PAUL McCARTNEY AT ACRISURE ARENA

The start of the 2025 leg of Paul McCartney’s Got Back Tour on September 29th at Acrisure Arena was delayed by significant traffic congestion and massive queues outside the venue, but once the doors opened, there was no containing the energy of modern Beatlemania. Despite a fifteen-minute late start past the scheduled 8 p.m., Sir Paul delivered a comprehensive performance, clocking in at around two and a half hours of music that traversed his entire catalogue—from The Beatles and Wings to his solo material.

The show’s opening immediately surprised long-time fans. Breaking tradition from recent tours that began with upbeat classics like “Can’t Buy Me Love,” the setlist launched with the rarely played “Help”—a song he had only just debuted in its full form as a solo artist days prior. This bold choice was quickly followed by “Coming Up” from McCartney II and the fan-favorite “Got To Get You Into My Life.” Addressing the ecstatic crowd, McCartney promised, “I’ve got a feeling we’re going to have fun here tonight,” before diving into the high-octane Wings track, “Letting Go.”

The setlist was studded with highlights, including a stellar rendition of “Let Me Roll It” and the less frequently heard Beatles gem, “Getting Better.” The latter was enhanced by stunning visuals that depicted dilapidated sections of London gradually being overrun by bright, flourishing flowers. Another welcome return was “Let ‘Em In,” which featured intricate, high-definition video of various marching bands and drum corps.

The concert’s video production was truly state-of-the-art. During “Maybe I’m Amazed,” the screens displayed a tender, animated clip of a younger, bearded McCartney holding his new baby, Mary, nestled securely inside his jacket. A touching moment arrived before “My Valentine,” which he dedicated to his wife, Nancy, as a striking black-and-white video played, featuring Natalie Portman and Johnny Depp interpreting the lyrics via sign language.

Midway through the evening, the concert shifted to an intimate, stripped-down setting. McCartney, along with guitarist Brian Ray, guitarist Rusty Anderson, and drummer Abe Laboriel Jr., gathered at the front of the stage. The main screens descended to show simple, static imagery, giving the segment a raw, close-up feel.

Another powerful moment was the heartfelt delivery of “Blackbird” from an elevated platform, positioned out over the audience. Afterwards, McCartney took the time to explain the song’s profound roots in the Civil Rights movement, citing the Little Rock Nine as an inspiration. He also recounted a historical anecdote about The Beatles’ refusal to perform for a segregated audience in Jacksonville, Florida, forcing the promoters to integrate the event.

The recent track “Now and Then” evoked a deep sense of nostalgia, seamlessly blending footage of Paul and Ringo Starr with AI-generated visuals of their late bandmates, John Lennon and George Harrison, making it seem as if they were performing together once more. The presence of Harrison was also felt keenly during “Something,” which McCartney introduced by playing the opening on a ukulele gifted to him by his late bandmate, noting that Harrison’s widow, Olivia, was in attendance.

The show’s grand finale was an undeniable blast of classic rock anthems. He powered through “Band on the Run,” “Get Back,” and “Let It Be,” culminating in an absolutely explosive, pyrotechnic-fueled rendition of “Live and Let Die.” As the smoke cleared, McCartney led the entire stadium in a joyous, communal sing-along of “Hey Jude,” with the arena twinkling from the lights of thousands of phone cameras.

Setlist

Help