It’s hard to introduce a man who needs no introduction, but the fact of the matter is, that we don’t get a new Paul McCartney album every day, so this is already significant. It seems 2026 might be a year for the greats. We’ve already had Ringo Starr land his latest album with great gusto and verve, and now his dear friend Paul, has done the same. The album that follows up McCartney III is here, and it’s called The Boys of Dungeon Lane, an homage to Paul’s origin story, before he was one of the Quarrymen, let alone one of the Beatles. This is perhaps one of Paul’s most heartfelt and reflective pieces in the last couple of decades. It feels like this album might just be one of the many releases from McCartney that we don’t just rate, praise or love, but instead we cherish.
If there is any doubt that an 83-year-old Paul McCartney can’t produce music that reverberates with demanding presence – that notion is all but left behind within the first minute of track one. ‘As You Lie There’ draws the curtain on a pleasant trickle of an acoustic lament, which to be honest, fools you into thinking this is going to be an easy ‘old-man’ listen. The scene unfolding is one of slight desperation and longing to be remembered, utilising an interestingly Lennon-esque dark frankness to it, that is unusual for Paul. Perhaps the song is trying to acknowledge impermanence. Musically though, it’s all to play for, when the fuzzed-out guitars barge on in through your speakers as we swing into the chorus. Multi-tracked vocals accompany the blistering energy, his classic McCartney billows sounding slightly strained with age, yet palatable. The vocals contrast the strength of the instrumentation, which seems to be immune from aging in this album. Simply put, this song rips and it validates that Paul still has some serious song writing chops. ‘As You Lie There’ is a perfect album opener, declaring that the music in this album is going to be alive and kicking, not just meandering with old age. Instead, we’re met with unexpected grit, which bites as the album establishes itself and demands your attention.
Not long after, we get the first single for the album, ‘Days We Left Behind’. A completely opposing song to the opener, sonically. The song feels very fitting for summarizing the themes of this LP, impermanence, friendship, memories, and love. It has a peculiar warmth about it, that is sad in a way that it is also pleasing. A very tangible example of how two feelings can be present at once – quite clever how Paul is able to evoke these unique emotions from his music. Once again, Paul’s vocals are welcomed on this track. His voice focusing on the higher end of his range, it sounds perhaps the most aged as it appears on this album. However, it’s great that McCartney’s producer Andrew Watt, doesn’t shy away from this in the production. His vocals could be criticized for slight scratch and warp, but it’s a natural shine to the place and time from which these songs have been written. It adds texture and flavour to the track and ultimately speaks to the passing of time, as Paul goes full circle reflecting on where he once was before a generation defining career in music. The best part about this song is the spotlight on one of life’s most beautiful truths. Good things happen, and although those moments might now be in the past, nothing in the universe can take away the fact that it happened in the first place. It’s a wonderful thing to ponder, the permanence of joyful moments, even if we are no longer in that time and place. The lyrics on the track point this out with reverence; “Nothing ever stays / Nothing comes to mind / No one can erase / The days we left behind”.
‘Mountain Top’ is ‘Strawberry Fields Forever’ all over again – and what a blessing for it! McCartney’s vocals are transpired through a Leslie speaker, immediately taking us higher. And if Andrew Watt and Paul weren’t liberal enough with the Wurlitzer’s use through numerous tracks on the album, this one takes the cake and eats it too. It’s glimmering and technicolour landscape completes the picture that was originally established at ground level in ‘Strawberry Fields’ to higher elevations on ‘Mountain Top’ where Paul has a psychedelic gleam in his musical eye. This is such a fun track, not shying away from a trippy moment reminiscent of the Beatles’ later years exploration and innovation. The treat lays at the end of the rainbow of course, with a cacophony of sound that begs your hair to stand on end, as shivers traverse down your spine. It’s an exquisitely controlled chaos and energy that only someone with years of experience like Paul, can pull off with such efficacy. The whimsy is most certainly alive and well, and Paul has clearly had fun creating this track.
‘Down South’ is an understated folk tune with a rich sentiment that shouldn’t be taken lightly. Although it is a breeze of a listen, the lyrics really sing on this one. The song spoils the listener with the tale of Paul and George hitchhiking, ‘making their way down south’ in a carefree way and time in life. This is a direct link back to a time where conversations about rock n’ roll and guitars are simply all the subjects that matter to them. “It was a good way to get to know you / A fine way to work it all out / It was a good way to get to know you / Before we learned to twist and shout” exclaims the sentiment perfectly. It’s such a bittersweet play on the future unbeknownst to the younger versions of Paul and George. Simple in structure, but oh so potent in nostalgia. It’s heartwarming to have such a vivid memory relayed to us in song, so that we as fans can imagine the two lads in their youth at the very beginnings of a wonderful friendship that will eventually touch the lives of millions.
The second single from The Boys of Dungeon Lane is a special duet, one with none other than Ringo Starr, it’s called ‘Home to Us’. This is in fact the first time Paul and Ringo have done a formal vocal duet – making it an instant standout and special addition to this release. What isn’t a surprise about this song though, is how at home Paul and Ringo sound performing together. Their vocals sound more youthful than any other tracks either of them has released in recent years. It’s almost as if their joining of forces, allows them to embody younger versions of themselves. They trade line for line on the lyrical content, explaining that even with the objectively unappealing nature of Liverpool, it’s home to them. Home is much more than meets the eye. Memories tied to a place make something special, especially all the idiosyncrasies. The sparkly guitar triplets at the beginning, found near the back of the mix, makes the song feel like a joyful recollection of shared memories. However, it’s Ringo’s drumming that is the hero of the track, with his signature energy and rhythm, a bounciness that makes you smile. It’s truly the backbone of the catchy riff. “We didn’t worry where the road was going to take us to / There wasn’t time to make a fuss, cause that was all we knew / The world around us wasn’t safe, the place was falling down / But it was my hometown / And it was home to us” these lines speak volumes about the shared journey of the last two remaining Beatles. The simple lyrical structure and effortlessly catchy riff, hooks you in and you’ll find yourself with the song stuck in your head for some time.
Those are some of the highlights from the album, which total 14 songs of various styles and bold stylistic inclusions that weave classical, with swing, with roots rock, with soft rock, with psychedelia, and with folk. There’s bound to be something for everyone as Paul writes love songs, songs about friendship and even songs about his parents, creating variety and ensuring consistency. Other noteworthy tracks to check out include; ‘Ripples in a Pond’, ‘We Two’, and ‘Salesman Saint’ for all the aforementioned reasons, and to get a feel for the track listing’s array of sound. There are even moments that feel like Paul is channelling a certain era of John or George – which feels especially appropriate given the reflective nature of the album.
The activity surrounding the release of this record has been notable too. It’s really made for a fun and engaging buzz about the release. From a conversation with Paul Mescal, to closing the final Steven Colbert show, to a Chicken Shop Date, and Zane Lowe special, audiences have been treated to Paul’s everlasting charm. The Steven Colbert show finale was of note for it was produced at the Ed Sullivan Theatre, where the Beatles first aired in America on the Ed Sullivan show in 1964 – so it was an apt send off. But one of the most special moments from promotions was the candid conversation with Paul Mescal for Amazon Live. The conversation was unique and notable, as Mescal is cast to play McCartney in the upcoming quartet of Beatles biopics, directed by Sam Mendes. Mescal asks McCartney thoughtful questions, and you can see it means a lot to him. Mescal eventually asks Paul at the very end, ‘where his heart is at with his friendship and song writing partnership with John Lennon after all these years?’. McCartney responds by explaining that sometimes he can feel John’s opinion about his writing, whether something is good or ‘shit’ in Paul’s own words. Overall, McCartney explains that a part of John’s spirit lives on within him, and so does George’s. It’s painfully beautiful to hear. But it’s these kinds of insights that often surface with new music which feels invaluable for us as fans. It confirms what we can all sense too – there’s something bigger than any one of them as individuals, that makes whatever Ringo and Paul do now, that much more magical. They both sing with the legacy of all four of them behind every word.
Overall, this album feels special. Anytime we get more music from Paul McCartney we’re grateful, but to get such a solid offering this far into his career is a testament to his ongoing influence. Time spent with his music seems to only leave you feeling more whole. It helps that he pretty much plays the majority of the instruments on the album, so you can feel his labour of love. Although it is very personal, it is also very relatable to the human experience. Beyond a single dimension, the album feels alive and dynamic in a way that positions it as a decree from the man himself, that he’s not done, he’s just doing what he loves. A listen full of vitality, Beatles hallmarks, McCartney-isms, and a whole lot of good music, The Boys of Dungeon Lane has something for everyone.
