It seems like Paul McCartney is everywhere any music lover can look lately. The revered composer and former Beatle brought the house down in his hometown Liverpool pub with James Corden tending bar last month. The surprise concert topped off the supreme, six-hour travels of the “Carpool Karaoke” segment, which became unexpectedly emotional for Corden when it came to “Let It Be.” Topics will be lighter next week when Paul will be Ron Wood’s guest on his new AXS show. Recently, Kelly Clarkson was also seen doing this with Corden.

Paul McCartney has always had a gift for connecting with people, from a once-in-a-lifetime encounter, or from an enormous stage to a devoted fan in Row J or the rafters of an arena, and most of all, through his songs.

Many McCartney fans are seniors now, technically in the same generic age bracket as the 76-year-old. Their life milestones are still marked by Paul McCartney’s music, and their grandchildren are carrying on the generational love for the incomparable catalog of songs.

Unlike his verses in “When I'm 64,” more than a decade past the projection he made at 25, Paul McCartney is not “sitting by the fireside.” The musician still maintains the energy of an artist in his prime, and according to his producer, his upcoming album demonstrates that McCartney is still redefining and pushing boundaries that most artists never come near. After his creative recording period for “Egypt Station,” Paul is ready to play some dates in Canada, and be one of the headliners in Texas, too.

Playing and putting it in words

Searching for Paul McCartney in the headlines this morning will likely bring a reader to more political news than to any notice of local concert dates. He has joined with more than 1200 other British artists to propel support of the Copyright Mandate and Article 13 by the European Parliament. McCartney penned an articulate and impassioned open letter, echoing that “Music and culture matter.

They are our heart and soul,” and elaborating on the “value gap” that is created when many content purveyors do not compensate artists for the use of their material. The affirmative vote would change how music content is offered on YouTube, and Google has reportedly already spent millions to oppose Article 13.

Sir Paul is getting both support and push back from interested parties, according to Sky News on July 4.

Michael Daughter of UK Music expressed support on social media, saying “Thank you Macca,” for the efforts to gain “fair rewards” for future generations of creative talent. Ryan Merkley of Creative Commons responded with a more snarky tone, quoting John Lennon’s declaration that “Music is everybody’s possession. It’s only publishers who think they own it.” McCartney has become a mogul in music publishing.

Fortunate Canadian fans will own endless memories of their own courtesy of Paul McCartney. Rolling Stone reports on July 4 that a brief four-date run will begin through the nation north of the US, beginning September 17, just 10 days after the release of “Egypt Station.” The opening Québec City show at Videotron Centre will be followed by dates in Montréal, Winnipeg, and Edmonton for the Freshen Up Tour, as dubbed on McCartney's website.

The only other North American dates on the docket for this year are in October when the best-known bassist will be among headliners at the Austin City Limits Music Festival. The festival made a lot of news in 2017.

Energy and innovation abounding

It has been five years since Paul McCartney has played in major Canadian cities. He urges “Get ready to rock, Canada!” promising that favorites will be packed in with songs from the new collection. The same touring band has been with McCartney for decades now, proving how prolific and original he has been in re-creating his musical persona as a Beatle, a Wing, and even as Fireman, on the way to being a legend. Their Canadian stint is sure to be welcoming.

Greg Kurstin developed a natural rapport with McCartney through working on a film project still underway. Kurstin is well known for his work with the Foo Fighters and Beck, and that record of recorded history and friendship with Paul's pal, Dave Grohl, probably broke the ice very quickly.

The recording was split between America, Sussex, England, and the famed Abbey Road studios in London. Every corner carries the memory of making a Beatles song or other McCartney classics, such as the Mrs. Mills piano, or the unique microphones spread everywhere. The same tape machine that warbled through “Tomorrow Never Knows” on “Revolver” reappears on another track for “Egypt Station.”

What Kurstin most admires is that there is no “mailing it in” for McCartney at this stage.

He is still “pushing the boundaries” in his songwriting, lyrically and musically, and exuding more energy than Kurstin had ever seen, even from his much younger collaborators. Even being a pianist himself, the producer was astounded by the senior artist’s chord progressions. Paul McCartney also still leans on the vast scope of musical understanding and history from his past, bringing in cellos instead of guitars, and adding the exquisite touch of harpsichords and harmoniums. This artist is still connected to his past, and very invested in the future, with more music to create and perform, and Canada gets to hear it live first.
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