my life. In fact , not just that day at the concert, but throughout the week, Fab Four t-shirts were everywhere on the streets in the week leading up to it. People were taking group photos outside, singing along to the local music, and there were British flags everywhere… An unbeatable atmosphere. Access to the stadium was very quick, to my surprise. Omnilife looks impressive despite belonging to the city's arch-rival football team. The logistics this time, I have to admit, were impeccable.
Inside, the atmosphere is fantastic too. The sound system plays Beatles and Paul McCartney songs with electronic remixes, which, while slightly marring the sound, don't stop many from singing along. Again, it's incredible the diverse audience Paul can attract: from children around 7 or 8 years old, teenagers, twenty-somethings, thirty-somethings like me, fifty-somethings who already have their kids with them, to much older people who must have experienced Beatlemania firsthand… all united by the same music that has transcended generations for 50 years now! The stadium slowly fills up, and my group occupies a section slightly behind what would be midfield. The stage is enormous, taking up almost the entire length of the area, with two giant screens on either side, taller than they are wide. It's 9 o'clock, the scheduled start time. There's a certain tension in the air, but people keep coming in (damn Guadalajara's unpunctuality!) and the lights dim only slightly to show slides of Paul McCartney's story. Beatles songs play in a salsa style. At 9:10, Paul's English punctuality is ruined by the attendees' tardiness. By 9:20, the place is completely full, despite what was said the day before about tickets still being available.
At 9:30 sharp, the music stops and the lights go out. A colossal roar erupts from the crowd, finally ending the wait. The first synthesized trumpet chords of "Magical Mystery Tour" begin, and Paul issues that meaningful invitation: "Roll up for the Mystery Tour, step right." this Wow !!! ” The stadium almost erupted. Everyone sang the catchy choruses at the top of their lungs, and a swarm of cell phones lit up the stadium, while the imposing stage lights bathed us in psychedelic colors. Paul ran from one side of the stage to the other like he was 20 years old, thrilled by the reception and all smiles . Total ecstasy when the song ended. I've been waiting 19 years for this. There are people who have been waiting 50. The vibe was so intense that I got my first lump in my throat.
The next song is "Junior's Farm" by Wings. It's not one of my favorite songs, to be honest, and it's not very well known to the public, but that chorus is incredibly catchy and makes you want to sing along: " let's go , let's go , let's goooooooo , take me down to junior's farm …”. Paul came out wearing a very elegant Mao suit reminiscent of the early Beatles era, with his distinctive Hofner Violin bass, slightly darker than the one he used in the 60s (rumor has it that this bass he's using is even older than the one we knew him for with the Beatles, the first of that model, but I'm not sure). I'll take this opportunity to introduce the band: On guitar, Rusty Anderson, who will be handling most of the lead guitar parts; Brian Ray, currently playing second guitar, but he's a multi-instrumentalist and will be rotating to bass when Paul takes over guitars or pianos. Paul Wickens on keyboards and synthesizers truly works wonders on his own, matching orchestrations or the delicate string arrangements in some songs; and finally, on drums, ladies and gentlemen, none other than Abraham Laboriel Jr.! That's right, it took me a while to recognize him, but when he started doing his own thing , I was blown away. He's considered one of the best session drummers in the world, so I came to see one legend and I ended up seeing two!
Paul greets the crowd at the end of the song. To everyone's surprise, he does it in Spanish. A bit mumbled, but the gesture is greatly appreciated. "Hello Guadalajara! What's up Guanatos !!! This night I'm going to try to speak a little bit of Spanish. He even went to the trouble of looking up the local terms, hahaha! He kicks off with "All "My Loving" elicits a gasp of surprise from the crowd, who immediately join in the chorus. Images of the band in '63 appear in the background. The entire stadium claps along to the chorus, culminating in a standing ovation. Paul expresses his gratitude, saying, "We're happy to be here for the first time," and raises his bass guitar high in the air.
“Jet” continues with that colossal intro, where Abe Laboriel proves himself a master at launching the song into the stratosphere amidst an explosion of notes. The crowd chants every “Jet” as if their lives depended on it, and the “ uhhs ” reverberate throughout the stadium. An apocalyptic final guitar solo by Rusty gives the song incredible energy. Paul is in top form, hitting soaring notes effortlessly. At the end, McCartney says, “Happy Cinco de Mayo .” A nice gesture, although everywhere else they seem to give this date more importance than in Mexico itself. It seems like outsiders see it as our Independence Day or something. Anyway, it’s another nice touch.
Then comes “Drive My Car”. Everyone sings and claps. Definitely one of the favorites and most anticipated songs. Wickens does a great job on the keyboards, making them stand out even more without making too many changes. A great slide guitar solo , following almost note for note, with just a touch more distortion. “ Beep-beep” Mhhh “Beep-beep YEAH!” The night is cool (even though it’s been over 40 degrees in the city the last few days), but Paul still takes off his jacket and is left in a long-sleeved white shirt and red suspenders. “Thanks for the great welcome,” he exclaims.
Next up is “Sing The Changes”, which he recorded as The Fireman. I'm completely unfamiliar with his electronic work under that pseudonym, and apparently I'm not the only one. The song received a lukewarm reception, despite their attempt to give it a more rhythmic and human touch. Despite this, he can't stop smiling. “ Thank "You so much , Guanatos, " which is our affectionate nickname for Guadalajara. "The next song is for the first time in Mexico."
And it begins with “The Night Before”, causing the audience to erupt again as they immediately recognize it. Paul is definitely much loved, but it's the Beatles' songs that generate the most joy. Later, I would hear this phrase: “I didn't come to see Paul, I came to see a quarter of the Beatles.” Again, he thanks them: “ You're a great audience " tonight ," looking chatty and smiling.
Macca lifts his bass with two fingers, balancing it on the headstock, until he tosses it into the air, miraculously catching it with the help of a crew member. He picks up a psychedelic-colored Gibson Les Paul and they launch into "Let Me Roll It", with Macca himself initiating the main riff. Brian Ray discreetly switches to bass. The keyboard solo is strobe-like. The guitar combinations sound amazing, and Abe Laboriel carries the song to the end with a spectacular drum arrangement.
It immediately segues into Jimi Hendrix's "Foxy Lady". It's just the instrumental version, in the style of Good Evening New York City, with the incredibly powerful riff crushing everything in its path, and Paul playing the best guitar solo he can. The drums again sound apocalyptic, on par with Mitchell's. There's no vocals, but the song has an incredible punch and is a great tribute to Hendrix for about two or three minutes.
Then Paul switches to an Epiphone Casino guitar like the one Lennon used on the rooftop, and they start with “Paperback Writter". I hadn't mentioned that the four musicians accompany Paul with spectacular backing vocals, but now's the perfect moment, as they create flawless harmonies in the song's intricate vocal arrangement. The audience joins in for a massive chorus. Paul plays the main riff and a slightly altered, longer guitar solo. Towards the end, he plays with the feedback , and the audience erupts again, cheering his every move.
He sets down his guitar and heads to the back of the stage, behind a piano, to begin with “The Long and Winding Road”. It’s not one of my favorites, but I end up singing it at the top of my lungs, just like everyone else in the audience. An intimate atmosphere is created in the dim lighting, and Wickens manages to orchestrate every detail with just two keyboards. At the end, Paul gets up to receive another ovation.
Next up is “Nineteen Hundred and Eighty -Five” by Wings, taking advantage of the fact that he's already at the piano. The riff is intoxicating and bursting with energy; everyone jumps and claps along to the rhythm of this tremendous song , creating a magical groove with those ups and downs of the keys.
He immediately says, “I wrote this song for my new wife,” and begins with “My Valentine”, creating an exquisite, delicate, dimly lit atmosphere. The promotional video with Natalie Portman and Johnny Depp plays on the screens in the background. Drama and exquisite artistry. A great acoustic solo. Despite the criticism of the new album, I love this song. Paul gets up from his seat and makes a heart shape with his hands for us, then heads toward one of the boxes where Nancy Shevell must be sitting. She doesn't have the charisma or the affection fans had for Linda, but at least she doesn't seem to be an opportunist like the infamous Heather Mills. Anyway, a fantastic song. Since it's going to take me ages to get to this album, I'll say it now: this could have been one of the highlights of the White Album , and I think it's the best song Paul has done since Off the Ground.
He then continues narrating: “I wrote this one for Linda”, which confirms that people identify more with her, and receives an ovation even before starting the first chords of “Maybe I’m Amazed". The version sounds much more polished and powerful than the original. The guitar solo is rawer and more distorted, sounding even more rock-oriented . Again, I'm impressed by how well he's preserved his voice, perfectly hitting those high-pitched screams. The second solo is closer to the original. A great, truly enormous song, which, as I mentioned, has grown on me and was one I was most looking forward to hearing. The concert is now in full swing.
Paul picks up an acoustic guitar to start with "I've Just Seen a Face", which is another crowd favorite. Or at least it's one of my favorites from the early Beatles era. I sing along until I'm hoarse. I love that guitar riff and the fingerpicking solo, and that warm, country, pleasant feel the whole song has. The backing vocals are magnificent, harmonizing with the musicians and supported by 60,000 voices.
At the end, he says that the next song is also the first time he's played it in Mexico. Continuing with the acoustic guitar, he begins with a rhythmic guitar riff that combines C and A minor, and I enter a kind of Nirvana. Yes! It's “Hope Of Deliverance” !! HOPE!!! It's perhaps my favorite Paul solo song. Maybe it's not a masterpiece, but it was my first direct contact with Paul when Off The Ground was at its peak, and this song gave me a massive shock. I wanted, I longed, I yearned to hear it, but checking the setlists... Based on previous lists , I didn't have much hope of making it. I sang until I lost my voice : “When it will be right, I don't know, what it will be like, I don't know, we live in hope of deliverance, from the darkness that surrounds us.” A beautiful song. It's missing the tropical background effects, but overall it's perfect, with a great acoustic solo and Abe Laboriel adding a very Latin feel , this time with the bass (this guy is a box of surprises), while Brian Ray is on congas and percussion. I can die in peace now. Once again, I get a lump in my throat as I travel back in time to 1993.
Continuing with the acoustic mood , “And I Love Her” begins with that romantic and delicate air. The riff with the low strings, the guitar strumming, the beautiful vocal melody. Everyone sings along. The stadium becomes a constellation of cell phones, and the gigantic moon begins to peek over the Omnilife dome. Paul thanks the audience for their enthusiasm, who begin to chant “Paul, Paul, Paul, Paul.” “You guys are awesome,” he replies, and a massive burst of laughter erupts. It’s incredible how he studies each audience and their regionalisms; few people have such respect for the crowd, so the interaction is absolutely familial. At this point, he has us completely captivated, but we’re not even halfway through.
The rest of the band leaves the stage, leaving Paul to perform "Blackbird" in dim light, which he executes masterfully. It's a more difficult song to perform than it sounds. The audience joins in on the choruses and claps along to the rhythm. Sublime.
When finished Paul confesses : “This is a conversation with John that we never had”, and begins with “Here Today”, and that feeling A tribute to John. The stadium falls silent. Paul sings, almost on the verge of tears, until the hopeful chorus arrives and suddenly we're all like idiots, raising our hands and moving them from left to right like a human tide, until we reach that heartfelt "I love "You ," from brother to brother. I recently read the real details of Paul's reaction when John was murdered. He says he could only manage to say " It's crap " because he was in shock and everyone misunderstood him. He also said he couldn't go to the funeral because he spent a week crying, locked away with his children. Listening to him on the verge of tears with this song, I believe him. I really do. Just Paul and his guitar, and I'm sure I was n't the only one who got goosebumps. The biggest moon of the year is now fully visible in the sky.
Paul immediately picks up an unusual instrument. A ukulele? No, not yet. It's a mandolin to play "Dance Tonight". Everyone claps along, and the rhythmic song creates a great atmosphere. Bass and subtle percussion are added. And slowly, the band begins to reassemble on stage.
Continuing with the acoustic vibe, we move on to "Every Night" from his debut solo album. Rhythmic and flowing, it demonstrates why McCartney is a master of melody. " Uhhhhh-Uhhhhh , believe me mama…". In addition to the enormous moon illuminating us, another gigantic one occupies the main screen behind the stage. Enchanting.
The next song is “Mrs. Vandebilt”, which isn't one of Wings' best-known tracks, but... well, yes, but it's not really very well-known here. Even so, the intoxicating chorus gets everyone jumping and repeating “OH- hey -hop, Oh -hey -hop.” Here's where something very curious happens: Wickens plays the part that's originally played on a saxophone , but on the keyboard. The strange thing is that he has a mouthpiece that allows him to blow and make exactly the same inflections as a real saxophone . I'd never seen this before. A festive tone, and everyone jumps along to the “OH- hey -hop, Oh -hey - hops .” It's amazing how the crowd moves.
“Eleanor Rigby”!!!!!!!! Omnilife is one voice. Sublime. Once again, Wickens shines with the breathtaking synthesizer arrangements that sound as if the string quartet were right there playing with all their might. With both hands, he manages to play every detail as if it were Revolver. The people It explodes with the chorus “ Ahhhh look at all that lonely people .” By that point, I’m almost hoarse and rarely reach those notes, but I surprise myself by hitting them with ease. Exquisite, words can’t describe the feeling of euphoria. The crowd erupts again with chants of “Paul, Paul, Paul, Paul.”
He picks up the guitar again. No, the banjo . NO! It's the ukulele. You know what that means! In the stadium, we all know. A solemn silence falls as Paul says, "I dedicate this song to my friend George," and begins "Something" in his peculiar Hawaiian style . Intimate and delicate, faster than the original, but it causes the same commotion, as if George had suddenly appeared. Everyone sings along without missing a single note. After the first chorus, the rest of the instrumentation enters for the lead guitar, closer to the song's original style, and while Rusty Anderson wrestles with the exquisite solo, Paul switches to an acoustic guitar to continue the song, now more relaxed and faithful to Abbey Road. Incredible, a kind of electric energy is felt throughout the stadium. In the background, images of Paul and George from the White Album and Abbey Road era are shown. The stadium almost erupts. " Thank you. " "You , George," and he looks up at the sky. And the ovation goes up there too. " This is a good night here tonight
We continue with “Things We Said Today”, with its bittersweet acoustic guitar riff that blends major and minor keys. They add some electric and keyboard arrangements to modernize it a bit, while still preserving its essence. Paul is back playing his Hofner Violin. At the end, he says, “I learned a little Spanish in Liverpool when I was eleven . I’m going to practice: three rabbits in a tree playing the tambourine , no, yes, I’ll say it, ” and everyone bursts into laughter. This guy speaks to you with an impressive familiarity. If his music alone has made him another member of the family for millions, the way he talks to you is as if you’ve actually known him your whole life.
Then came one of the most anticipated songs of the night, “Band On The Run”, in all its magnificence. It begins with that quiet section, with the acid riff to which the wobbly synthesizer responds. This reminds me of Linda. Images from the album and that era appear in the background. Then comes the Keith Emerson-style synthesizer solo and the bridge, “ If I ever get " Out of here …" before unleashing a hell of a party with the explosion into the rockier section . Everyone jumps, everyone leaps. It's a massive party where not a single person isn't singing the catchy chorus. "Band on the ruuuuuuuuuuun , band on the run!" A great slide solo. Orgasmic. Paul dances, celebrating the song's reception. He's all smiles, and you can tell he's also … having a great time playing music.
“For the next song, I'd like you to sing along.” They kick things off with the calypso rhythm of “Ob-La-Di, Ob-La-Da”, very catchy, with the audience clapping along. Wait! More people are coming onto the stage. Is that it? Yeah! It's a full mariachi band! This is going to be absolutely incredible. They play with him, much to the delight of the audience. They provide the brass sections that correspond to the song, which sound particularly good during the bridges. It's a complete mariachi band, with trumpets, guitars, guitarrones, vihuelas, violins, etc. What a thoughtful touch ! For those who don't know, Guadalajara is the world capital of mariachi, having originated in Jalisco and given identity to all of Mexico. What a tremendous gesture from Paul, truly. Perhaps the arrangements weren't the best, but the fact that he adapts such unique elements from each place is truly invaluable. Another tear of joy. Paul thanks each of the musicians by hand and introduces them as "Mariachi Evolución."
Next up is “Back In The USSR”, more powerful and rockier than the original. A classic at Paul's concerts, it features Russian scenes and footage from '68 on the screen behind them. Everyone dances to the rock and roll beat and sings along to the hilarious “ uuuuh's .” A standing ovation erupts. Paul switches to his Gibson Les Paul. Then, for quite a while, he gets the audience to sing along: “ Ea, ” he says – “ Ea, ” we respond, “ Eoeoeo …” – “ Eoeoeo …” and so on, in true Mercury style.
It kicks off with the beautiful riff of “I've Got A Feeling", one of my favorites from Let It Be. Rusty sings John's vocal part, and then suddenly comes the section where the two voices intertwine, each with a distinct melody. Orgasmic, they unleash a volcanic burst of energy in the crescendos, meticulously built by Laboriel on drums. This song reminds me of JuanFra , another bandmate from Moby Dick with whom I used to do that same combination on this track, who is currently in Chicago and was missed today. John's parts are also missed, but the song still sounds colossal. They lengthen the coda considerably, making it even more rock-oriented . Finally, he complains about the heat, " moucho calor," and Hofner takes over on bass.
A soft, melodic, rhythmic guitar riff begins. I've heard it before, but it takes me a while to recognize it, only until the piano enters with the dramatic notes that conclude the first verse. “A Day In The Life”!!!!!!!!!!!!! You can't even imagine the feeling that sweeps through the stadium when Sir Paul begins with “I read the news Today , oh boy !” Images of John and Paul play in the background, from the earliest ones to Let It Be. I can't even sing. I'm stuck in a kind of catatonic Nirvana, and I don't know if it's sweat or a tear running down my cheek. A constellation of cell phones illuminates the stadium, creating a fluorescent atmosphere like thousands of fireflies trying to capture the moment on video. Just as George appeared a while ago, now it's Lennon who's wandering around here, uniting 40,000 souls with his music. “ I'd Love To Turn Youuuuuu Ohohohohohn …” The synthesizer manages to emulate the 4 orchestras of the crescendo, until the tension breaks with (now yes ) Paul's part “Woke up, get Out of bed , drag a comb across "My head." Now comes the bridge that connects Paul's return section with John's. Incredible. It's ecstasy, a musical orgasm that no one expected. The concert was more than worth it.
Instead of returning to the “4,000 holes in Blackburn Lancashire” section, Paul makes a U-turn and seamlessly switches from “A Day In The Life” to “Give Peace a Chance”. He doesn’t sing the tedious verses, going straight to the universal anthem that is the chorus. Over and over again, like a mantra, we all repeat “ All We are saying , is give “Give peace a chance,” creating a powerful, all-out chorus, as if we wanted that cry to reach those who have ravaged Mexico with violence. There comes a point when the music stops completely, and we keep singing, keep pleading, “Give peace a chance.” Even Paul remains a silent, awestruck spectator. I don’t know how long this moment lasts, but it’s another one of the most moving. We’re at the climactic point of the night.
Paul takes his place again behind the psychedelic-painted piano. He begins with “Let It "Be". The crowd erupts upon recognizing the first notes, and we sing along from beginning to end. The concert hasn't let up for quite some time now. Pure bangers . The feeling this song creates is indescribable. A great guitar solo, and once again we all join in the chorus, holding our phones high. Truly a very emotional part of the concert.
Without pausing for a moment, Paul continues at the piano and begins with the first notes of “Live & Let Die”. "When you were young and your heart was an open book… you used to say live and let live,” and everyone we respond with the chorus In falsetto: “You know you did, you know you did, you know you did.” The tension builds until we reach the rock section , where a true pandemonium erupts with the sheer power of the guitars and the synchronization with pyrotechnics at the back of the stadium. The sky lights up with every “Live and let die, let die” that Paul sings, to our ecstasy. This place is going to explode; the level of energy the band reaches is truly incredible. As if they were determined to prove that the song is theirs and not Guns N' Roses', and Paul certainly proves to be the absolute owner of the song. The fireworks continue to explode above us, and it seems like the stadium is going to collapse from so much joy. Incredible. The coda is incendiary, literally. The intensity of this song live far surpasses the studio version, and it's a strong contender for the best song of the night. Total ecstasy. In the end, we chant “Ole, ole, ole!” oleeeeeeeeeeee , Sir Paul, Sir Paul…”
Sir Paul is clearly enjoying himself. He waits for the applause to subside before launching into "Hey Jude" from the piano, possibly the most anticipated song of the night. The shouting intensifies for a moment before everyone joins in with Macca's voice. I'm already hoarse, but I sing along, another lump forming in my throat as I think of my three-year-old son, who must be asleep, but who already knows the entire first verse of "Hey Jude " in English, and is simultaneously playing the drums on his Rock Band. And of my two-month-old daughter, who gave me her most beautiful smile a couple of days earlier when I was singing her the same song. " Take a sad sooooooooong , and make it better…" Everyone has their hands up . Those who aren't using their phones to capture the moment simply raise them to keep the rhythm from right to left. "Remember to let her under your heart…" We reach the climactic coda, which They stretch it out at will. “Now the girls,” says Paul. “Don’t hold back, guys,” “those on this side, those on the other,” and so it goes on, what seems like a second or an eternity, with and without instruments, with the audience totally devoted to this guy who revolutionized music 50 years ago and who continues to dedicate himself to it body and soul.
The ovation lasts at least 3 minutes. “Ole, ole, ole!” “Olé , Sir Paul, Sir Paul…” He paces the entire stage, thanking the audience and bidding farewell for the first time. The enormous stage is bathed in a suspended blue. No one moves from their spot, while the “olés” continue. He doesn’t keep us waiting long. About three minutes later, he returns with a huge Mexican flag waving from one end of the stage to the other. He’s a star, and he knows it. He has us eating out of his hand. He leans back against the piano. The shouts of “Mexico, Mexico!” echo through the crowd.
For the first encore , he sits back down at the piano and begins with “Lady Madonna”. Images of iconic women from throughout history appear on the screen behind him. We all join in the hilarious “ papapaaaaaaaaa , parapapapaaa ” from the bridges. The energy remains high, and this is a party. “ Thank you , ladies and gentlemen,” he says, and picks up the bass again.
Without a moment's rest, they launch into "Day Tripper", followed by "Rock & Roll." I'm hoarse. A tremendous song with a tremendous riff. Their vocals blend perfectly, demonstrating that Paul not only valued the instrumental skill of his musicians but also their immense vocal talent. This is madness.
And without a break, they continue with “Get Back”, with that galloping bass/drum riff and the explosions of guitars after each verse. Incredible. Great solos, slightly changed and longer. The song reaches the false ending. The band stops and Paul asks defiantly: “You wanna " Get back?", and the song ignites again with a fiery intensity, creating total ecstasy. When it ends, he balances his bass once more and throws it into the air for someone to catch. He rejoins his musicians in the center and forms a caravan before heading out again.
They leave the stage for just a couple of minutes, during which we don't stop cheering. A section of the stadium starts chanting "Yesterday, Yesterday," and suddenly the entire Omnilife Stadium joins in. Paul returns alone for the second encore . The stage erupts with a roar of cheers, and Paul appears accompanied only by an acoustic guitar.
Without further ado, he decides to treat us to “Yesterday”, perhaps his most iconic composition. Wickens delivers a superb synthesizer arrangement, perfectly complementing the delicate string section. Everyone sings along, and despite the ballad's tranquility, a powerful energy surges through all of us present. “Want some more?” he asks . “Yeah!” we roar .
He continues with “I Saw Her Standing There”. Everyone sings and dances. Cascades of light flood the stadium from the towers above the stage . He plays it exactly like the album version, and that's when it hits me that this song is already 50 years old. 50 years old! And it's still so fresh and full of punch. Everyone is having fun and laughing while playing, and you can tell the musicians are enjoying the concert too. Paul will turn 70 next month. 70 years old and still jumping around like a teenager, his voice still perfect after 3 hours. It's incredible.
He returns to the piano and solemnly announces, “It’s time to go,” to which the audience responds with a resounding “NOOOOOOO.” “Yes, it’s time to go” – “ Nooooooo ” – “We have to go,” and he begins to thank his entire staff, those working behind the scenes in sound and lighting, the roadies , etc. He finishes by thanking the audience with a deep bow, and finally his band, who also receive a great deal of recognition from the crowd. He then launches into the melancholic notes of “Golden Slumbers /Carry That Weight” in all its magnificence. “ Once there was a way, to get back homeward…” Indescribable . We all sing along to the “Carry That Weight” section , and then comes the climactic moment, in which Abe delivers a superb drum solo. It doesn’t exactly follow Ringo’s original; he maintains the structure, but adds his own touch and extends it slightly, sounding majestic. Then comes the solo section, where Paul takes up a guitar and joins forces with Rusty, who expands upon and modifies the song slightly. They close with that Beatles epitaph that sums it all up : “And in the end, the love you take is equal to the love you make.” Incredible, orgasmic, tremendous.
An epic concert, three hours long and featuring 40 songs spanning 50 years. It far exceeded my expectations. It was full of surprises, great touches from Paul, and tremendous emotion. From the second half onward, the energy never let up for a second; on the contrary, it grew, reaching several climactic moments. Paul shone throughout the entire concert, showing himself to be chatty, engaging, and accommodating, and I think we made sure he knew that Guadalajara is also his home. He more than repaid that debt he owed to the Guadalajara audience, although Paul doesn't really owe anything to anyone; on the contrary, rock and the world owe him an enormous amount. That's why I still can't explain how he summons so much energy, how he plays twice as long as bands or musicians half his age, and how he manages to put on one of the most impressive shows on the planet. How he takes the time to understand each audience he performs for and presents these kinds of details, whether in Moscow, Brazil, or South Africa. The Beatles' presence was also felt for a moment. Perhaps that's the debt he's repaying. Not to us, but to history, to that fateful April of 1970, to John and George. We can no longer hear the four of them together, but without a doubt, Paul is working hard, with all his heart, to make sure we don't miss them so much.
In any case, history has forgiven him. You don't owe us anything, Paul. On the contrary, thank you for this magical and mysterious journey.
Paul bursts into tears of gratitude. The audience reciprocates. A confetti cannon. Paul disappears and the lights come up. Dream is Over . Not yet. As we emerge from the tunnels, everyone walks by in ecstasy, content, with ear-to-ear grins. We start singing the coda of “Hey Jude ” as we exit. “ Naaaaa , nana narananáaaaaaa ”
Setlist for Paul McCartney's On The Run Tour 2012 concert, Saturday, May 5th , Omnilife Stadium, Guadalajara:
1- Magical Mystery Tour (Beatles)
2- Junior's Farm (Wings song)
3- All My Loving (Beatles)
4- Jet (Wings song)
5- Drive My Car (Beatles)
6- Sing the Changes (The Fireman song)
7- The Night Before (Beatles)
8- Let Me Roll It (Wings song)
9- Foxy Lady (The Jimi Hendrix Experience cover)
10- Paperback Writer (Beatles)
11- The Long and Winding Road (Beatles)
12- Nineteen Hundred and Eighty-Five (Wings song)
13- My Valentine
14- Maybe I'm Amazed
15- I've Just Seen a Face (Beatles)
16- Hope of Deliverance
17- And I Love Her (Beatles)
18- Blackbird (Beatles)
19- Here Today
20- Dance Tonight
21- Every Night
22- Mrs. Vandebilt (Wings song)
23- Eleanor Rigby (Beatles)
24- Something (Beatles)
25- Things We Said Today (Beatles)
26- Band on the Run (Wings song)
27- Ob-La-Di, Ob-La-Da (Beatles, with mariachi)
28- Back in the USSR (Beatles)
29- I've Got a Feeling (Beatles)
30- A Day in the Life (Beatles)
31- Give Peace a Chance (John Lennon)
32- Let It Be (Beatles)
33- Live and Let Die (Wings song)
34- Hey Jude (Beatles)
Encore:
35- Lady Madonna (Beatles)36- Day Tripper (Beatles)37- Get Back (Beatles)
Encore 2:
38- Yesterday (Beatles)
39- I Saw Her Standing There (Beatles)
40- Golden Slumbers/Carry That Weight/The End (Beatles)
Encore:
35- Lady Madonna (Beatles)
36- Day Tripper (Beatles)
37- Get Back (Beatles)
The best concert I've been to to date. Perhaps technically and visually, Waters' Dark Side of the Moon tour was better, but Paul proved that he doesn't need elaborate stagecraft or technology to put on a fantastic show , just absolute dedication to the audience. There were songs missing that we could have danced to until dawn: “Off The Ground”, “ Uncle Albert”, “Michelle”, “ Monkberry Moon Delight”, “ My Love”, “ We Can Work It” “ Out ,” “ C’mon People,” but I think the only one I really regretted not hearing live was “Helter Skelter .” Otherwise, it was an absolutely memorable night. I want to thank my beautiful Hiz , who made a huge sacrifice so I could go. Thank you!
By Corvan
May/8/2012
