On Saturday, October 11th, Sir Paul McCartney came to Denver’s Coors Field to remind all packed into that massive stadium that peace still exists in this chaotic world. The show felt near mythic, the kind that comes around only a few times in a life, that imprints itself onto the souls of all in attendance. Even though the show felt quite laidback, awash with color and whimsy, history unfolding before our eyes, it felt deeply monumental given the times we find ourselves in. It brought together 50,000 disparate people — many local, many having traveled from places all over the world — and united them in one place to celebrate peace and love and music. It served to remind us all that despite whatever perceived differences exist between us, these threads we follow in our lives are intertwined, our hearts beat the same rhythms, our skin grows the same goosebumps when presented with some of the greatest songs ever written and we are sharing this world, this life, this universe together as one. We are all searching for peace and Paul McCartney’s show at Coors Field encouraged us to never give up the search.
It first must be mentioned just how chaotic Coors Field was upon arrival. While to be expected given the size and importance of the show, getting in was an ordeal. Lines wrapped around blocks, merging with each other and causing a considerable amount of confusion. Security people attempted to cut through the cacophony by ushering people out of the way of others, only to move a group and have it be filled in almost immediately. Once the gate was actually in sight, things went slightly smoother until getting onto the concourse which was a reprise of the scene outside. Bar and food lines wrapped down the way as far as the eye could see. Bathroom lines would not be contained by four walls. The world became a sea of confused faces as they wondered what all the holdup was as they slowly shuffled their ways to their seats. This chaos endured right up until McCartney hit the stage and lasted a little while after as well. However, this relative insanity — which recurred on the way out as well — helped pervade the communal vibe of the night. We were all wrapped up in that craziness together.
Once attendees finally did find their seats, got their beers, their dogs, did whatever else needed doing, the low rumbling of 50,000 voices grew to drown out The Beatles songs playing over the loudspeakers while a montage of photos from throughout McCartney’s career played on the projectors. The anticipation set in palpably as people laughed and hugged loved ones and shook themselves to remind themselves that they were actually about to witness what was about to come. Though the show was projected to start at 7:30, it seemed they wanted to give people a little more time to settle. Thus, Paul McCartney began his Denver show promptly at 8.
The house music cut off as the stadium lights went dark, the low din that had been rolling through arena became a deafening roar, a desperate collective cry in the darkness half-crazed by love and time. Almost impossibly, the crowd managed to go up another few octaves as, lights still dimmed, Sir Paul McCartney walked out on stage, iconic Höfner bass in one hand, his other raised into a wave that became a fist. It felt like something out of a recording of a vintage Beatles show, tears streaming down the faces of many, arms reaching out towards the icon, older fans and young sharing in the excitement, the sheer ecstasy of the moment. McCartney’s band soon followed, Paul counted one-two-thee-four into the mic and they launched into the first song of the night: “Help!.”
The thundering cacophony that was the crowd returned as each person there scream-sung each word, a phenomena that would recur throughout the night. Paul sounded great, his voice clear and strong, his hands nimble along the neck of the bass. The man is 83 years old and still radiates this childlike sense of whimsy and wonder that made him so beloved in the first place. Joy emanates from him, intelligence dances with mischief in his eyes, eyes that have seen so much, watched the world change, his music helping it to do so. Paul McCartney’s name rose to that of legend long ago which influences many to see him as this larger than life figure, this mythical being that dances with gods. But there he was before us, a man smiling and cracking jokes and dancing better than men 20 years his junior as he sung songs that have etched themselves into the collective human consciousness, that transcend borders and language and serve to unite. As “Help!” came to a close, we all in that crowd stood united, smiling so wide as hairs stood at attention, finally coming to terms with the fact that we were bearing witness to such history and mastery.
Next came “Coming Up” which featured the first appearance of the Hot City Horns, who added depth to every song they played on. It ended with the first of what would be many teases, this one being the theme song to the 60s spy show “Peter Gunn.” This led into “Got to Get You Into My Life” and then “Baby You Can Drive My Car.” The crowd was absolutely loving it, hanging on each passing note as lyrics that have evolved into something like scripture erupted from their throats. It was here that McCartney first said anything to the crowd, saying something along the lines of “Denver! We’re happy to be here. I’m Paul.” There would be many stories and back-and-forth’s with the crowd but he kept it brief this early on, wanting to get on with the music.
The first Wings song of the night, “Letting Go,” came next. This led into “Come Home to Me” and then to “Let Me Roll It,” which they ended with a tease of “Foxy Lady” by The Jimi Hendrix Experience. Paul then told the story of the first time he met Jimi. He saw the band play in London to a mostly empty room populated only by the like of McCartney, Eric Clapton and other mildly recognizable names. The word got out and the room was no longer empty when Hendrix played there the following nights.
“Getting Better” was next followed by “Let ‘Em In” and once these ended a great grand piano was wheeled out. Roadies came and took McCartney’s bass and he moved to sit at the paino while his band filled in the rest of the stage. It bears mentioning how incredible the band is, each radiating professionalism while also being unafraid to have a good time. In addition to the Hot City Horns, the band features Wix Wickens on keys, Abe Laboriel Jr. on drums and vocals, Rusty Anderson on guitar and Brian Ray on bass and guitar. Each had some major time in the spotlight, showing what it takes to be members of Paul McCartney’s band.
“My Valentine” came next. It was followed by “Nineteen Hundred and Eighty Five” a somewhat obscure Wings song that featured a rather strange video clip of celebrities such as Natalie Portman and Jack White signing the lyrics in ESL. It felt like there was a statement trying to be made that didn’t quite click. Still, it was followed by “Maybe I’m Amazed,” an all time classic that had the enraptured crowd’s arms raised towards heaven.
Paul moved back to the front of the stage. The stagehands came out and stripped the stage set up down considerably, replacing the elaborate drum kit with one much more simple and made to be played while standing. Paul was given a ukulele which he pointed at and winked knowingly to the crwod before they launched into a jaunty “I’ve Just Seen a Face.” It felt like they were hearkening back to The Beatles earliest iteration as the skiffle group The Quarrymen, like Paul was returning to where he came from. They kept this configuration for the next few songs, “In Spite of All the Danger” (one of the first songs The Beatles ever wrote), “Love Me Do” and “Dance Tonight.”
The band then left Paul alone on stage with an acoustic guitar. He looked out over the crowd with warm eyes, calmly gauging the room. Slowly, the first chords of “Blackbird” began to ring out, soaring over the tops of the heads of the crowd, fleeting things that carry dreams upon them. Paul began to raise up in the air as a hidden platform started to rise, a blackbird flying out of its cage projected on the platform’s screen. It was one of the most beautiful, powerful concert experiences this writer has ever had, all those voices wrapping themselves around one another, love pure and unadulterated emanating from the hearts of all that were there. The song came to an end and the platform lowered as many dried their eyes, the moment passed but alive forever in hearts and minds.
The band swiftly returned, the original stage set up did as well and they wasted no time before going into “Here Today” which led to “Now and Then” into “Lady Madonna” and then to “Jet.” This was followed by a bit of a surprise “For the Benefit of Mr. Kite.” The song is one of The Beatles’ strangest and was a delight to see live, McCartney’s enjoyment of the moment palpable.
Paul then traded his bass for a mandolin which he pointed to and winked at as he had earlier with the uke. He started a slow, paired down version of “Something.” However, after the first chorus, the band joined in, the tempo picked up, the bass returned and the full version was underway. It was really nothing but absolutely timeless classics from here on out. “Ob-La-Di, Ob-La-Da” was followed by “Band on the Run” into “Get Back,” into “Let It Be.” “Let It Be” hit me like a train. It felt like someone reaching into my chest and stealing all the pain and worry and stress that sometimes takes up residence there and throwing it out into the ether, making room for answers I’ve long been searching for. A moment I will never forget.
A literally explosive “Live and Let Die” came next. Cannons and fireworks and pyrotechnics of all kinds shot off throughout, casting a noticeable heat wave throughout the stadium. It was startling and exciting in equal measure, my heart pounding in my chest by song’s end.
Finally, Paul made his way back to the piano and the first notes of “Hey Jude” began to roll out. The crowd went silent, knowing what was about to come but wholly unprepared for it. They began to sing along with Paul and more muted, less feral than before, reverent. As the band came in and the song neared it’s legendary crescendo, this wave of pure joy surged through the crowd, this moment shared so beautifully, voices and tears falling in unison, spirits raising up to the night sky and dancing, forever dancing, that moment infinite. The crescendo came and arms wrapped around loved ones and strangers alike, united by one of the greatest songs ever written, song turned myth. We stood there singing together for what must have been at least 8 minutes but felt like a lifetime. It eventually came to an end. The band wrapped themselves around each other and took a bow before leaving the stage.
It wasn’t long before the band returned for the encore carrying an LGBTQ+ flag, a UK flag, a US flag and the Colorado flag, symbolizing the unity that this night was all about. The encore started with “I’ve Got a Feeling,” which featured footage from the final Beatles show on the rooftop in New York and allowed Paul to share a sort of duet with the late John Lennon. Paul sang his own verse and then, when it was time for John’s they let the track play from that recording made in 1970. When the song was over Paul said “I love doing that one because it allows me to sing with John once again.” This was followed by a medley that went from “Sgt. Pepper’s Lonely Hearts Club Band” into the chaotic and psychedelic “Helter Skelter” and ended with “Golden Slumbers.” The show ended with “Carry That Weight,” which had the whole crowd singing along once again,” and closed fittingly with “The End.” The band took another bow and left us all to search for peace out in the night.
Photography courtesy of Kiddest Metaferia.