It’s easy to feel sympathy for the plight of Paul McCartney. Being an elder statesman is a tough gig, and being an elder statesman in a field as fast-moving, reactionary and technologically-driven as pop music is something else. With ‘New’, his playfully-titled comeback after a few years on the sidelines, he’s taken shots at multiple targets and hit a few of them square between the eyes.
Aiding and abetting him on this occasion are Ethan Johns, Mark Ronson, Paul Epworth and Giles Martin, son of Sir George, the ‘fifth Beatle’, a producing supergroup intent on helping to pin down a sound that’s both contemporary and classic.
The results of their efforts are mixed. There are a few clangers dropped, the odd twee lyric rubbing up against misplaced electronic percussion or airy handclaps. Listening to ‘New’, it’s difficult to dismiss the desire for McCartney to go back to basics, as Elton John did earlier this year with a stripped-back sound on ‘The Diving Board’.
But, as is to be expected from a songwriter almost without peer, there are some major high points dotted here and there. Save Us and Alligator form a superb opening salvo and Johns lends his gentle hand to Early Days, a reflective few minutes that features an honest, unpolished vocal performance over acoustic backing.
Everybody Out There, produced by Martin, is naggingly effective and while the title track will only be revelatory to those who’ve never heard Penny Lane, its jaunty, harpsichord-driven melody is one that will follow you around for days, poking its nose into your business. Hosanna is another gem honed alongside Johns and I Can Bet is a strutting hit.
Lurking beneath the production there are things to like about Appreciate, with its Bond theme flourishes, but elsewhere there’s little to get excited about. On My Way To Work and Queenie Eye are at turns nonsensical and overblown, with intrusive synths wiping their muddy feet all over the carpet on Looking At Her.
When McCartney and his merry band of collaborators hit their stride, ‘New’ is great company, with engaging melodies coated in a gloss of modernity. When they falter, it’s a less than subtle reminder of what could have been.
NOTE FROM THE EDITOR
We don't run any advertising! Our editorial content is solely funded by lovely people like yourself using Stereoboard's listings when buying tickets for live events. To keep supporting us, next time you're looking for concert, festival, sport or theatre tickets, please search for "Stereoboard". It costs you nothing, you may find a better price than the usual outlets, and save yourself from waiting in an endless queue on Friday mornings as we list ALL available sellers!
