Paul McCartney's last performance in the New York vicinity, a colossal affair held three years prior at MetLife Stadium with a seating capacity of 82,500, seemed a distant memory. Yet, on Tuesday night, he surprised everyone by taking the stage at the Bowery Ballroom, a venue that could comfortably host no more than 575 souls, though in reality, it was likely far fewer due to the expansive soundboard and equipment occupying a chunk of the historic downtown theater's floor space. The entire event exuded a whimsical charm, akin to a spontaneous lark. McCartney's announcement of the gig came mere hours before he graced the stage.
The news, reminiscent of Beatlemania's fervor, rippled through Manhattan and beyond, prompting New Yorkers to dash down Delancey Street in a bid to secure one of the precious few tickets to the Bowery show. Many in attendance, McCartney himself included, found it hard to fathom that such a moment was unfolding. "So, here we are," McCartney beamed, his grin wide. "Just a little gig in New York. Why not, indeed?" Later, as he prepared to launch into "Let Me Roll It," he added, "I still can't quite believe we're here, doing this. But here we are, making it happen."
This was not McCartney's first foray into impromptu concerts. The Beatles famously topped the roof of their Apple Corps headquarters at 3 Savile Row in London in 1969. Since then, McCartney has made a habit of such spontaneous performances during his visits to New York. In 2009, he returned to the Ed Sullivan Theater, the site of the Beatles' iconic U.S. debut, and serenaded the audience from atop the marquee. In 2018, he popped up at Grand Central Terminal to promote the release of his album "Egypt Station."
On Tuesday, amidst temperatures hovering in the low 30s, the 82-year-old McCartney opted for an intimate, indoor show. Tickets were sold exclusively at the venue, one per person, and they sold out within a breathtaking 30 minutes. For those fortunate enough to secure a ticket, it felt like winning the lottery. Amy Jaffe, 69, was at her home, about 30 blocks north, when she spotted the announcement on Instagram. "I thought, 'I can do this,'" Jaffe said before the show, as she donned jeans, grabbed a coat, and hailed a Lyft.
Jaffe had witnessed McCartney numerous times before, including during the Beatles' performance in Forrest Hills, Queens, back in 1964. Yet, even she found herself in disbelief, her smile accompanied by a shake of the head as she murmured, "I still can't quite believe it."
Meanwhile, Phil Sokoloff, a 31-year-old on his way to a nearby workplace, caught wind of the news. He dashed inside to inform his colleague, Mat Fuller, and together they hurried over to the Bowery Ballroom. "We were incredibly fortunate," Sokoloff exclaimed. "I usually find out about these things a day too late."
Promptly at 6:30 p.m., McCartney took the stage with his usual band, augmented by a three-piece horn section. They had only rehearsed once, the previous day, as McCartney himself admitted. Someone in the audience shouted, "You don't even need a rehearsal!"
Despite the venue's modest appearance, the former Beatle didn't skimp on the show, delivering a breathtaking journey through his extensive catalog, from Beatles classics to Wings hits. He kicked off with "A Hard Day's Night" and also belted out "Got To Get You Into My Life," "Maybe I'm Amazed," "Lady Madonna," "Jet," "Get Back," "Ob-La-Di, Ob-La-Da," "Let It Be," and "Hey Jude."
"Blackbird," a solo acoustic guitar number, was followed by McCartney reminiscing about its creation for the Civil Rights Movement, memories that brought him back to his early trips to the United States. "We were just kids then," he said, adding, "Now, I have grandchildren older than that era."
In the beginning, he and John Lennon always wrote with their audience in mind, crafting songs meant to reach out: "I Want to Hold Your Hand" and "From Me to You" were testaments to this. "It was all about the fans, really," McCartney reflected.
Before performing the Wings song "Mrs. Vanderbilt," McCartney recounted playing it in front of 350,000 people in Kyiv, when Ukraine was bubbling with newfound freedom. "Let's hope it returns to those days soon," he remarked.
The set was interspersed with conversations and audience shouts. McCartney instantly recognized a particularly piercing scream. "That was a Beatles scream," he quipped, then asked for more. "Alright, let's get it all out. Girls, give me a Beatles scream!" The crowd obliged without hesitation.
McCartney also performed "Now and Then," the so-called last Beatles song, a ballad composed by Lennon in the late '70s but only released in 2023 with the assistance of technology used in Peter Jackson's 2021 documentary, "The Beatles: Get Back." The song filled McCartney with nostalgia for his songwriting partner, who adored New York. "Let's hear it for John," he said, raising a toast.
McCartney, who was spotted chatting with Adam Sandler at the Super Bowl in New Orleans on Sunday, was in New York for the upcoming 50th anniversary festivities of "Saturday Night Live." He was set to be a guest on the star-studded television special that same evening.
It remained uncertain whether McCartney was playing a standalone show or preparing for something more substantial. He had wrapped up the Got Back Tour in December and expressed hopes of completing a new album this year.
For now, though, it was a one-night-only affair. One audience member asked McCartney if the concert could go all night. "Some of us need our beauty sleep, you know," he replied with a chuckle.
McCartney returned for an encore, bouncing with energy on stage. He closed the night with the rousing "Abbey Road" send-off of "Carry That Weight" and "The End," concluded with its timeless final lines: "And in the end/ The love you take/ Is equal to the love you make."
The crowd, still in disbelief, spilled out onto the street as snow began to gently fall, adding a magical touch to an unforgettable evening.
