The Rest Is Entertainment - Paul McCartney Answers YOUR Questions

Episode Date: May 13, 2026

Richard Osman and Marina Hyde are joined by the most influential pop writer of all time - Sir Paul McCartney. The Beatles legend answers your questions on the changing nature of fame, his relationship with ambition and why you must always play the hits at live shows. Filmed at Abbey Road Studios. The Rest is Entertainment is brought to you by Octopus Energy, Britain's most awarded energy supplier. Lloyds. 250 years on and still backing the nation's aspirations. Join The Rest Is Entertainment Club: Unlock the full experience of the show – with exclusive bonus content, ad-free listening, early access to Q&A episodes, access to our newsletter archive, discounted book prices with our partners at Coles Books, early ticket access to live events, and access to our chat community. Sign up directly at ⁠therestisentertainment.com ⁠ For more Goalhanger Podcasts, head to ⁠www.goalhanger.com⁠ Video Editor: Adam Thornton Assistant Producer: Imee Marriott Senior Producer: Joey McCarthy Social Producer: Bex Tyrrell Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

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to 15 times. Hello and welcome to this episode of The Rest is Entertainment, Questions and Answers Edition. I'm Marina Hyde. And I'm Richard Osman. A slight you different episode this week. Our guest, I often use a phrase, needs no introduction, but it's Paul McCartney. He definitely needs no introduction. Yeah, Sir Paul McCartney.

Yeah. Of wings, of course. So we recorded this last week. They said, Sir Paul would love to talk to you. Would you be able to come to Abund, Abbey Road Studios to do it. We're like, yeah, that's even better for us than Sir Paul coming to the Spotify. I know you won't say this, but I'm going to say what you did that day, which was hilarious.

You did a dash from receiving your OBE at Windsor Castle, straight to Abbey Road to talk to Paul McCartney. It's quite a day in some ways. It's unbelievable day. Yeah, I spoke to the Princess Royal in the morning. And then, yeah, straight to Abbey Road to talk to even more royalty. I loved it that he said he'd only had all of his honours from the late Queen. Yes, he talked to, he had an awful lot more honours than I did and was happy to talk about it. Now, in this interview, which we absolutely loved, thank you to Sir Paul's team.

And it was to celebrate the release of the Boys of Dungeon Lane, which is his new, it's really beautiful album where he's really, really, really looking back to his younger days. It's really, it's very, very special. It's like a fame prequel. Yes, it is like a fame prequel. And, you know, he was in an interesting, introspective mood because of that. And you sent in so many questions, thank you so much. Loads of really, really good ones.

I couldn't use all of them. So have a listen out to see if we used yours. Talked about one thing is I've really read. There's a great question about the nature of fame and how much that has changed. But we've talked about. And fandoms and mad fandoms, which, you know, he knew a few things about, but was genuinely hilarious I found on fandom. But listen, we'll talk to you again afterwards as well. but I will just say this, what a dude.

Sir Paul, what an absolute pleasure. Now, all of the questions in this interview come from our listeners, so that's not me just sort of apologising, but they're not from us. Shall we kick off? We're here to talk about the new album, and our first question has something to do with that.

Yes, very much someone has written in from Liverpool. Matthew Lumby says, after you announce the Boys of Dungeon Lane is your album title, I drove straight round to Dungeon Lane to see what it was like. The street signs had been nicked. Was this random scallies or was this coped up by you? And if it was you, are you going to put the signs bag?

It was scally. Because I went up there, you know, to, I thought, I'll take pictures of it because we're going to do it for the album cover. And it was gone. Even before you'd announced? Yeah, even before I got there, yeah. So it's a mock-up. Oh, is it?

Yeah, the album cover hat. They will replace. Yeah, I think they may replace it, but it'll get nicked again. Oh, would you get nicked? So that was it. It was there when I was a kid, but I think the philosophies have changed. You know, because when you're a kid, no one would dare nick a street sign. It's just something that the older generation.

You must have been responsible for almost more street signs being stolen than anyone in history now. Yeah, Abby Road, Penny Lane. Penny Lane. I mean, there's a lot of them. Dungeon Lane is going to be the new one. Well, let's talk about a little bit more. about Dungeon Lane, a question from Matt Creasy, who says, your most recent album is about memories of Liverpool.

When you were writing songs about the past, how do you make sure the music stays present? Well, because it is present. You don't really have to think about it too much. And because it's me writing it, so I'm writing it on a guitar or maybe a piano, and I can't really do much more than what I do. So, you know, it's always gonna sound,

sort of present-ish, no matter what the lyrics are. It's just the way I write. You know, I write in all sorts of different styles. Yeah. But they're all joined together by the fact it's me. Yes, they're all Paul McCartney. It's all Paul McCartney. You had a bit of a supplementary, Matt Creasy,

which was, have you ever accidentally caught yourself writing a melody of a song and thought, oh, actually, I've already written that? Yeah. Or other people have written it. Yeah. We used to do that. Ringo used to come up with song. and we say, Ringo, that's a Bob Dylan song.

And you go, oh, and John and I used to do that too. Sometimes we just have a great melody, here we go here. And then it'd be like, isn't that out of West Side Story or something? You know, it's easy to do. But when you do, so you're going back in your mind thinking memories of Liverpool at that time. Yeah. Do you also go back in time with memories of how you wrote songs at that time? Do you know, are you able to sort of connect with that to you know, to you know, to you?

teenager musically as well? I don't think so. I think you know you're lucky if you can write songs You're lucky if they develop and your style develops So I can do things within that song you're talking about by my mom and dad salesman saint In it we have the sound of an old 40s band So I can do things like that Which is it's not my style going back It's just that this is what they would have listened to.

There's a line in the song sort of says, the only entertainment was a piano and radio, hot tea and cigarettes. You know, that's what I remember. My dad was the family pianist at sing-alongs, and they both smoked ciguies and drank a lot of tea. So that's, you know, that's what I would just pick up on. It comes through, I have to say,

people who are going to listen to this album or listens. It's so brilliant. And it absolutely takes us back somewhere whilst we're also still in 2026. I think it's wonderful. It's a prequel. How do you tunnel back there? Someone, Jensen Tag has written and he said, Bob Dylan says that when he looks back at songs he wrote in his 20, he doesn't quite know who that person is who wrote blowing in the wind.

Do you feel similar? There's obviously a bloodline to where you are now, but... Yeah, yes, it is. Only difference is I sort of know what who that person was. Because there's a sort of line to what we did. We first came in this studio, Abbey Road Studio, as sort of just barely out of our teenage years. And we were writing songs then directly to the fans.

So love me do, please. Please, please me, please. For me to you, she loves you. It's all about me or you directly to the people who are listening. And then we start to get a bit different, you know. So I kind of know, I remember who that guy, who those guys were.

It was people from Liverpool, writing to the fans, first phase, then maturing a little bit and getting a little bit more artistic or whatever, you know. So, you know, I think I kind of do remember who I was. You always join me as someone who's been able to totally preserve their innocence. How on earth have you managed that? Yeah, I don't know.

People do put it another way. They'll say, how have you stayed so normal with the Beatles and the whole thing, wings, the whole thing. And I think the truth is my family. I was very lucky. I came from a very loving family, very smart working class people. And I always say to people, don't underestimate the working class Because you know I can see the thing oh thick head That the plumber what's he know

But from my family I know that like for instance my cousin Bert Was he compiled crosswords for the For the Guardian and for the times So I mean you know to do that that's pretty smart working class guy And it just and you know he's a pretty smart working class guy And it just and you know he's He's just one of us. Yeah.

So we had that kind of stuff going on. Very smart. All the Rep. Atty. By the way, I think the reason that Bob Dylan doesn't remember writing, blowing in the wind is because Ringo Starr wrote it. Yeah. Yeah, do you remember he did that?

I think it's a great question from Khalid, he says, as someone who's been extraordinarily famous for possibly the longest time of any famous person, can you describe how being famous has changed in your lifetime? What did it feel like to be famous in the 60s versus today? Yeah, I think the big difference is in yourself. When you're first famous, you love it. Because it's what you're trying to achieve.

So you actually get a little hit or you know something goes well and people in the street know you. You love it. Yeah. There's never any of this sort of, oh, people are bothering me. Dear, you know, there's not a, none of that. The modern affliction. Yeah, no, we loved it, you know. And you learned to deal with it.

I remember going to a gig once, and I took the train out of London to the station near this gig, and I walked in, just on my own, to the gig. And there was a little gang of girls found me. And they're all screaming around, and I'm going, girls, girls, calm down. Calm down.

Now listen, here's the deal. If you keep quiet. I'll do your autographs, we'll walk in and it would be great. So you learned how to deal with that and they got it and they were very good. They realized they'd get some special time, you know. As time's gone by, the times have changed. So now, phones. Yeah, yeah.

Phones. So if I meet someone, it's like, oh, oh, and they're reaching for their phone, you know. And I say, I'm sorry, I don't do pictures. And that is like radical these days. Because I told that, I'm name dropping her, I told that to Oprah. She goes, you don't, what? You don't do pictures? I said, no.

She said, why? I don't want to. You know, and it's like, it's as simple as that. And I have a long explanation about, oh God, it goes on. I say, no, I don't like to do that because it's important. to me, it's a bit your question about you're innocent, so he's a normalness. I feel that's very important to me.

The minute I get like above myself and start thinking I'm like something else, I won't like me. So it's very important for me to be sort of just me. And so I will say to people, I don't want to do the photos and they say, why? I'll say, well, I'll tell you what, and I go into this long-winded explanation,

of down on the south coast of France, Santropay, there's a guy on the beach front who's got a monkey, and you pay to have your photo taken with the monkey. So I say, I really do not want to feel like that monkey. And when I take a picture with you, I do feel like him. Oh, that's great. I'm not me. I'm suddenly something else.

But that way they've got a proper moment of connection with you. I felt that weirdly, I went to the Louvre. I took my daughter to Paris for the first time. We went to Loof. No one looked at any of the pictures. They just stuck their phone up and photographed it. And, you know, you're a little bit like the Mona Lisa. But just having just the photo like that rather than...

Yeah, it's a phenomenon of how we live now, yeah. I love the idea that there's someone who's seen Sir Paul McCartney is so excited and then asking for this. And you get towards the end of the explanation and they're going, anyway, Paul, I have got a train to catch. Lovely to meet you. It was a nice story. And then they go back to their friends and say,

You met Paul McLean? Did you get a picture? No. He just went on some bloody monkey. I had some special time he told me an incredible anecdote about a monkey. It was something about the monkeys. I forget what it was. Do you feel the press and intrusion and things like that have changed since the 60s as well?

I think they were always intrusive, you know. I think it doesn't bother me the press. I used to call them lovable rogues because there is that element to them. Now, some of them are not. not so lovable. Yeah. But I don't mind, you know, it's their job. And so as long as what they're writing about you isn't too bad, I just think it's occupational

hazard. Speaking of somewhat an occupational hazard, this is one of my favorite questions we had today from Philip Andrea, who says, even though you are very, very famous, have you ever been mistaken for another celebrity? No. Oh, that's good. Yeah. You're the apex, the absolute apex president.

I'm trying to think it would have been good. No, no. I think you have to play along in the moment if you are. Yeah. If we muse off music for a second, so I know you're a big TV fan. I know you love all the types of culture. Laura Godbolt says, if you had to be a contestant on a reality game show, which one would you choose and why, e.g. Traitors, bakeoff, dragons den, etc. Pointless.

Thank you. Absolutely. Not just because you... And that's a booking. That's an official booking. That's an official booking. It's Christmas book. Pointless is one of my favourites.

So that would probably be the one. Other favourite shows, Gogglebox, House of Games. There you go. Without Richard Osman guy. Very, yeah. I had another question from Rachel Ablett, who's the producer of Would I Lie to You? And she said, would you ask Sir Paul if he'll come on the Would I Lie to You Christmas Special? We'd love to have him.

Oh my God. That's another favourite. On that show, they do an interview with you where they sort of say, is anything interesting ever happened to you? And you'd be like they've said they'd be there for weeks. Now, Cherry says, you've always been a very important. You've always been a great character writer, Eleanor Rigby, Rocky Raccoon, Jenny Wren.

Is there any behavior that you see in people in the 21st century that still baffles you? The new types of characters. I think a lot of this influencer stuff, I just, because I'm not that generation, I just don't really get it. But I see it, you can't help it, you know, it's on an Instagram, or my wife will be looking

and she'll be showing me something else, and then one of those will come on. I just think it's funny, I suppose it always happened, but people who don't seem to be particularly talented are like very famous, only very famous, billions of hits and views and all that. So you've got to be careful about talking about that because it makes you sound very old-fashioned, which I am. Yeah, I think if you're Sir Paul McCartney, you're allowed to say that. Am I? Yes, I think you can get away with it. I'll continue.

Yeah. in the same way you're allowed to name drop Oprah. Yeah. She was lucky to be named after. She was lucky. She was lucky. She? Yeah.

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Do you think about hits and views? No, no. I'm very lucky. I have an office, so I've got kids who work in the office who are great. And they really understand that stuff. They love it. They live it. So they will just tell me what is a good thing to do.

And you could do that and that would be good. So I don't really think about it. I'm just led. See that ring in the end of it? my nose. Just go hooking out. Just do it at all. Lead me anywhere.

And so that's interesting because you've heard every type of success you could have and you've lived through all those things of, you know, we just, we want to set out this venue and then we want to go abroad and then we want to have a record out and then, you know, we want to have a number one. What does success mean to you now? So with the new album, which you're obviously very proud of, what does success look like now when you release a new record? I think that people would like what I'm doing.

Yeah. It was always the kind of bottom line. But now that's really the only line. If I go out on tour, then that the audience likes the new songs. But I know they don't. Audiences don't like new songs normally. I mean, you know, I'll say to them, okay, you know, I say, we're going to do a new song now.

And I say, and I know you don't like it. Because whenever we do a big Beatles song, your cameras all light up and it's like a galaxy. But nights, I said, when we do a new song, it's like a black hole. And it is true, they don't really want to. But you should say, you know those songs are new as well. Yeah. There was a time.

So I think it's just the people liking what you're doing, which is the old. Yeah. I think that's basically what everyone wants. You know, my kids laugh at me because they say, you like adulation, don't you? I say, yeah, you can adjule me anytime you want. Do you like adulation? That's an interesting question.

Yeah, you know, yeah, I do. I do, and I think... Is that because it means you've done a good job, or is there like a personal ego in that, or is that you want people to love the thing that you've created? I think it's that. It's that you've created something, if you're writing a song,

that you think is good and you think, oh yeah, wow, I really cracked it here. So when you record it and then it goes out into the world, your babies fly out into the world. If people like it, it's sort of what you're looking for. I mean, beyond just the satisfaction

of creating a piece of art, once it goes out, it's like, I mean, the song, the single of the new album Dunedged Line It's called Days We Left Behind. And I've had a lot of feedback of that. A lot of people say, I was crying. Because it is very emotional song.

And the verse that gets me very emotional is it sort of says, nothing stays the same. No one needs to cry. And it's like, that's the line that makes you want to cry. And you're deliberately trying to make them cry by doing that. I don't know. Where's it come from, Richard? Yeah.

I don't know. But no, it is great if something you've done and you think, that's pretty good. And then people actually feed back and say, you know, I love what that was. I think that's all I'm looking for. Contemporary artists seem to have a much harder time saying, I actually love the adulation.

Why is that? Why do they have a harder time? Well, you know, think about it. What is it we start off trying to do? school you go the careers master and he tells you you're hopeless there's nothing out there for you you know you've made something of yourself so you would always go oh god you know okay and then then we got in a group and then you start to do well and things and what is it you're looking for you're looking for

approval or looking for money you're looking to get out of your circumstances and rise in the world but I don't think there's any point being shy about that. I think everyone knows. Anyway, if you're in a job, you want promotion. Yeah. Or, you know, if you've got a show on television, you want ratings. Exactly. House of Game six o'clock every day, BBC 2.

Yeah. I think that of the billions of people that have ever lived on the planet, you've had one of the most extraordinary lives of any of them. If you think about where you came from and where you ended up, Just, this is just philosophically, what is it like to be Paul McCartley when you wake up in the morning? If you know what I mean by that question. When you, what do you think about the life that you've lived and what happened to you and how it happened? It must feel extraordinary. Well, you know what?

I think my shield against that is to try not to think of it too much. Yeah. Because I often think, well, wait a minute, you know, I'm looking for sort of one little success. Great. But then I've got a few. You know, I've got that, and I got that song, and I got that song, if I really, Paul, you've, great, man, I think my head had explode. So I kind of try and sort of dampen it down a little bit and so I think, yeah, that was okay, that was a good one.

And I don't really feel like him is the famous one. Yeah. I'm sort of the guy who has to go up and have breakfast. Well, that's it. But when you're watching, you know, there's so much footage of everything you did, and that must feed into it a bit. You have to watch some of it, presumably. And just a constant reminder of what's happened.

Yeah. We're here in Abbey Road. Obviously, you have to come in and you go past the crossing and there's a massive queue outside today, every day, of people waiting to do it. When you come, drive past that, do you just think, huh, I remember doing that once? I don't like the idea that you've been striving all your life for success and fame or whatever it is the success is. And then you turn around and go, nah, don't like it. I think that's churlish.

I think, you know, what you want to do is go, yeah, I've got here. I'm here, you know. What did I want? I wanted that, that, that, okay, I've got it. So just be happy with it and don't, you know, don't go crazy because it was the Eagles line. The wheels, don't let your wheels drive you crazy. Yeah. Don't let the sound of your wheels drag you down.

There we go. No, it's almost there. This seems really mad asking you about this, because as I say, you've done very well. But I do think people are really interesting when they talk about their failures. And we have a question from Lux Adams. He says, John was often unfairly dismissive

of his prior work, referring to some of his greats as rubbish. Are there any of your own contributions that you sometimes secretly look back on and think, Yeah, you know, you get some songs you think didn't really work or didn't achieve what you wanted to achieve. But you can't win them all, you know. I have a song called Bip-Bop. And it's just very bit-pub, Bip-Bit-Bub, B-Bit-B-B-B-B-B-B-B-B-B-B-B-B-B-B-B-B-B-B. And I was looking back on that and thinking, God, how could I get away with that?

But I was with Trevor Horn, the producer, and Trevor, that's one of my favorites of yours. So seeing it from his perspective, I thought, you know what, he's no slouch, maybe it's okay. But yeah, that one I think wasn't that great. Are there songs, though, that you have to play, that you sometimes think, oh, we'd rather not play that one today? Because if you think about the amount of times you played some of the songs. I'm kind of lucky because I don't get that. Yeah. And you think I would with Hey Jude.

Yeah. But the audience sings all of that, don't they? The thing is, again, what is it you're trying to achieve? If you're going out to do a show, I know who's in my audience most of the time. And it's kind of families. So it can be grandad's sort of my age or can be their kids. and then it can be their kids. So it's quite a spread.

So I think, well, we could do songs they don't know have a lot of black holes. Yeah. But they've paid a lot of money. And I remember as a kid, I used to go to shows, you know, and save up. I went to a Bill Haley concert. Wow, yeah.

There's a name to conjure with. But I'd saved for months and done a paper round and on everything, you know. And I knew what I wanted. I wanted him to do his hits. And if he got, oh, clever on me, I would be like, okay, I'd let him indulge himself. In fact, talking about Mr. Dylan, Bob,

I've been to see a couple of shows of Bob's, and you really, I couldn't tell what the song was. Yeah. He was doing. Now that's a bit much, because I mean, I know his stuff. And, you know, I get it if he doesn't want to do, It's a tambourine man, you know, maybe he's fed up with that. But I would like to hear it.

Yeah. And I've paid. You could do a request, I'm sure he'd like to oblige you. You ever go backstage and say, you missed a couple there. So if you had to just have one word to describe yourself out of the two I'm about to give you, because I get the feeling of, and they're not mutually exclusive, of course, but would you say you're an entertainer or an artist? I'd have to say an entertaining artist. Yes, entertainer first, but then, yeah, you're entertained by being an artist. I suppose, you know, I'd like to think I was an artist, but then you do shows and you get these families and they've all paid to come in.

And they're not necessarily all rich. So I think, why wouldn't I give them what they want? Yeah. We put in a few songs that they don't particularly like. But we enjoy playing those. The band just looking at each other going, yeah, this one. Yeah, we love this one. But, you know, I like, I mean, particularly these days, too,

you do something like, hey, Jude, and you see this whole audience singing together. Amazing. And in Trump's America and the Republicans and Democrats all at each other's throats, when we do that song, they're not. Yeah. They're all loving it.

They're all, and it's like, wow, this is pretty amazing, you know, that suddenly this room has forgotten all of that and it's not, you know, going to argue with each other. We're all just going to sing together. So those kind of things, I think, are valuable. I like that. And I also like it for them, I think. Yeah. But I say, I mean, genuinely, thank you for, I mean, across the whole of culture,

to achieve what you've achieved, but still to maintain that, to understand that you're entertaining, you understand that you want to bring people together and to keep that spirit for a long time, I think, is extraordinary, with the ups and downs you've had. And so I know that you can't wake up in the morning and congratulate yourself on being Paul McCartney, but certainly from our listeners and for us,

I want to thank you because it's very easy to have a world that didn't have Paul McCartney in it. And the world is a better place because Paul McCartney is in it. Thank you, Richard. And I would say, I'm a first place I'm a fan of yours. Just all I'm going to say. Let's just leave it at that.

Let's leave it at that. It's never going to get any better than that. Primetime Beatles. Paul, John, George Ringo, House of Games. Who wins the trophy? Oh, the Beatles. All of them together. All of them together.

Okay, that's fair enough. Just going to have to accept that, I'm afraid. You can't beat the Beatles, Richard. You can't beat the Beatles. Exactly right. You're not in the monkeys. You're in the Beatles. So, Paul, thank you so much.

It's been an absolute pleasure. Thanks for giving me your time. And also thank you for still making such. brilliant music. This is a terrific album. I know you had a listening party this afternoon and people are in floods of tears and I can absolutely see why. You still got it. Oh boy. Thank you. Thank you. Thank you. Whoa. So Paul McCartney, I was trying to get him to tell me which member of the Beatles would have won house of games. I think maybe I didn't word it correctly. That's why we should always have our listeners questions instead of mine. Yeah. But when we were walking away and we were

sort of, oh, you're on a bit of a high and we just sort of walk down every road together. I was saying, I just think there's something about enthusiasts in life that I always, and increasingly as I got older, funny enough I'm drawn to, but you can't remain like that and be, seems so sprightly and so interested. Yeah. Unless you're just a complete enthusiast for life. And that's what really, that's what I meant in a way about that. Let's just think about how have you never lost your innocence.

I think there's something still really childlike in the best way about him. I think it's exactly it. And it's funny. He's surrounded by his team there, because lots of people filming and all sorts of things. And just they clearly loved him. Yeah. And that speaks volumes as well, doesn't it? It really, it's very peculiar to live in the same world as Sir Paul McCartney,

given everything that he has done, because really he's a cultural artifact. He's like the great pyramids of Giza, but he's sitting there as a human being. And how wonderful, you know, in the same week that we celebrated David Attenborough's 100th birthday. How wonderful still to have these people, these incredible titans of entertainment walking amongst us that we can chat to and listeners can ask questions too. God, I loved it so much. It's just completely magical, a magical day, particularly for you. Yeah. And do you know what? When I was walking up to the studios and I was at the road that cross, I think a circus road that crosses across Abbey Road and there's traffic lights. And there was the red man. I thought,

oh, shall I wait at these traffic lights? I think, oh, is there a zebra. crossing further up. I genuinely thought it. Yeah. Yes, there is this ever crossing further up. It turned out. Thank you to Sir Paul's team. Thank you to Sir Paul as well for absolutely everything. We had our photo taken with him. Yeah. That's all we can ask for. But most of all, you know, doing these interviews is so great because you guys write the questions. Yes, absolutely. But we've got some more very, very interesting names coming up that we're going to be looking for questions for as well. We will announce those in due course. But in the meantime, thank you so much, listens for all that and thank you to support. Thank you so much.