The music icon has been on his global ‘Got Back’ tour since 2022, playing across Europe, North and South America, and Australia. It was his first tour since the outbreak of the COVID-19 pandemic.

The last stop of his tour was in November of last year at the London O2 Arena, where he was joined on stage by former bandmate Ringo Starr and Rolling Stones rock star Ronnie Wood, as well as a bass guitar that was stolen from him 50 years prior.

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Yesterday, 9 June, Paul McCartney took to his Instagram stories, posting an image of two guitar picks that read: “Paul McCartney” and “Got Back In 2025″. The picks, being coloured red, white and blue, hint at a possible US leg of his ‘Got Back’ tour. Along with this, McCartney posted a link to his stories, directing his followers to “receive information on tour dates, pre-sales and much more.”

Paul McCartney has seemingly announced a new tour in 2025 via social media: pic.twitter.com/Pjn0ESvxGC

— The Beatles Earth (@BeatlesEarth) July 9, 2025

His latest performances were in February of this year, playing spontaneous gigs at the 525-capacity Bowery Ballroom in New York, marking his first time in New York City in three years. Only a few days later he would perform at the Saturday Night Live 50th anniversary.

McCartney also has a new book on the way, entitled ‘Wings: The Story Of A Band On The Run’, which will be about the history of his band, Wings, formed in 1971 with his wife Linda McCartney and musician Denny Laine. The book will collate over 42 hours of new, archived, and recently discovered interviews. In the book’s foreword, Paul McCartney wrote: “Suddenly Wings has found its moment. We have a generational shift at work, and it’s like being transported back on a magic carpet. Working on the book has awakened so many beautiful memories of our times back then.” The book is due for release on 4 November of this year.

Click here to sign up to Paul McCartney’s mailing list.

The singer has been performing at the Tottenham Hotspur Stadium in London for the past week and included her cover of The Beatles 1968 classic ‘Blackbird’ to her setlist. The cover was a part of her most recent album ‘Cowboy Carter’ which was acclaimed upon release in 2024 and won Grammys for Best Duo/Country Group Performance, Best Country Album and Album of the Year.”.

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Beyoncé took to Instagram to post a snapshot of herself wearing a Blackbird themed outfit designed by Paul’s very own fashion designer daughter Stella McCartney and said: “Thank you, Sir Paul McCartney, for writing one of the best songs ever made. Every time I sing it I feel so honoured. And it is a full circle moment to wear your beautiful daughter’s design. Thank you, London, for creating unforgettable memories for me and my family. Holla at ‘ya when I come on tour again! (sic)”

Sir Paul MCartney sang the praises of the singer, saying her rendition of the song was a “killer version”. Also taking to Instagram back in 2024, he wrote the following words:  “I am so happy with @beyonce’s version of my song ‘Blackbird’. I think she does a magnificent version of it and it reinforces the civil rights message that inspired me to write the song in the first place. 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! 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. When I saw the footage on the television in the early 60s of the black girls being turned away from school, I found it shocking and I can’t believe that still in these days there are places where this kind of thing is happening right now. Anything my song and Beyoncé’s fabulous version can do to ease racial tension would be a great thing and makes me very proud.”

The concert was part of Springsteen’s acclaimed Land of Hope and Dreams tour and marked a significant moment in rock history — the meeting of two of music’s most revered figures in the very city where McCartney’s career began. The show also marked Springsteen’s first-ever performance in the birthplace of The Beatles, and the moment was made all the more special by McCartney’s appearance on stage.

Rumours had been mounting beforehand, as both artists had been spotted around the city the day prior. This landmark performance came just one day after Springsteen gave a guest lecture at The Liverpool Institute for Performing Arts (LIPA), a school co-founded by McCartney in 1996. McCartney personally introduced Springsteen at the event, sparking fan speculation that the two might reunite on stage.

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In a playful introduction, Springsteen teased the audience before inviting McCartney on stage: “You’re lucky tonight. We have a young man, a local young man from Liverpool, who’s going to play with us tonight. I think he has a lot of talent, and I believe he’s gonna be going places. So let’s bring out Paul McCartney!”

McCartney then joined Springsteen and the E Street Band on stage for an electric rendition of ‘Can’t Buy Me Love’, followed by the Beatles’ 1965 track ‘Kansas City’, with McCartney taking the lead vocals on both songs to thunderous applause from the crowd. Saturday’s performance also marked McCartney’s first live concert in Liverpool since 2018, making the occasion even more meaningful for hometown fans.

Following the performance, the two shared an embrace on stage and Springsteen announced, “Being in Liverpool and playing with a Beatle – that’s one of my dreams come true, right there”. Before leaving the stage Sir Paul addressed the crowd with the simple message “Thank you, Scousers”, which was met with whoops and cheers.

Although this was their first joint appearance in Liverpool, the two rock legends have shared the stage on several occasions. In 2022, they performed together at Glastonbury Festival, where they delighted the crowd with ‘Glory Days‘ and ‘I Wanna Be Your Man‘. Other collaborations include appearances at London’s Hyde Park in 2012, Madison Square Garden in 2017, and New Jersey’s MetLife Stadium in 2022.

As the tour continues across Europe, the Liverpool show stands as a powerful reminder of rock’s enduring ability to surprise, unite, and inspire.

Click here to read our recent coverage on Bruce Springsteen’s donation to UK miners in 1985

The Beatles – A Four-Film Cinematic Event, directed by Sam Mendes.

Harris Dickinson (John Lennon)
Paul Mescal (Paul McCartney)
Barry Keoghan (Ringo Starr)
Joseph Quinn (George Harrison)

In theatres April 2028. #TheBeatlesFourFilmCinematicEvent pic.twitter.com/mREL0nPcfC

— Sony Pictures (@SonyPictures) April 1, 2025

The ensemble cast was presented on stage by Mendes, with a projection of who would be playing who on a screen behind them. Paul Mescal, who recently starred in Gladiator II, will play Paul McCartney, and Joseph Quinn will play George Harrison, as previously reported earlier this year. Barry Keoghan, who shot to fame in 2023’s Saltburn, and later as the partner of Sabrina Carpenter, will play Ringo Starr, and Harris Dickinson will play John Lennon in what is likely to be his biggest role to date.   

These castings won’t come as a surprise to anyone who has taken an interest in the rumours and clues that have come out since the four films were announced in February 2024. DEADLINE reported the lineup back in December, drawing from details and gossip around the four actors. Ridley Scott, Mescal’s director on Gladiator II, accidentally revealed the 29-year old’s involvement in a Q&A, Ringo Starr shared that Keoghan had taken drumming lessons, Dickinson refused to rule out playing Lennon, and Quinn dropped out of Bret Easton Ellis’ Relapse citing scheduling conflicts.

As part of the 2024 announcement, Mendes said he was “excited to challenge the notion of what constitutes a trip to the movies,” and his exciting approach to the challenge has received the blessing of McCartney and Starr, as well as the families of Lennon and Harrison.  

The announcement was made at 8pm Las Vegas time, or 4am in the UK, leading some to question whether it was an April Fool’s Day joke. The disbelief surrounds the appearance of the four actors, with critics questioning if they look enough like their real-life counterparts to be convincing. Others noticed the resemblance between the promotional shot of the newly-announced cast, and an image of The Beatles taken at one of their final photoshoots.

First look at ‘THE BEATLES’ cast together.

Liam Gallagher as John Lennon
Paul McCartney (Old) as Paul McCartney
Squeaky as Ringo Starr
Yellow Yoshi as George Harrison pic.twitter.com/7fUA4LIgDR

— marybeth (@60minonacid) April 1, 2025

Discussing the ambitious nature of the project, Mendes said: “Frankly, we need big cinematic events to get people out of the house. There had to be a way to tell the epic story for a new generation, and I can assure you there is still plenty left to explore and I think we found a way to do that.” Mendes also used his CinemaCon appearance to elaborate on the release schedule, saying that all four films would be released “in proximity” of each other. 

Often cited as the most influential band of all time, any previous biopics on the group have felt half baked. Mendes’ approach will allow room for each Beatle to be explored, both as musicians and people, and the resulting films will be a treat for audiophiles and cinephiles alike.

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Frith shared his discovery on social media, writing, “I picked up this tape years ago that said ‘Beatles Demos’ on it. I just figured it was a tape off a bootleg record. After hearing it last night for the first time, it sounds like a master tape. The quality is unreal. How is this even possible to have, what sounds like a Beatles 15-song Decca tapes master?”

The tape, recorded on January 1st, 1962, features a youthful Beatles lineup with Pete Best on drums. The band had auditioned for Decca Records in London, only to be famously rejected. Decca’s decision is often cited as one of the biggest blunders in music history, as The Beatles would go on to sign with Parlophone Records and release ‘Please Please Me‘, launching their legendary career.

In an interview with CBC, Frith described the surreal moment of discovering the tape’s authenticity. “I thought it was just a reel-to-reel tape that somebody had put bootleg things on,” he said. However, after listening closely and consulting with Beatles experts, it became clear the recording was a genuine piece of music history. “It felt like the Beatles were right in the room,” Frith added.

Following the revelation, Frith was connected with Jack Herschorn, the former owner of Vancouver’s Mushroom Records, who originally brought the tape to Canada. Herschorn had obtained it in the 1970s during a trip to London when a producer gifted him the recording. Despite being encouraged to sell copies, he ultimately chose not to.

“I took it back and I thought about it quite a bit,” Herschorn explained to CBC. “I didn’t want to put it out because I didn’t think it was a totally moral thing to do.” Recognizing the Beatles’ immense legacy, he believed they deserved proper credit and royalties for their work. “It deserves to come out properly,” he added.

Frith, too, has no immediate plans to profit from the tape. Instead, he has made a generous offer to Decca Records, giving them the opportunity to release the recording if they choose. Additionally, he extended a personal invitation to Paul McCartney, suggesting the former Beatle visit Neptoon Records in Vancouver to receive the tape in person.

The discovery of this long-lost Beatles recording has reignited fascination with the band’s early days, serving as a powerful reminder of their humble beginnings before they became global icons.

Sony Music UK supports the ‘Make It FAIr’ campaign, calling on policymakers to respect UK copyright law and not let Gen AI companies train on music without permission. pic.twitter.com/7CS9iuIM80

— Sony Music UK (@SonyMusicUK) February 25, 2025

In a recent submission to a UK government consultation on copyright laws, Sony Music expressed concerns that potential changes in legislation could exacerbate the problem. Rob Stringer, Chairman of Sony Music Group, said: “AI is going to change the world, however, there can be no question that creators must be rewarded for being part of this technological revolution. Safeguarding the existing UK copyright model ensures AI developers and content owners can innovate whilst also recognising the value of the works on which their products are based”. Several celebrities have publicly addressed the issue of the proposed copyright law changes, including Elton John, Kate Bush, Paul McCartney, and Jimmy Page. These musicians have actively voiced their concerns regarding the unauthorised use of artists’ works in AI training, advocating for stronger protections within the creative industry.

 

 

 

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Executives at Sony believe that the 75,000 identified deepfake recordings are only a fraction of the total AI-generated content circulating online. Unlike traditional copyright enforcement, identifying and removing AI-generated material is a complex and time-consuming process that relies heavily on manual detection methods. Artificial intelligence has become an increasingly powerful tool in music production, enabling users to create hyper-realistic vocal imitations of popular artists. From AI-generated covers to entirely new songs mimicking famous voices, the technology has raised ethical and legal questions about intellectual property in the digital age. For example, here is an AI-generated Amy Winehouse singing Miley Cyrus’ ‘Flowers‘ in a jazz style:

Sony’s actions reflect broader concerns within the music industry about the implications of AI-generated content. The company has urged policymakers to implement stricter copyright protections, ensuring that artists maintain control over their work and are fairly compensated for their contributions. Several other major record labels have also voiced their concerns, including Universal Music Group (UMG) which is advocating for AI protections in licensing agreements with distributors like TikTok and Meta. The industry is now calling for more advanced content identification tools and clear legal frameworks to protect artists from exploitation.

As the debate over AI deepfakes intensifies, Sony Music’s efforts highlight the urgent need for regulatory action. With technology continuing to evolve rapidly, the music industry faces an ongoing battle to safeguard artistic integrity in an era of artificial intelligence.

The album features a wide range of artists, spanning various genres. Damon Albarn, Kate Bush, The Clash, Jamiroquai, Hans Zimmer, and The Royal Liverpool Philharmonic Orchestra are amongst more than 1,000 artists who have released a silent album in protest of the British government’s proposed changes to AI copyright laws. All profits will be given to the charity Help Musicians. The full list is available here.

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The track-listing for the record simply spells out the message: “The British government must not legalise music theft to benefit AI companies.” In 2023, the UK music contributed a record £7.6 billion to the economy. 

The album features recordings of empty studios and performance spaces which showcases what the future could become for musicians in the UK if the changes go ahead.

In a statement released alongside the album, the purpose of the project was made explicit: “In late 2024, the UK government proposed changing copyright law to allow artificial intelligence companies to build their products using other people’s copyrighted work—music, artworks, text, and more—without a licence. The musicians on this album came together to protest this.”

The project was organised and put together by Ed Newton-Rex. Newton-Rex was formerly the lead of the audio team at Stability AI, resigning in November 2023 over the company’s stance that training AI models on copyrighted work fell under ‘fair use’. The following January, he launched Fairly Trained, an initiative that recognises and certifies AI companies that obtain consent to data mine protected works.

A spokesman for the Department for Science, Innovation and Technology (DSIT) said in a statement: “The UK’s current regime for copyright and AI is holding back the creative industries, media and AI sector from realising their full potential – and that cannot continue. That’s why we have been consulting on a new approach that protects the interests of both AI developers and right holders and delivers a solution which allows both to thrive… No decisions have been taken, no moves will be made until we are absolutely confident we have a practical plan that delivers each of our objectives.”

The album comes just weeks before the end of the government’s consultation period on the issue. The government’s preferred approach is an ‘opt-out’ system, forcing artists to actively request for the removal of their work. Alternative proposals have been suggested, such as an opt-in, or a model which compensates the artists fairly for access to their work, as well as allowing them to profit from any projects which make use of their work.

The new plans fail to reimburse artists for AI recreating and copying their work, stifle creativity, and the proposed opt-out scheme places an unnecessary burden on artists, critics say. The petition was signed by Bush, Radiohead star Thom Yorke, ABBA’s Bjorn Ulvaeus and The Cure frontman Robert Smith.

Sir Elton John and Sir Paul McCartney were also voices that spoke out against the law. During a recent interview on Sunday With Laura Kuenssberg, the former Beatles member said: “You get young guys, girls, coming up, and they write a beautiful song, and they don’t own it, and they don’t have anything to do with it. And anyone who wants can just rip it off … We’re the people, you’re the government! You’re supposed to protect us. That’s your job. So you know, if you’re putting through a bill, make sure you protect the creative thinkers, the creative artists, or you’re not going to have them.”

Response to the album online has been overwhelmingly positive. Yusuf/Cat Stevens shared the project on his X account, seemingly bringing the issue to a new audience. One user commented under the musician’s post, saying, “AI should be banned from harvesting the products of human creativity in the arts, music, writing, or painting. Limit it to diagnostics for science, tech, engineering, medicine, and housework. Free people to think and be paid for their creativity.”

AI should be banned from harvesting the products of human creativity in the arts, music, writing or painting.
Limit it to Diagnostics for Science tech, engineering , medicine, house work.
Free people to think and be paid for their creativity.
Grow the Arts economy don’t kill it.

— Phil (@PhilipBagLowe) February 25, 2025

The debate is raging in other countries too. Two weeks ago, a judge in Delaware ruled in favour of a copyright holder against an AI company who claimed their practices were covered by ‘fair use’.

With only two weeks of the consultation period left, ‘Is This What We Want?’ represents the final push to influence those who can really make a difference. Whether the project will be able to change the minds of a seemingly entrenched government position is yet to be seen, though the UK creative sector isn’t going down without a fight.

This article was co-reported and co-written by Lewis Pinto and Marie Choquet

It was a night of nostalgia and reinvention as both bands secured wins. The Beatles took home Best Rock Performance for ‘Now and Then,’ the long-awaited “final” Beatles song, pieced together using an unfinished John Lennon demo, with contributions from Paul McCartney, Ringo Starr, and even a recording of the late George Harrison’s guitar work.

Meanwhile, The Rolling Stones claimed Best Rock Album for ‘Hackney Diamonds,’ their first album of original material in nearly two decades. The record, featuring guest appearances from Paul McCartney, Lady Gaga, and Elton John, reaffirmed the Stones’ staying power in a genre they helped define.

The resurgence of these two titans of rock wasn’t just a coincidence. The Beatles harnessed the power of AI to bring ‘Now and Then’ to life, blending the past and present in a way no one had ever quite done before. Meanwhile, The Rolling Stones embraced their blues-rock roots while pushing forward with fresh material, proving that their swagger and grit remain intact. A collaboration with Lady Gaga gave the album a tantalisingly modern twist. 

It’s rare for both bands to be celebrated at the same Grammys, let alone to win in the same night. The Beatles’ last Grammy nomination was in 1997, making this their first in 28 years. The Stones, while having been nominated 12 times, had not won a Grammy since 1995. This moment marked a reunion of sorts—not just for fans of either band but for the ongoing debate of Beatles vs. Stones that has fueled rock discourse for six decades.

Sixty years on from the peak of their rumoured rivalry, The Beatles and The Rolling Stones are still shaping the music world. Their victories at the 2025 Grammys aren’t just about nostalgia—they’re about relevance, innovation, and the lasting impact of truly great music. As Paul McCartney reminds us with his repeated warnings against AI having too much power in the music industry, the world is constantly evolving, and there is something comforting, even poetic, about seeing these legends of a simpler time back at the top, reminding us that rock and roll never dies—it just gets better with age.

These proposals would have permitted AI developers to train their models using artistic work, without the required consent from music creators. Suggested a controversial ‘rights reservation’ system, this framework would require creators to explicitly reserve their rights to prevent AI firms from using their work freely. 

Drawing widespread criticism, many argued that this approach undermines the foundation of copyright law and contradicts international copyright law. 

The @UKHouseofLords has voted to extend #copyright law to cover #AI training, sending a bill back to the commons to be debated again #GenAI #tech https://t.co/SOnb657R5J

— AI Media News (@AI_Media_News) January 30, 2025

Sir Paul McCartney, bass guitarist and pianist for the Beatles, has been one of the loudest voices in the fight against these proposals. Speaking to Laura Kuenssberg in a BBC interview, he shared “You get these artists coming through who write a beautiful song, and they don’t own it, they don’t have anything to do with it, and anybody can rip it off. The truth of it is that the money is going somewhere. When it makes its way onto streaming platforms, somebody is getting the money, and it should be the creator rather than some tech giant.”

Thankfully, in a vote of 145 to 126, the House of Lords passed amendments to the Data (Use and Access) Bill which reinforces copyright protections against unauthorised AI use. 

Crossbench Peer Baroness Kidron, who proposed these amendments, stated, “It surely goes without saying that our United Kingdom copyright law has to counter the increasing theft of intellectual property by artificial intelligence companies.” 

She went on to compare the Government’s approach to a shopkeeper being required to opt out of shoplifting and challenged the claim that AI could contribute £400 billion to the UK economy by 2030, revealing that this figure originated from an AI lobbying group funded by Google.

Paul McCartney Speaks Out on AI and Artist Rights The legendary Beatle urges the UK government to protect creators from AI misuse! McCartney warns that proposed copyright law changes could allow tech companies to exploit artists’ work without fair compensation. … pic.twitter.com/B4pMTlOSVF — TechAmerica (@techamericaofcl) January 25, 2025

McCartney, Kate Bush, and others have long campaigned for stronger AI regulations. A petition he signed last year, calling for stricter AI copyright protections, has garnered over 40,000 signatures including other artists like ABBA’s Bjorn Ulvaeus and Kate Bush. 

Beyond the policy, McCartney warns of AI’s broader impact on artistic expression, stating “If they take the incentive away by not protecting copyrights, I think you’d see a loss of creativity. That’s a great pity because it brings so much joy to the world.”

This issue extends beyond copyright – it’s about the future of music and culture. The UK’s creative sector generates £125 billion annually, which fuels the UK’s soft power and is essential to the nation’s global influence, with these new amendments highlighting the Government’s commitment to protecting the creative industries and putting artists first. 

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This debate brings to light a broader struggle between technological developments and the rights of human creators. While AI presents opportunities for innovation, it must not come at the cost of artistic integrity. Moving forward, a balanced approach – one that fosters AI development while ensuring creators are properly recognised and rewarded – will be crucial in preserving the nation’s culture.

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Originally released in May 1975, ‘Venus and Mars’ had the momentous task of following the hugely successful ‘Band on the Run’, released a year and a half earlier. Despite commercial success, including two weeks atop the UK album charts, critics and fans had mixed opinions, with criticism focussed around McCartney’s lyrics. 

Jim Bollinger from The New Beatles Fan Club said, “And there’s Paul’s subject matter: who is this man we are or are not supposed to listen to? What do Venus & Mars have to do with a sports arena or a cathedral? Why would Lucifer shine, looking like snow in a Broadway show?” Contemporary reviews have been kinder to the album, with Far Out Magazine describing it as “quintessentially 1970s in tone and feel, yet it never falters.”

‘Venus and Mars’ is always mentioned alongside ‘Wings Over America’, a live album released in 1976. Nine different songs from ‘Venus and Mars’ made it onto the track list of the live album, and some reviews have gone as far as to say that every one of those live versions beats its studio counterpart.

This new remaster has been engineered by Miles Showell, an Abbey Road engineer who is also an expert in half-speed mastering, having worked on many McCartney and Beatles projects, as well as albums from The Rolling Stones and Simple Minds. Listed on the Abbey Road website, some of the highlights of Showell’s work include the 40th anniversary of ABBA’s ‘Arrival’, as well as original recordings such as Dua Lipa’s ‘Illusion’ and the controversial ‘Do They Know It’s Christmas? (2024 Ultimate Mix)’.

The process involves playing back the source material at half its normal speed while the cutting lathe also runs at 16 2/3 RPM, allowing the recording stylus twice as long to carve the groove into the master lacquer, resulting in a much higher quality copy. Showell joked that one drawback is listening to a slowed down version of an album for an hour and half. 

The 50th anniversary edition of ‘Venus and Mars’ follows last year’s remaster of ‘Band on the Run’, which was also released as a half-speed master. That reissue included an additional album of “underdubs”—raw mixes of the original recordings before final overdubs and orchestrations were added. John Heaton, a well-known Beatles YouTuber, was full of praise for the bonus album, and Paul McCartney fans will be hoping that ‘Venus and Mars’ gets the same treatment. 

The new edition of ‘Venus and Mars’ is currently available for pre-order and will be released on March 21 with a price tag of £35.99. It appears that the remaster will be available exclusively on vinyl, mirroring the ‘Band on the Run’ reissue, which remains available for £29.99. However, if ‘Venus and Mars’ follows ‘Band on the Run’, there’s hope that a digital version will be made available as well.

If this pattern continues, ‘Wings at the Speed of Sound’ could be next in line for a half-speed remaster when it celebrates its 50th anniversary in 2026. The link to pre-order can be found here.