paul mccartney tour new york

Paul McCartney has 14-show 'Got Back' concert tour coming up April 28: How to get tickets

You've seen "The Beatles: Get Back," now you can go see Paul McCartney on his "Got Back" tour.

The former Beatle will be hitting the road for a 13-city tour that starts April 28 at Spokane, Washington's Spokane Arena and ends June 16 at MetLife Stadium in East Rutherford, New Jersey.

The itinerary marks his first live dates since the 39-show, 12-country Freshen Up tour ended in July 2019 , at Dodger Stadium.

“I said at the end of the last tour that I’d see you next time. I said I was going to get back to you. Well, I got back!” McCartney said in a statement accompanying the tour announcement .

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McCartney will also play SoFi Stadium , which hosted the Super Bowl, on May 13, and a pair of baseball stadiums: Fenway Park (June 7) and Oriole Park (June 12) on the tour.

Tickets for all dates go on sale to the general public at 10 a.m. Friday, Feb. 25. American Express cardholders can purchase tickets at 10 a.m. Tuesday, Feb. 22, through Thursday, Feb. 24. For more details, visit  paulmccartneygotback.com .

Interest in McCartney and the Beatles remains high after the release of "The Beatles: Get Back," the six-hour Peter Jackson-directed documentary of the making of "Let It Be," which hit the Disney+ streaming service at Thanksgiving. 

And McCartney in November released "The Lyrics,"  a two-volume collection with the words and the artist's recollections of 154 songs including “Yesterday” and “Let It Be."

Paul McCartney's Got Back tour dates:

• Thursday, April 28, Spokane, Wash., Spokane Arena 
• Monday, May 2 and Tuesday, May 3, Seattle, Climate Pledge Arena
• Friday, May 6, Oakland, Calif., Oakland Arena
• Friday, May 13, Los Angeles, SoFi Stadium
• Tuesday, May 17, Fort Worth, Texas, Dickies Arena
• Saturday, May 21, Winston Salem, N.C., Truist Field
• Wednesday, May 25, Hollywood, Fla., Hard Rock Live
• Saturday, May 28, Orlando, Camping World Stadium
• Tuesday, May 31, Knoxville, Tenn., Thompson-Boling Arena
• Saturday, June 4, Syracuse, N.Y., Carrier Dome
• Tuesday, June 7, Boston, Fenway Park 
• Sunday, June 12, Baltimore, Oriole Park
• Thursday, June 16, East Rutherford, MetLife Stadium

By the way, Beatles fans, Ringo Starr will also be on tour this spring and summer, with 19 dates in the U.S. – including a three-night stand at the Beacon Theatre in New York City – after kicking off the tour May 27-28 in Ontario, Canada. 

Contributing: Alex Biese, Asbury Park Press

Follow Mike Snider on Twitter:  @mikesnider .

New York • Monday, December 11, 1989

Band members

Paul McCartney

Linda McCartney

Robbie McIntosh

Hamish Stuart

Paul Wickens

Chris Whitten

Spread the love! If you like what you are seeing, share it on social networks and let others know about The Paul McCartney Project.

From the “ New World Tour ” tour book, remembering the 1989/90 tour:

I’d always wanted to play Madison Square Gardens. When I was crossing over from training as a classical pianist and I started buying rock ‘n’ roll records I used to see ‘Recorded at MSG’ on the sleeves such a lot that when I saw we were going to play there I thought, Brilliant! You dream, you think it’s a pipe dream, then it comes true. At the end of the concert, when I jumped down off the riser to take a bow Robbie gave me a big hug because he knew what it meant to me. We’d spent so many months together in the back of Transit vans in other bands… Paul “Wix” Wickens

Last updated on May 11, 2019

Madison Square Garden

This was the 3rd concert played at Madison Square Garden.

A total of 18 concerts have been played there • 1976 • May 24th • May 25th • 1989 • Dec 11th • Dec 12th • Dec 14th • Dec 15th • 2001 • Oct 20th • 2002 • Apr 26th • Apr 27th • 2005 • Sep 30th • Oct 1st • Oct 4th • Oct 5th • 2012 • Dec 10th • Dec 11th • Dec 12th • 2017 • Sep 15th • Sep 17th

Setlist for the concert

Figure Of Eight

Written by Paul McCartney

Written by Paul McCartney , Linda McCartney

Got To Get You Into My Life

Written by Lennon - McCartney

Band On The Run

Ebony And Ivory

We Got Married

Maybe I'm Amazed

The Long And Winding Road

The Fool On The Hill

Sgt. Pepper's Lonely Hearts Club Band

Good Day Sunshine

Can't Buy Me Love

Put It There

Hello Goodbye

Things We Said Today

Eleanor Rigby

My Brave Face

Written by Paul McCartney , Declan MacManus / Elvis Costello

Back In The U.S.S.R.

I Saw Her Standing There

Twenty Flight Rock

Written by Eddie Cochran , Ned Fairchild

Ain't That A Shame

Written by Fats Domino , Dave Bartholomew

Live And Let Die

The Hustle Snippet

Written by Van McCoy

Golden Slumbers

Carry That Weight

See song statistics for “The Paul McCartney World Tour”

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See the Beatles’ First Tour Through Paul McCartney’s Lens

Sixty years after the Beatles appeared live on “Ed Sullivan,” McCartney reflects on his photos capturing those halcyon days. The Brooklyn Museum will exhibit them, and some will be for sale later.

By Lucie Young

They are now a collector’s trove — Paul McCartney’s own photos, shot 60 years ago, when the Beatles took Europe and America by storm: images of screaming fans (one carrying a live monkey); a girl in a yellow bikini; airport workers playing air guitar, and unguarded moments grabbed from trains, planes and automobiles.

McCartney, now 81, doesn’t like to sit still and reminisce about the past, so he chatted while driving home from his recording studio in Sussex, England. “My American friends call these small, one-way lanes ‘gun barrels,’” he said, warning his interviewer that at any moment the signal might die (it did). In the end, it took two days to complete a coherent conversation about the breakthrough period when the Beatles went viral, captured in the traveling exhibition “Paul McCartney Photographs 1963-1964: Eyes of the Storm,” which features 250 of his shots. Currently it’s at the Chrysler Museum of Art in Norfolk, Va. , and comes to the Brooklyn Museum May 3-August 18. (Don’t be surprised if the artist shows up for the opening.)

It was McCartney’s archivist, Sarah Brown, who found 1,000 photographs the musician had taken over 12 weeks — from Dec. 7, 1963, to Feb. 21, 1964 — in the artist’s library.

“I thought the photos were lost,” he said. ‘‘In the ’60s it was pretty easy. Often doors were left open. We’d invite fans in.” Even the recording studio wasn’t a safe space. “I was taking my daughter Mary to the British Library to show her where to research for her exams, and in one display case I saw the lyric sheet for ‘Yesterday,’” he said. A sticky-fingered biographer had swiped the original from their studio.

Rosie Broadley, a senior curator at the National Portrait Gallery in London, where the show was inaugurated, said, “His photographs show us what it was like to look through his eyes while the Beatles conquered the world.”

McCartney won an art prize at school and practiced photography with his brother, Mike (who later became a professional photographer). He graduated to a 35 mm SLR Pentax camera when the Beatles hit it big.

“It was the most sophisticated hand-held camera of the era. It would be like having the latest iPhone today,” Darius Himes, Christie’s international head of photography, said, adding: “We were all quite surprised by Paul’s sophisticated eye, and his awareness of trends in the visual arts. The yellow bikini shot is like a striking mix of Stephen Shore, William Eggleston and William Klein.”

The Beatles traveled with a flock of cameramen and were not shy about gleaning tips. McCartney admitted some of his earliest shots in the exhibition are a little fuzzily focused. “I console myself that one of my favorite photographers, Julia Margaret Cameron , also liked soft focus,” he said.

“His photos get better as he practices,” Broadley noted. The exhibition, and its accompanying book, take visitors on a whirlwind trip through six cities beginning in Liverpool and London, and ending in Miami. The images from the British leg are exhibited in small ‘‘austerity’’ walnut frames, to indicate Britain was still in throes of a postwar recession. The Fab Four might look nervous in these photos, but they had already reached stardom on their home turf, having bagged three No. 1 singles.

After a brief stint performing at the Olympia in Paris, alongside Sylvie Vartan, they heard that “I Want to Hold Your Hand” was No. 1 on the American charts and sped to New York. The crowning moment in America was their live television debut on the “The Ed Sullivan Show” on Feb. 9, 1964, singing five propulsive pop hits — an event watched by 73 million people.

In Miami, McCartney’s photos burst into Kodachrome color and the newly minted celebrities seem to bloom in glamorous new surroundings: lounging poolside, sipping scotch and riding around in motorboats. By April, the Beatles’ songs held the top five spots on the U.S. Billboard charts.

Musing on the images, he said, “There is an innocence to them,” adding, “I think it was a lot more fun than it was. We worked probably 360 days out of the year.” It was an all too brief halcyon period. Two and a half years later, the Beatles stopped touring. The logistics, the screams, the armored cars, had become a nightmare.

Like most successful artists thriving past retirement age, McCartney has projectitis. He’s working on a new album with the producer Andrew Watt (“Hackney Diamonds”), and just released the 50th anniversary remaster of the Paul McCartney & Wings classic “Band on the Run.” “His live shows continue to be of such high voltage one half expects him to burst into flames,” the Irish poet Paul Muldoon wrote in McCartney’s recent book, “The Lyrics: 1956 to the Present.”

His next project is organizing a gallery sale of some of his photographs. “It’s a process I like,” he said, describing the joy of curating. “I’ve done it a few times with Linda’s work” [a reference to his first wife, the photographer, Linda Eastman]. His current homes, shared with his wife Nancy Shevell , are adorned with images by Linda and Mary, though, curiously, none of his own. But that may change. ‘‘The sale,” he said, “will probably encourage me to get some for myself.”

Here are edited excerpts from our conversation, in which he reflected on popular images in the exhibition.

John Lennon. London, January, 1964

My favorite photos are of John and George. There’s a huge sentimental aspect to them. No one else could have taken this pic. John was a great character. A very different kind of guy to the other boys I knew. We met at the village fete. He was playing with his band. He was a year and a half older than me [and] my first friend who wore glasses. He was always taking them off and polishing them. I found it fascinating. He’d take them off in public, which rendered him half blind. Onstage, he just stood there and gazed out into the blackness. Maybe it helped him focus on playing.

John, George and Ringo backstage in their dressing room. London, 1963.

We began by playing in really crummy little clubs and bars in Liverpool and Hamburg. In Germany, we slept in a little room, with a Union Jack flag for a blanket. Back in England, it started to get a little better. We played in ballrooms, got radio work and then TV work. It was like a staircase ascent for us. What nobody realized is, by this time [seven months after the Beatles’ first No. 1 hit on the U.K. charts], we were really fully formed beasts. We’d come from the postwar years into a Britain that was now experiencing joy for the first time in decades, and we ate it up.

Self-portraits. Paris, 1964.

Our Pentax cameras were probably a gift. There was a lot of artistic black and white photography emerging at that time. We admired David Bailey [who had a Pentax camera], Don McCullin , a stunning war photographer, and Norman Parkinson . When he took our picture, he’d say ‘give me big eyes’ and we’d all play along. I like to shoot through the mirror because things look good in a mirror. We all smoked. Smoking gave us a suave, grown-up feel. We were pretty young. I was just 21.

Ringo Starr. Paris, 1964.

Our aim was always to have fun. I think that communicates itself and became part of the reason we were so popular. It is just a characteristic of Liverpool people to have a laugh. [Paul snapped this shot of Ringo during a staged photo shoot with Dezo Hoffmann, one of their court photographers.] Dezo was a very nice guy. He would give us hints as to the aperture and all the various things needed to make a good photograph.

Fans welcoming the Beatles at Central Park. New York, February 1964.

Here’s a pic of Beatles fans acting like they should. … Going crazy! We didn’t know what we were gonna get in America; if anyone would turn out to meet us. On the plane over, the pilot radioed ahead and was told there were gangs of fans waiting. [Over 4,000 screaming girls held back by 200 policemen.] Manhattan was big, tall, loud and brash. There were stories of fans breaking into our room at the Plaza Hotel. Those were more stories than reality. We probably wished it would happen.

Ringo Starr setting up his drum kit during rehearsals for “The Ed Sullivan Show.” New York, February 1964.

We had done television in England, so we were used to it; the cameras and the lights and all that. What we didn’t really know was how important Ed Sullivan was. He was the BIG ONE. There were two stagehands waiting to draw back the curtains for us to go on and one said: ‘You nervous?’ I said, ‘I dunno. Not really.’ He says: ‘You should be. There’s 73 million people watching.’ Then I got nervous. But if you watch that performance, I can’t believe how confident we look. The weird thing about the stage set is Ringo’s [precarious] drum rostrum. I can’t work out how he got up there.

Photographers in Central Park. New York, February 1964.

New York journalists thought they were pretty smart and I’m sure they were used to handling dumb pop stars. We had a lot of fun with them, especially at the news conference at J.F.K. [Airport]. We gave as good as we got. It became a game of who could come up with the smartest answer. Often it was the truth. Someone asked George, ‘Do you ever get your hair cut?’ He said, ‘Yeah, yesterday.’ And he’d been to the barber’s the day before.

Unknown man. Taken from the window of train from New York to Washington, D.C., February 1964.

We loved music and performing. It beat working in a factory. A few years before these pictures, we’d all been fully immersed in working class life in Liverpool. I have a fascination with working class people like this man [a railroad worker caught from a train en route to Washington, D.C.]. Working class people are the smartest people I’ve ever met. My cousin Bert [Danher] was an insurance salesman, but he also compiled crosswords for The Guardian and The Times. The photography I admire is spontaneous, like the work of the great [Henri] Cartier-Bresson. It was good to just grab shots on the run. We didn’t have time to think.

Unknown girl. Washington, February 1964.

Some of my favorite photos are of fans. I really like this one of a young girl with a headscarf looking in a Zen-like manner into my camera. I took it and never looked at it again until I did a print [for the National Portrait Gallery exhibition]. When we started blowing up the images, we got to see all the individual characters. In one photo, at Miami airport, there’s a woman holding up a monkey. You wouldn’t get that past health and safety these days.

George Harrison. Miami Beach, February 1964.

This is George living the life in Miami. [McCartney switched to Kodachrome to record the group’s antics in Florida.] Miami felt like wonderland. These pictures were taken at a time when we were all young and beautiful. I mean these are good looking boys, you know! From this perspective, I feel very blessed to have not only known these guys, but to have worked with them and done such great things with them. I feel very blessed.

An earlier version of this article misidentified the member of the British royal family who met with the Beatles in 1963. The Beatles met the Queen Mother (and Princess Margaret) that year; they met Queen Elizabeth II in 1965. 

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A first look at the Paul McCartney photography exhibit at the Brooklyn Museum

Screaming fans and personal moments included.

Screaming and crying girls. Innumerable hotel rooms. Nonstop camera flashes. A group of four Liverpudlian guys in the middle of it all. We’ve all seen the photos and videos documenting the insanity of Beatlemania, the obsession over the Beatles from 1963 to 1966.

But it turns out that the Beatles’ bassist and singer, Sir Paul McCartney, actually turned the lens on the crowds, the paparazzi and the cities that hosted them in the early days.

McCartney and the Brooklyn Museum are showcasing more than 250 of the icon’s personal photographs that illustrate the intensity of this historical moment, but also the quiet moments unseen by millions of fans in “ Paul   McCartney  Photographs 1963–64: Eyes of the Storm .”

The exhibit gives new insight into the  demands of touring, the constant media attention as well as McCartney’s band members, John Lennon, George Harrison, and Ringo Starr, who were undergoing an extremely life-changing era.

The show opens on May 3 and we got a sneak peek at it beforehand!

RECOMMENDED: A first look at the Met’s powerful new rooftop art installation

First on view at the National Portrait Gallery in London, the exhibition is made up of photography, video clips and archival material between The Beatles’ concert hall performances in Liverpool and London to their international tour, first to Paris and then to the United States. From hotel to hotel and from venue to venue, McCartney was taking portraits, landscapes and documentary shots all along the way. The museum says you can see references to New Wave, documentary filmmaking and photojournalism across the exhibition.

As a massive Beatles fan, access to these personal photos is a gift. Seeing the rabid fans and the insane moments from McCartney’s perspective, especially from his time here in NYC, is something I never thought I’d get to see. It’s easy to build the group up as icons—each individually and together—but this showcase breaks down that perspective because it is like looking at a family photo album.

The galleries are filled with close-up portraits of the guys in various situations—waiting for rehearsals to start, fiddling around on their instruments, interacting with fans and even taking a day off and swimming in Miami! Fans already know that the foursome were close, but seeing these behind-closed-doors images offers a new insight into their humor, individuality and humanity, which can often be forgotten about.

We’ve seen them in so many black and white photos on stage, in the studio and making public appearances, but these quiet moments (and some in bright beautiful color) shift the eye away from ‘icon’ to ‘individual.’

It’s also made more personal with McCartney’s actual pencil marks on the images he selected from his various contact sheets and his quotes about certain images and times during this era. There’s also a camera on display that is the same model that he and his fellow bandmembers used—the 35mm Pentax SLR. Plus, McCartney comments on some of the photos along the way, which you can read on the wall next to them.

“The crowds chasing us in  A Hard Day’s Night were based on moments like this,” McCartney said, referencing the photo below. It was taken in New York City during the same trip they went on the Ed Sullivan Show.

There’s an entire gallery about when the Beatles first came to New York City in 1964, in fact, and it’s incredibly cool not only to see New York City in that era with its giant yellow cabs and smaller skyline, but from McCartney’s point of view—through car windows, in crowds that swarmed the group and even from outside the Plaza Hotel.  

“We were staying at the Plaza Hotel, who were pretty horrified by all the hullabaloo,” McCartney is quoted as saying about that time.

The exhibit comes to a climax with the band’s time in Miami. The museum says McCartney shifted from shooting in black and white film to brilliant color to capture the vivacity of the city and beach—a far departure from the snowy, gray they experienced in NYC and D.C. beforehand. The gallery literally reflects this with bright yellow and blue walls. The photos depict a much more relaxed band, who had some time off to swim and enjoy the sun. Seeing a photo of John Lennon swimming in the ocean excitedly was heartwarming to say the least.

“Paul   McCartney  Photographs 1963–64: Eyes of the Storm,” supported by Bloomberg Philanthropies, opens May 3 and will be on at Brooklyn Museum through August 18.

• Shaye Weaver Editor, Time Out New York

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Home › Live Sound › Tours

Eight Plays, A Streak: Paul McCartney Tours NYC

By Clive Young. Go inside Paul McCartney’s 2017 mini-tour of New York City, where the rock legend and crew tackled eight sold-out shows, playing two nights a piece at Madison Square Garden; Brooklyn’s Barclays Center; across the Hudson River in Newark, NJ; and out on Long Island.

Clive Young ⋅ Published: 12/07/2017 ⋅ Updated: 07/28/2023

Watching a Paul McCartney concert is a lesson in irony. At their height, the 20-something Beatles played 45-minute sets, but 50-plus years later, at an age when most stars of his era are taking it easy, a Macca show clocks in at three hours. As if to prove the point, Sir Paul did it over and over in September as he tore through eight sold-out shows around New York City, playing two nights a piece at Madison Square Garden; Brooklyn’s Barclays Center; across the Hudson River at Newark, NJ’s Prudential Center; and on Long Island at the newly refurbished NYCB Live Nassau Veterans Memorial Coliseum.

Then again, maybe a three-hour, 38-song set list shouldn’t be surprising: With decades of hits under his belt, the man needs that long just to cover the basic ‘must-plays,’ trot out a few you haven’t heard in a while, and serve up a few surprises, like a recontextualized take on last year’s Kanye West/Rihanna collaboration, “Four Five Seconds,” placing it more firmly in the McCartney oeuvre.

Ensuring that the music rocks every fan at every show is McCartney’s FOH engineer of nearly 30 years, Paul “Pab” Boothroyd, overseeing a system from longtime audio provider Clair Global . While some things have remained constant throughout his tenure—you’d be hard-pressed to find a setlist without a “Hey Jude” sing-along—the technological side has kept apace with the times, so these days, Pab mans two Avid Venue S6L consoles.

“I’ve been kicking the S6L around for nearly two years now,” he says, speaking in the depths of Nassau Coliseum before the last show of the New York run. “Sonically, it is an improvement on the Profile, and it’s massively more versatile. I adapted to it pretty easily, as it’s a similar layout in certain aspects. I can fly around it in a very basic way, but then I’m a very basic mixer. I don’t get into ‘oh, I’ll press the trigger to do this in the song.’ If people want to get into those functions, it’s all there for them, but me, I just push faders, twiddle a few knobs, shout at the band from back here in frustration and my SE does the rest, eh Andrew?” To which system engineer Andrew Dowling looks up from his tablet, pauses and deadpans, “Front of house is always a team.” Cue laughter.

“I couldn’t agree with that more!” affirms Pab. “We’ve been working together four months now and I think we can both say we’ve liked what we’ve heard, and also it’s great to have a fresh, outside set of ears on this. There’s always different approaches. I constantly look at how other people are doing stuff, techniques, microphones; sound is always an education and that’s what makes it interesting.”

Pab’s transition to the Lab.gruppen-powered Clair Cohesion PA system two years ago was also an education, as he notes, “I was so dialed in on the i-5 that it was a bit of a struggle at first, but I do think the Cohesion CO-12 is about as good as you’re going to get with PA systems that are out there today. Very flexible, very light, very easy to manage. Great delivery, great results, very accurate. Of course, I hate it because it shows all my mistakes off very clearly, but other than that, it’s great.”

But jokes aside, it’s kind of admirable that McCartney’s shows are a place where mistakes could even happen. From the top down, everyone involved is willing to risk the occasional error in order to avoid marching through machine-like shows that are bolted down to tracks, clicks and other safety nets. “There’s no track playback,” confirms Pab. “Yes, the brilliant Wixy [musical director/multi-instrumentalist Paul “Wix” Wickens] is pressing a pedal to make a sound of a tambourine or something, but everything is played live. It’s a band, they’re rocking out together and Paul’s having fun. He’s doing what he loves most, and yes, he’s trying to translate his music to a degree of accuracy, but it’s not absolutely note-perfect; there’s a degree of looseness—it’s real.”

Looseness, however, means being ready for anything, so Pab’s S6L carries dialed-in snapshots for more than 100 songs, regardless of whether they’ve been played every night, once in a blue moon or never outside of rehearsal. When it comes to plug-ins, Pab’s mix goes relatively light, in part because, as he points out, the Beatles didn’t have a lot of gear to work with back in the day. McCartney’s vocal chain is centered around a Sonnox Oxford EQ and Avid Pro compressor. Other plugs that grace the mix regularly include Smack!; ReVibe II; ReVibe I on drums; and Mod Delay III, all used sparingly. “In some of these barns that we play, I don’t have to be washing out the place with even more reverb and delays—there’s enough in the room as it is,” he observes.

Some of that natural reverb gets initiated by the stage sound itself, as things get pretty loud up there. Only Wickens wears in-ear monitors, as the rest of the band opts for Clair R4 sidefills and old-school Showco SRM wedges. Guitarists Rusty Anderson and Brian Ray get captured via Rode NT3 condenser mics. “I like the way they just push the guitar right into the mix,” says Pab. “You’ve got to take it off the center cone a little so it’s not too spiky, but other than that, it’s a cheap mic that’s very good.”

Meanwhile, McCartney’s stage rig is based around Mesa/Boogie and Vox amps for his bass and guitar, respectively. “I kind of go old-school/new-school, with Shure SM57 and KSM32 mics on his lead guitar,” he said. “I blend the two on the console, but it’s also about the recording and Grubby [John “Grubby” Callis, monitor engineer] as well. We track everything, so I like to give the studio a choice. Probably Grubby uses the 57 more than the 32—less chance of feedback.” McCartney’s acoustic guitars are DI’d with an Avalon U5, and while there’s a Beta 58A capturing his vocals all night, halfway down the mic stand is a pair of Beta 98s, set up to capture a special instrument. “It’s a very old ukulele and he doesn’t want us to put any kind of contact on it because it was a gift from George,” says Pab. “The miking makes it a bit clinky-clanky, but there’s also a lot of character.”

Elsewhere on stage, Abe Laboriel’s elaborate DW drum kit is miked by Audix favorites, with a D6 in the kick, I5s above and below the snare and D4s on the toms, while a right-angled AKG C460 grabs the hi-hat, a Shure SM91 also captures the kick and DPAs are used for underheads. Laboriel contributes backing vocals through a Telefunken M80 on a rotating, telescoping mic stand that takes a lot of abuse: “He’ll use a stick to flick the mic away or in front of his mouth. And he uses a footswitch—not only is he playing away with incredible skill, but he gates his microphone manually so I’m not getting all sorts of noise between lines! Other times we work out between us that he’ll deliberately leave the microphone open because it acts like another overhead and it gives the kit a different flavor of sound.”

One instrument that used to get a little too much flavor was McCartney’s piano. “In the old days, with the Steinway, it was like a big stage overhead mic in a box that gathered the energy, and it sat in the mix like it was going to take off,” says Pab. The solution was to take a left and right from a Kurzweil MicroPiano that is triggered via MIDI from McCartney’s onstage Yamaha piano. The Yamaha itself also sports Helpinstill piano pickups for redundancy and flavoring as needed.

Despite the mountains of gear brought to bear on McCartney’s shows, every night is ultimately about one thing: getting the audience as excited as the guy on stage. “It’s very old-school rock and roll,” says Pab. “It’s loud sidefills and wedges up there, ’cause he likes to rock out. He’s a loud bass player and guitarist, and he likes to scream ‘Helter Skelter’ and ‘Maybe I’m Amazed’ and all that—and he’s still doing it to this day!”

VITAL STATS

Paul McCartney

Clair Global (Lititz, PA)

FOH Engineer: Paul “Pab” Boothroyd

Monitor Engineer: John “Grubby” Callis

Systems Engineer: Andrew Dowling

Monitor Systems Engineer: Paul “Swanny” Swan

Techs: Sean Baca, James Ward, Nathan Sonnenberg, Jen Smola, Kevin Leas, Steve Hupkowicz

FOH Console: (2) Avid Venue S6L 32D

Monitor Console: (2) Midas Heritage 3000, Heritage 3000 extender; Avid Venue S6L 24D

House Speakers: Clair Cohesion CO-12, CP-218, i-3, P-2

Monitor Speakers: Clair SRM, ML-18, R-4 III

Personal Monitors: Shure PSM 600

House Amplifiers: Lab.gruppen

Monitor Amplifiers: Crown

FOH Equipment/Plug-Ins: dbx 160SL; TC Electronic 6000; Plug-Ins: Sonnox Oxford EQ, Avid Pro compressor, Smack!, ReVibe II, ReVibe I, Mod Delay III

Monitor Equipment/Plug-Ins: XTA GQ600b; Drawmer DS201; Yamaha SPX990

Microphones: Shure Axient series with Beta 58A capsule, SM91, Beta 98, KSM32, Beta 58A; Radial J48, PZDI; Audix D6, I5, D4; Telefunken M80; Rode NT3; DPA; Avalon U5

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Paul McCartney. Self-portrait, London , 1963. Pigmented inkjet print. © 1963 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. Self-portraits. Paris , January 1964. Pigmented inkjet print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. John and George. Paris , January 1964. Pigmented inkjet print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. Ringo Starr. London , January 1964. Pigmented inkjet print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. West 58th Street, crossing 6th Avenue. New York , February 1964. Pigmented inkjet print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. John Lennon. Paris , January 1964. Pigmented inkjet print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. Photographers in Central Park. New York , February 1964. Pigmented inkjet print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Paul McCartney. George Harrison. Miami Beach , February 1964. Chromogenic print. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

Download  our app and ask your own questions about this exhibition during your visit. Here's one that others have asked.

“McCartney’s hitherto unseen photos . . . record a pivotal moment in popular culture”

“We’ve never seen Beatlemania from the inside — until now”

Paul McCartney Photographs 1963–64: Eyes of the Storm

May 3–august 18, 2024, iris and b. gerald cantor gallery, 5th floor.

#EyesOfTheStorm

As The Beatles captured the hearts of millions, founding member Paul McCartney captured it all on his Pentax camera. Traveling from the UK to New York—just as “the boys” did six decades ago— Eyes of the Storm takes us inside the frenzy of Beatlemania in 1963–64, when the band’s first U.S. tour skyrocketed them to superstardom. More than 250 of McCartney’s photos, recently rediscovered in his archives, reveal his singular vantage point at the center of this whirlwind of attention and adoration. Many of the prints buzz with the electricity of 1960s New York City, which has had a love affair with The Beatles ever since.

Displayed alongside video clips and archival material, the photographs not only showcase McCartney’s artistic versatility but also serve as a personal and historical record. They convey the intensity of The Beatles’ touring schedule, as the Fab Four were swept from concerts to hotels to the road with rabid fans and paparazzi at their heels. The images also evoke an affectionate family album, picturing McCartney and bandmates John Lennon, George Harrison, and Ringo Starr at a time when their lives were changing irrevocably. See through the “eyes of the storm,” as McCartney describes his unique perspective on this extraordinary period, and relive a musical legend’s meteoric rise.

This exhibition is included in general admission .

Paul McCartney Photographs 1963–64: Eyes of the Storm has been organized by the National Portrait Gallery, London, England, in collaboration with Paul McCartney. It is curated by Sir Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery. The presentation at the Brooklyn Museum is organized by Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts, and Jennie Tang, Executive Assistant to the Deputy Director of Art and the Director of Curatorial Affairs. 

Upcoming Events

Member Evening Hours: Eyes of the Storm and Hiroshige

May 17, 2024 6–8 pm

Members: Get an exclusive opportunity to view Paul McCartney Photographs 1963–64: Eyes of the Storm and Hiroshige: 100 Famous Views of Edo (featuring Takashi Murakami) after hours.

Virtual Verbal Description Tour: Paul McCartney

June 4, 2024 6–7:15 pm

Blind individuals and those with low vision are invited to gather online and experience Paul McCartney Photographs 1963–64: Eyes of the Storm in a vivid, detailed verbal description tour.

Brooklyn Afternoons Online: Paul McCartney

June 11, 2024 2–3:15 pm

Individuals with memory loss and their care partners are invited to a virtual exploration of Paul McCartney Photographs 1963–64: Eyes of the Storm .

Verbal Description Tour: Paul McCartney

June 18, 2024 3–4:15 pm

Blind individuals and those with low vision are invited to experience Paul McCartney Photographs 1963–64: Eyes of the Storm in a vivid, detailed verbal description tour incorporating multisensory interactions with art.

Brooklyn Mornings: Paul McCartney

June 25, 2024 11 am–12:30 pm

Individuals with memory loss and their care partners are invited to an interactive exploration of Paul McCartney Photographs 1963–64: Eyes of the Storm .

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Sir Paul McCartney MBE is an English musician, singer, songwriter, multi-instrumentalist, and composer and one of the most celebrated musicians of the 20th century.

He was part of perhaps the most famous British band of the 20th century, The Beatles who are regarded as one of the most popular and influential acts in the history of rock music and his songwriting partnership with John Lennon is one of the greatest of all time. McCartney has been recognised as one of the most successful performers of all time collating 60 gold discs and sales of over 100 million albums and 100 million singles of his work with the Beatles and as a solo artist.

In 1999 he received the honour of being inducted into the Rock & Roll Hall of Fame as a solo artist due to the fact that he has written, or co-written 32 songs that have reached number one on the Billboard Hot 100, and as of 2014 he has sold more than 15.5 million RIAA-certified units in the United States. McCartney, Lennon, Harrison and Starr received MBEs in 1965, and in 1997, McCartney was knighted for his services to music. He performed at the opening ceremony of the London 2012 Olympic Games and is seen as ambassador of British music.

McCartney first met Lennon at a church fete in 1967 where he was performing with his current band The Quarrymen, little did they know they would form such a close working relationship and would eventually become the most successful recording band in history. Cited as the driving force behind the first ever rock concept album, 'St. Pepper's Lonely Hearts Club', McCartney kept creativity at the forefront of everything he did.

He currently holds an honorary doctorate degree from Yale Music, a Brit Award for an Outstanding Contribution to Music, twenty-one Grammy Awards and a knighthood. The tireless musician is still touring to this day and shows no sign of slowing.

Live reviews

The Paul McCartney concert on October 30, 2014 in Greensboro, NC was far and away the best concert I have been to and I have been to many. To see this music legend alone is amazing but to see him and his band, not missing a beat the entire evening, goes beyond amazing. McCartney's voice gave just a little a couple of times but his enery and showmanship was spot on, and and other than those one or two times, his voice was as rich as ever. Make no mistake, the tickets were expensive but you get every penny's worth of your money back in the show you get. He started late, about 45 minutes or so, but then played for almost 3 straight hours and did 2 extended encores. Just amazing. I saw BB King not too long ago and he played about the length of one of McCartney's encores and just droned on and on for the rest of the hour long show, telling stories that I guess he found entertaining but no one else did, as evidenced by a few boo's. Sad and a waste of good money. Don't get me wrong-I still love BB King but it was a sad waste of time and money that night. You will not have any waste seeing Paul McCartney. His renditions of the old Beatles songs were a delightful step back in time, his Wings songs as tight as ever and it all just got better and better. The lighting and background effects on a large wall of lights produced beautiful effects that went from psychadelic to photo's of children, the Beatels, buildings and more. Standing alone and playing an acoustic guitar on a large block that rose about 20 feet above the stage was fantastic, with a full moon, leafless tree and midnight blue sky behind him. And then a large blue rose forming on the front of the block just set the mood for his excellent guitarwork and vocals. When the show ends with Live and Let Die, they pyrotechnics were amazing. The roar of about 16,000 fans combined with fireworks and blasts of flames in perfect unison was the way to hit a finale. And the 2 encores were a perfect end to a perfect night. If you get a chance to see Paul McCarney, go-just go! Worth the money and then some!

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PAUL MCCARTNEY is Out There playing for 3 hours. Yes, that is right! Pauly rocked the sold out show for 3 hours. This is the third time I have had the pleasure of seeing him and have seen many other bands but this was the best show I have ever seen. Not only did he rock out with fab Beatle songs like "Helter Skelter" but he also slowed it down with songs like "The Long And Winding Road". He treated us to some great Wings surprises like "Hi Hi Hi" and "Listen To What The Man Said". He also played some great songs from his latest album "New". I have his concert DVD's and he added many different songs to the mix while still keeping in some of the hoped for favorites.

I don't want to give anything away but there are some awesome surprises music wise awaiting the lucky person who will attend one of his shows.

This is a must see show, the material spanned his entire career. He sounded fantastic and he looks great! To all the ladies out there, you will still swoon when you see him! I did! He was funny and charming. One of the most refreshing things was that you could tell he was having an awesome time and you felt like he wanted to stay and play longer as much as you wanted him to stay and play longer! He really shows his fans that he cares about us as much as we care about him.

A very cool and unexpected event: He brought a couple up onstage who had a sign stating that he was ordained and would he marry them. He did a short little ceremony for them stating that it really wasn't legal but it was awesome! I totally wanted to grab the guy next to me (who I didn't know) and yell "We're next!"

I really think this is a show for anyone who really loves music. Paul was changing his guitar's and bass's out even playing one of his original guitars that he used for Sgt.Peppers. Throwing in an awesome tribute to Jimi Hendrix. Go see him if you get the chance. I would go again tonight if I could!

Beatles legend and Wings mainman, Paul McCartney will remain indelibly etched into the annals of time. The humanitarian, bassist and vocalist has traversed six decades, performing in some of the world's biggest and best venues, at historic moments (Band Aid), and unique moments (who ever pegged Macca as a Nirvana member?!), McCartney is a one-of-a-kind performer, fully deserving his place in the Rock and Roll Hall of Fame. The 72-year-old Liverpudlian is entirely at ease on stage – he's essentially lived there for the best portion of his life – his catalogue is studded with megaton hits. Bond theme “Live And Let Die” (replete with flamethrowers when performed at festivals), Stevie Wonder duet “Ebony and Ivory”, “Coming Up” and “Jet” are non-Beatles bangers, but he frequently performs legendary cuts like “Let It Be”, “Back In The USSR” and “Hey Jude” at the end of his sets. How thoroughly immense is it watching a genuine Beatle lead a rousing chorus of “Naa naa naa nanananaaaaa?" Though arguably not as elastic as he once was – don't expect too many backflips – he's still a consummate entertainer. His voice has aged, but he still smashes every note, and his fretwork's not diminished a smidgen. It's rare you get to see a legend in the flesh, but grab any chance to witness McCartney, and you'll not regret it.

Paul McCartney. Just let the legend of that name sink in.

I can honestly, without a doubt say that this was the best concert/show I have ever been to (and I have been to numerous concerts).

Not only did he perform his New songs, but he performed all of his hits from The Beatles to The Wings as well. And I am sure he barely hit the top of the iceberg with what he performed considering his incredible library of number 1s and hundreds upon hundreds of songs.

This 72 year old man performed a 3 hour nonstop performance in clouding pyrotechnics, memoriams to his late and great Beatle counterparts, and 3 encores without breaking a sweat.

He may not be able to hold his notes as long as he did when he was younger but he still sounded amazing nonetheless. I was blown away and so happy that I can tell my kids when I am older that I saw one of The Beatles and it was perfect.

I don't think I have ever recommended a concert as highly as I am for Sir Paul. He is a living legend and am honored to have seen him rocking, running all over the place and putting on a great performance at the age of 72.

YOU MUST GO SEE HIM LIVE. It's an experience well worth the money and his tickets start at 25 for far seats but even so, WORTH IT.

BEST CONCERT OF MY LIFE!! I can say Even one of the most incredible moments of my life. I know what it means being able to see the legend Sir Paul McCartney live and he fullfill all my expectations and way more! His band is absolutely amazing!

But let me tell you the highlight of my year:

I could only afford the cheapest level tickets but I was more than ok with that since i was going to see my idol, then on my way to our seats with my 2 girlfriends, an angel waiting at the top of the stairs ask us to see our tickets and then offer to change them, we were surprised and maybe thinking it was a scam but then she pulled her envelope with 3 FIRST ROW TICKETS!! Best seat in the arena, she identify herself as part of Sir Paul team, and after many thank yous and hugs we went to see the biggest concert.

Thats why he is the absolutely GREATEST rock star of this planet! Beacuse he truly cares about his audiences, i will never in my wildest dreams tought i was going to see able to be on the first row, besides the wonderful drama of the situation his performance was perfect, spotless, he is full of energy and will be forever grateful to him for such an amazing night.

Sir Paul McCartney concert in Munchen was fabulous (Fab four, Fab one :)). The Olympiastadion was full of happy delighted people who were lucky enough to get a ticket. There were Beatles fans along with Wings and Macca fans from many different countries, young and not so young people, all cheerfully singing the everlasting songs and dancing to our beloved music that defined the lives of many of us. The show went on for full 2 hours and 40 minutes, almost 40 songs from all periods, from late 50's to nowadays hits.

For me, it was a once in a lifetime event. I grew up with Beatles and Paul McCartney music, and I have been waiting for a long time for this. It's been a long time since I bought my first Beatles record, even long time since I bought my last one (not to mention I have all Beatles records plus many of their solo albums :)), and the possibility to see one of my heroes live in concert, it was just a dream come true.

It was worth every single penny spent on concert ticket, air ticket, airport transfers, accomodation for couple of days, and of course whole lotta german beer :)

Long live Sir Paul, long live Beatles, forever live their eternal music!

¡Qué decir de la experiencia de ver a McCartney en vivo! Como leí en varias crónicas periodísticas, es imposible transmitir las sensaciones vividas.

Por suerte, pude disfrutar del show completo contra las vallas delanteras a la derecha del escenario, con la pared de parlantes de frente. Me sentí completamente knockeado por la contundencia del sonido.

McCartney despliega todo su talento sobre el escenario sin mezquinar nada que sus 73 años le permiten hacer. Es cierto que su voz falla a veces, pero eso no es lo importante. Lo importante es que no la esconde debajo de coristas, efectos o cambios de tonalidad. Si tiene que soltar un grito o un aullido, lo hace. Aunque falle.

Son muchos los climas que maneja, alternando híper clásicos beatles, composiciones de sus últimos discos y demás gemas de su extenso catálogo. Se puede decir con seguridad que es uno de los shows más completos que pueden disfrutarse. No cualquiera alberga en sus composiciones, las obras más fundamentales del cancionero pop del último siglo.

Ojalá podamos disfrutarlo varios años más. ¡No me doy por satisfecho!

This is the second time I've seen Paul McCartney in the past few years, and yet again he did NOT disappoint. First of all, he played almost 3 hours both times, so you will get plenty of bang for your buck based on the duration of his show alone. Secondly, considering he is 72 years old, he still nails most of the hard notes and delivers a true, genuine performance while frequently interacting with the audience in between songs. Paul is a very personable character that makes the fans feel appreciated and loved as much as we love him. His show started with a few songs that would be recognizable to the casual fan, it delved off into some less "commonly" known songs and a couple cuts from his new album (which also sounded great), then he closed out the show with MANY huge hits and sing-alongs that definitely left the audience wanting more! The pyrotechnics that kicked in during Live and Let Die were unexpected and amazing! I think he also did three encores as well, and I would definitely return to watch any future shows he does in Kansas City!

I don't need to say how amazing this man is and how happy I am to have attended this show. On "Live and let die" there was even pyrotechnics and fireworks. Paul was telling us stories, singing and joking, I think he switched more than 5 guitars during the show and the evening was just overall beautiful.

The venue was terrible, though.. There was no warning about not bringing the bags and we had to pay 15 Euros to leave the bag before getting in - backpacks were not allowed at all (so they basically forced us to give this money as it was too late to go back to hotel and leave it there). Also the security check was useless.. We were drinking in line to warm up and forgot about empty bottle in the pocket.. Guess what? We were able to bring a GLASS BOTTLE through security check, cause we didn't remember and they never checked.. What if I was a psycho? It's glass after all.

As soon as the legend, Sir Paul McCartney himself took the stage, the magic began! He performed for three solid hours, entertaining the crowd with songs written with the Beatles, with Wings, and on his own. I got teary-eyed when he first came into view, as you don't expect to see a legend, at 72 years old, still performing at the top of his game! Paul McCartney still LOVES what he does! Financially, he doesn't need to perform. He does it because he loves to and because he still can, which is impressive! This concert shall be one of my favorites for a long time - and I've attend many concerts in my lifetime. He came out and did two encores, even running around the stage. He never sat down unless poised at the piano. A legend, a master, a must-see!

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He’s just seen a face paul mccartney seeks out brooklyn fan 60 years after ‘beatlemania’ interview.

“Paul McCartney, if you are listening, Adrienne from Brooklyn loves you with all her heart,” the teen told news cameras in 1964.” I love you, Paul, please come to the window so I can see you. I saw you smoking before, and I kissed the limousine.”

Some six decades later, the superfan’s dreams were answered when McCartney noticed her, and publicly responded. The Beatle stitched a video of Adrienne’s now infamous interview on May 3 to promote his new photography exhibition at the Brooklyn Museum.

“Hey Adrienne, It’s Paul. Listen, I saw your video, I’m in Brooklyn now, I’m in New York. I finally got here,” McCartney said. “We got a photo exhibition, come along and see it.”

The exhibition, “Paul McCartney Photographs 1963-64: Eyes of the Storm,” opened May 3 and will run through Aug. 18. It features hundreds of photographs captured by McCartney through the lens of his Pentax film camera as he navigated the superstardom of Beatlemania and the Beatles’ first US tour throughout the early 1960s.

The immense gallery explores immersive and interactive photographic and video material as well as numerous archival materials for guests to visually follow the Beatles and their careers — from humble beginnings on stages in Liverpool to their first international tour to their sweeping and unprecedented popularity in the states.

Whether Adrienne is still in Brooklyn is currently unknown, but she is likely still a fan. In the 1964 interview, she promised to be a fan of the Beatles when she’s “105 and an old grandmother.”

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Captured on McCartney’s own Pentax film camera across 1963-64, the images take viewers inside the frenzy of Beatlemania.

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As The Beatles captured the hearts of millions, Paul McCartney captured it all on his Pentax film camera. Now, a new exhibition, ‘Paul McCartney Photographs 1963–64: Eyes Of The Storm’ takes visitors inside the 1963–64 frenzy of Beatlemania, as the band’s first U.S. tour skyrocketed them to global fame.

Shop the best of The Beatles’ discography on vinyl and more .

More than 250 of McCartney’s photographs, recently rediscovered in his archives, reveal his singular vantage point at the center of this whirlwind of attention and adoration—illuminating both the historical, and the personal, moments McCartney and his bandmates experienced together. First on view at the National Portrait Gallery in London, England, ‘Eyes Of The Storm’ makes its New York debut at the Brooklyn Museum, opening May 3, 2024, supported by Bloomberg Philanthropies. It is scheduled to run to August 18.

“Since first arriving in New York in February 1964, Paul McCartney has built a strong, everlasting connection to the city. His vibrant photographs from The Beatles’ first visit capture the energy of the city, the excitement of the American fans, and the frenzy of the band’s status as celebrities. Yet the images also record The Beatles’ fun and delight with each other. Through McCartney’s lens, we feel the intensity of being at the center of such extraordinary events,” says Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts.

In an immersive installation of photography, video clips, and archival material, ‘Eyes of the Storm’ traces the period when The Beatles played concert halls in Liverpool and London and began to tour internationally, first to Paris and then to the United States.

McCartney’s photographs convey the intensity of the band’s touring schedule in the U.S., as the Fab Four were swept from concerts to hotels to the road with rabid fans and paparazzi at their heels, from New York and Washington, DC, to Miami. The band’s arrival in New York signaled a turning point in popular culture, as their first televised performance on The Ed Sullivan Show was watched by around seventy-three million people and launched The Beatles into superstardom.

McCartney’s explorations in photography reflect his commitment to both the musical and visual arts. The range of work, from portraiture and landscape photos to documentary images, reveals McCartney’s familiarity with the formal styles of early 1960s photography. References to New Wave, documentary filmmaking, and photojournalism can be found across the exhibition.

‘Eyes of the Storm’ not only showcases McCartney’s artistic versatility but also serves as a personal and historical archive. In addition to documenting the demands of touring and nonstop media attention, the photographs evoke an affectionate family album, picturing his fellow band members, John Lennon , George Harrison , and Ringo Starr , at a time when their lives were changing irrevocably. The exhibition gives visitors a highly personal glimpse into an extraordinary time period of one of music’s enduring legends.

Born in Liverpool, England, Paul McCartney rose to prominence as a founding member of The Beatles. Throughout his lifetime, McCartney has played a pivotal role in shaping the landscape of popular music and culture more broadly.

‘Paul McCartney Photographs 1963–64: Eyes of the Storm’ has been organized by the National Portrait Gallery, London, England, in collaboration with Paul McCartney. It is curated by Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery. The presentation at the Brooklyn Museum is organized by Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts, and Jennie Tang, Executive Assistant to the Deputy Director of Art and the Director of Curatorial Affairs.

Listen to the best of The Beatles on Apple Music and Spotify .

Shirley L. Callis

January 25, 2024 at 2:38 am

I saw the exhibit last weekend at the Chrysler Museum in Norfolk, Virginia, the first American venue to have it. I give it a 10/10, highly recommend!

S. J. Cosimano

January 26, 2024 at 1:58 pm

I saw it in Norfolk as well. Excellent exhibition. Why however, is there absolutely no mention of the Chrysler museum, where it has been for months already? Also, for some more in-depth, trying to find an interview that Paul McCartney did with Stanley Tucci in London.

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Harry j. pappas dies: broadcast mogul & pappas telecasting companies founder was 78, breaking news.

Paul McCartney Reaches Out To “Adrienne From Brooklyn” 60 Years Later

By Greg Evans

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It’s one of the most famous and beloved clips from the era of Beatlemania, and 60 years later Paul McCartney has finally responded to the lovestruck “ Adrienne from Brooklyn .”

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“Hey Adrienne, it’s Paul,” McCartney says in an Instagram video posted today. “Listen, I saw your video. I’m in Brooklyn now, I’m in New York, I finally got here. We got an exhibition, a photo exhibition. Come along and see it.” In a caption with the video, McCartney writes, “And Adrienne from Brooklyn if you are listening, Paul McCartney from Liverpool loves you too.”

The clip -and Adrienne – has long been a fan-favorite moment and a signature image of American Beatlemania. It was included in Ron Howard’s 2016 documentary Eight Days A Week – The Tour Years. There are considerable theories on the whereabouts of Adrienne, or even whether she’s still alive, but nothing close to proven.

The Brooklyn Museum photo exhibition “Paul McCartney Photographs 1963-64: Eyes of the Storm” is open until August 18.

See McCartney’s video below, followed by a clip from Eight Days A Week and a more extensive version of the Adrienne interview from a CBS News special marking the 50th anniversary of the Sullivan appearance.

View this post on Instagram A post shared by Paul McCartney (@paulmccartney)

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Paul McCartney Hilariously Responds to Fan 60 Years After She Tells Him She ‘Loves’ Him

"Adrienne from Brooklyn loves you with all her heart," the fan says in the resurfaced video

One lucky fan has finally received a response from Paul McCartney , 60 years after she first professed her love to him.

In a video shared on TikTok and Instagram on Friday, May 3, The Beatles  musician, 81, responded to a woman named Adrienne, who declared her love for him in a throwback video surrounded by fellow fans.

"Paul McCartney, if you are listening, Adrienne from Brooklyn loves you with all her heart," Adrienne says in the vintage clip while speaking into a microphone.

Related: Ozzy Osbourne Says Meeting Paul McCartney 'Was Like Meeting Jesus Christ'

The video then cuts to a present-day McCartney, who says, "Hey, Adrienne. Listen, it's Paul. I saw your video. I'm in Brooklyn now. I'm in New York. I finally got here. We got an exhibition, a photo exhibition. Come along and see it."

The music icon was referencing "Paul McCartney Photographs 1963-64: Eyes of the Storm," an archival presentation that opened at the Brooklyn Museum on Friday, May 3, and will be available for viewing till Aug. 18.

According to the museum's website , the exhibition features more than 250 photographs captured by McCartney on his Pentax camera during the "frenzy of Beatlemania in 1963–64, when the band’s first U.S. tour skyrocketed them to superstardom."

Related: Guitar Played by John Lennon on Beatles Classics Hits Auction Block After Being Found in an Attic After 50 Years

The caption pointed out the significance of the throwback clip: "60 years after The Beatles arrived in New York on their first trip to America, Paul’s photographic record of ‘Beatlemania’ is now on display at  @brooklynmuseum !" 

The museum also gave Adrienne another shoutout: "And Adrienne from Brooklyn, if you are listening, Paul McCartney from Liverpool loves you too ❤️."

In the comment section, however, fans couldn't help but quip about how long it took McCartney to answer.

One person wrote, "If she is still alive this will probably kill her of excitement." Another commented, "She’s waited a long time, Paul 😆."

In April, McCartney opened up about a conversation he did manage to have with another fan —   Beyoncé .

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The 42-year-old singer recorded her own version of The Beatles' 1968 classic " Blackbird " for her latest album, Cowboy Carter .

"I think Beyoncé has done a fab version and would urge anyone who has not heard it yet to check it out. You are going to love it," McCartney began in his lengthy social media post last month. The post featured a throwback image of him posing with Beyoncé and her cover art for Cowboy Carter.

"I spoke to her on FaceTime and she thanked me for writing it and letting her do it. I told her the pleasure was all mine and I thought she had done a killer version of the song," added McCartney in part.

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10 Museum Shows to See in New York This Week

By Alex Greenberger

Alex Greenberger

Senior Editor, ARTnews

May is undoubtedly a market-oriented art month in New York, with Frieze quickly followed by another fair, Independent, and then a succession of big-ticket auctions to boot. But even as moneyed dealers and collectors flex their might, the city’s museums have plowed forward, mounting some of their most high-profile shows planned for this year.

The polarizing Whitney Biennial continues its run at the Whitney Museum; the debate over its curatorial framework is sure to be a mainstay at gallery dinners and fair booths this month. Meanwhile, sizable exhibitions devoted to the Harlem Renaissance and Joan Jonas, at the Metropolitan Museum of Art and the Museum of Modern Art, respectively, will also be widely seen.

Adding to all the excitement are some new shows: a survey of Paul McCartney’s photography at the Brooklyn Museum, an Amalia Mesa-Bains retrospective at El Museo del Barrio, and Petrit Halilaj’s rooftop commission for the Met.

Below, a look at 10 museum shows to see during Frieze week in New York.

'Paul McCartney Photographs 1963–64: Eyes of the Storm' at Brooklyn Museum

If Paul McCartney is known for producing some of the greatest music of all time as a member of The Beatles, this show aspires to situate him as a noteworthy visual artist as well. The focus here is specifically McCartney’s photographs—namely, the ones he shot using a Pentax camera during the band’s first US tour, as the group discovered a vast and passionate following beyond the UK. The show assembles some 250 of McCartney’s pictures, attesting to how The Beatles each fashioned their identity until they were camera-ready.

May 3–August 18

'The Roof Garden Commission: Petrit Halilaj,  Abetare ' at Metropolitan Museum of Art

Petrit Halilaj, a closely watched Kosovar-born sculptor, has made a splash on the international biennial circuit , but he has astoundingly only had one other New York solo show, and that was in 2017. This time, he’s taken over the Met’s rooftop, showing an array of new sculptures inspired by kids’ drawings lifted from desktops in Albania and the surrounding region. Where most Met rooftop commissions tend toward excess, Halilaj’s latest creations are shockingly minimal, save for a smiling spider that looms over one deck. Do not miss the cat-human hybrid that hangs from a pergola.

Through October 27

'Amalia Mesa-Bains: Archaeology of Memory' at El Museo del Barrio

Amalia Mesa-Bains’s work has proven notoriously difficult to curate, given that a gathering of disparate parts, from flags to jewelry to others’ art, comprise her most famous pieces, her ofrenda -style installations. The difficulty of keeping their elements together is, in part, her point: Mesa-Bains has sought to honor the very nature of history itself, showing that it is rarely a stable, changeless discipline. The artist, who has frequently focused on the Chicanx community, is at long last receiving a retrospective, which has been truncated for the New York exhibition from its acclaimed initial version in Berkeley, California.

May 2–August 11

'Joan Jonas: Good Night Good Morning' at Museum of Modern Art

There are arguably few better-known video artists in the world than Joan Jonas, whose tapes from the ’60s and ’70s are considered crucial works about the relationship between one’s body and the environment, often with a feminist undercurrent. Having represented the United States at the 2015 Venice Biennale, Jonas has been written into art history of the past half-century, and her MoMA retrospective only cements her place within the canon. Included in the exhibition are a number of her video installations contending with hard-to-pin-down psychological states, natural phenomena, Japanese theatre traditions, and, of course, her beloved pet dogs.

Through July 6 . Read our review.

Käthe Kollwitz at Museum of Modern Art

Käthe Kollwitz is a hero for many artists now for the way she dealt head-on with social issues of her day, working in a manner that was blindly direct—even by the standards of the current moment. During the late 19th and early 20th centuries, Kollwitz crafted paintings, drawings, and prints that responded to a war-torn, chaotic Germany, often directing her attention specifically to plight of women and workers. Crucially, she worked in a figurative mode, even as others around her turned to abstraction, and for that reason, these pieces are just as piercing now as they were then. Many of them have not been seen frequently in New York, making this retrospective an important one for audiences in the city.

Through July 20

'The Harlem Renaissance and Transatlantic Modernism' at Metropolitan Museum of Art

It has been more than three decades since the Harlem Renaissance has been surveyed by a New York museum—the Studio Museum in Harlem was the last one to do so, in 1987—and with this show, the Met aims to take a fresh look at the movement, which kicked off in the ’20s and has influenced many generations afterward. As writers like Zora Neale Hurston and Langston Hughes were reshaping literary prose to account for new Black subjectivities, artists like Jacob Lawrence, William H. Johnson, and Meta Warrick Fuller were revolutionizing painting and sculpture, producing images of African Americans in ways they had rarely been depicted before. The movement produced a litany of memorable works, some 160 of which are assembled here, with many on loan from museums operated by historically Black schools. Among them are photographs of stylish Harlemites by James Van Der Zee, whose vast archive was recently acquired by the museum in collaboration with the Studio Museum.

Through July 28

'Hiroshige’s 100 Famous Views of Edo (feat. Takashi Murakami)' at Brooklyn Museum

Among the Brooklyn Museum’s crown jewels is its complete set of Utagawa Hiroshige’s “100 Famous Views of Edo” (1856–59), a group of woodblock prints depicting the Japanese city across the seasons: snowy bridges, the bay at sunset, trees in bloom. But for 24 years, it has been impossible to see all of the Brooklyn Museum’s prints—until now. This show brings together the complete set, complementing it with a contemporary flourish in the form of works by Takashi Murakami, who is known for his extravagant paintings and sculptures that bring traditional Japanese imagery into a new age.

Through August 4

Whitney Biennial

The most important biennial held in the United States demonstrates its might once more with this year’s edition, the storied show’s 81st. As usual, a pair of curators—Chrissie Iles and Meg Onli, in this case—have been appointed to provide a broad picture of American art as it stands right now. Iles and Onli’s vision of the scene is a sedate affair filled with art that does not broadcast its politics, even as many artists advocate for female liberation, trans rights, and other just causes. The curators’ 71-person list is dotted with beloved artists, from the esteemed abstractionist Mary Lovelace O’Neal to the up-and-coming sculptor Eddie Rodolfo Aparicio; it was assembled with the help of artists Korakrit Arunanondchai and asinnajaq, musician Taja Cheek, and filmmaker Zackary Drucker. And, for those looking to take home a piece of the Whitney Biennial (in a sense), it is this year possible to do so: the Whitney is also presenting certain moving-image offerings on the streaming platform Mubi.

Through August 11. Read our review.

Pacita Abad at MoMA PS1

The remarkable Filipina artist Pacita Abad stuffed and sewed her canvases, bringing her empathetic portraits of immigrant life and marginalized communities off the wall, into the third dimension. Having traveled the country over the past few years, Abad’s posthumous retrospective has finally touched down in New York, the city she sometimes called home. Unfortunately, the show has shrunk in the process; fortunately, her art, which also features in the current Venice Biennale, still shines brightly, bursting as it is with bright hues and busy compositions.

Through September 2

'Toshiko Takaezu: Worlds Within' at Noguchi Museum

The gorgeous, elegant ceramic forms Toshiko Takaezu crafted sometimes contain a secret: hidden within are objects that produce pleasing sounds, if their holders are shaken gently. But their containers have largely remained motionless, lending them a stilled, muted quality. Their intrigue is evident in this long-overdue retrospective for Takaezu, an artist born in Hawai‘i to Japanese parents. The show seeks to expose unseen parts of Takaezu’s art, including her little-known paintings, and will also play up the importance of sound to her art, with a dedicated concert program designed by Leilehua Lanzilotti, who also curated the exhibition with art historian Glenn Adamson and the Noguchi Museum’s Kate Wiener.

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