He may have a sweet public image, but there is a brilliant menace in Paul McCartney. His playfulness is countered, occasionally, by a meanness. It’s not a bad thing. McCartney stands tall as one of the all-time greats, and it would be a shame if he did not have that awareness. Paul is Live, the lightest of knocks, shows it. A cheeky jab at the Paul is Dead conspiracy in the title of a live album where the cover has him walking a dog across Abbey Road. Sensational. As strong a comment as Too Many People was against John Lennon when Ram was released. Paul is Live has none of that, though. It does not need that rage. McCartney continues to be an impressive live draw, and for those who did not catch him on the Got Back tour, Paul is Live serves as an excellent live album. A little close to Tripping the Live, but those who enjoyed the underrated gem, Off the Ground, are catered to well here.
A slightly hoarse voice for McCartney adds depth to songs which, at the time of their release, were light pop efforts. Slower tempos for light and breezy songs like Drive My Car and Let Me Roll It are made stronger on stage because of these thudding, deeper tones. It does not exceed the quality of the studio, but it does offer a worthy alternative. Even with the Off the Ground material, likeable as it is, the silence of the crowd is notable. Peace in the Neighbourhood is that light and lovely tone from McCartney in full swing, a nice piano fixture acting as the core of this live rendition. It’s nice and floaty, a welcome and flourishing piece which pairs nicely with All My Loving. Despite these hits, Paul is Live feels light on the classics. McCartney opts for The Beatles and Wings discography deep cuts, songs which are now rarities in their own way.
Magical Mystery Tour and Penny Lane are strange choices but thoroughly fitting, songs which have since been dropped from the live shows. Contemporary songs like Hope of Deliverance are great studio songs, though there is little ambition in their live showcase. Very little detail is added. The vocal changes McCartney has gone through over the decades are easier to hear on his oldest materials, and that is usually a positive, as it adds a fresh layer of contemplation to the song. All you have with newer material is the message of the time, and while Off the Ground is a genuinely delightful album, its tone feels like whiplash when embedded between those inevitable setlist hits like Lady Madonna. Those vocal depths, the new range from McCartney he has persevered in his recent shows, can be heard best of all on My Love.
Paul is Live offers solid on-stage pieces. None of them are better than the studio originals, nor do they need to be. What any strong live album must do is capture the surprise and thrill of performance. Kansas City serves as a show-ending surprise, and the inclusion of soundcheck treats like Hotel in Benidorm and I Wanna Be Your Man are nice touches. They’re offerings from McCartney which showcase how a show comes together. Hearing that is crucial for those interested in how a live show is built around certain songs, how there are spots for an artist to catch their breath and give the audience a chance to prepare for the next big hit. It makes for clunky listening at times, but Paul is Live is a lovely experience. It is what McCartney has so often offered, though at his best, he presents that lighter touch with a harsher, subtle message.
