McCartney Times

Paul McCartney arrived in a Beatles mood Tuesday at Hollywood Casino Amphitheatre. Performing the first of a two-night stand, the 75-year-old legend devoted a majority of his wide-ranging 165-minute concert to music he created with the Fab Four — a decision that sat well with the sold-out crowd. Yet he catered to more than nostalgic interests by taking on the role of informed historian.

Seemingly acting as his own archivist, McCartney went all the way back to his early days (“In Spite of All the Danger,” the first song he recorded in a studio, with the Quarrymen) and caught up with the present (a respectable stab at imitating the vocal approaches of Rihanna and Kanye West on the trio’s collaborative “FourFiveSeconds”). In between, he mined his solo catalog and that of Wings and the Beatles. Straightforward versions of hits (“Let Me Roll It”) shared space with revamped favorites (a harder, extra-bombastic “Live and Let Die”) and unexpected deep cuts (the krautrock-flavored “Temporary Secretary”)

Cheerful and humorous, McCartney seized multiple opportunities to get personal and put familiar fare in meaningful context with homespun stories. Preceded by narratives, tributes to George Martin (“Love Me Do”), John Lennon (“Here Today”) and George Harrison (a ukulele-anchored “Something”) registered with heartfelt sincerity. A solo “Blackbird” transcended its Civil Rights-era origins and resonated as a still-hopeful response to modern injustice. “Maybe I’m Amazed” honored McCartney’s first wife, Linda, and functioned as a humble reminder of his own vulnerability.

McCartney also addressed another key arc of his career: The Beatles’ supposed rivalry with the Rolling Stones. In typically reserved British wit, he dismissed such lore as “fake news” before launching into an insistent, distortion-kissed “I Wanna Be Your Man” — the Stones’ first hit single, which he and Lennon penned. Another former contemporary, Jimi Hendrix, received due via an anecdote and “Foxey Lady” jam.

Bolstered by monster drummer Abe Laboriel Jr., McCartney’s enthusiastic band appeared as if it could’ve handled any vintage or challenge thrown its direction. The collective gave “We Can Work It Out” an old-world European accent and made “New” bounce akin to a giddy puppy dog loping down a hall. It also treated harmonies as child’s play, striking pleasing balances that complemented rather than dominated.

The blends not only served the songs but enhanced McCartney’s leads. While compensating for a noticeably bare top end, and occasionally showing signs of thinning, the singer’s voice largely held its own. As did his tonal bass playing, never more convincing than when delivered with his trademark Hofner instrument, which emitted a look and sound as classic as McCartney’s spirit.

ctc-arts@chicagotribune.com