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Paul McCartney’s November 6, 2025, Got Back show at Nashville’s The Pinnacle put an arena-scale catalog into a room with a listed capacity of 4,500. Reviews describe a roughly 150-minute performance spanning the Beatles, Wings and McCartney’s solo work; its unusual intimacy, rather than a radically different set, made this stop stand out.
A large-scale catalog in a 4,500-capacity room
The Pinnacle was a comparatively intimate setting for a tour more commonly associated with arenas. McCartney’s official tour diary calls the Nashville date the most intimate Got Back stop of 2025, while the Nashville Scene describes the venue as a significant underplay for the tour. Those are the sources’ characterizations, not evidence that it was the tour’s smallest venue.
The official diary framed the 4,500-capacity room as a place where much of the general-admission floor would be dancing, and wondered whether the night would become an intimate gig or a wild party. The Nashville Scene review similarly emphasizes the close-room setting. That contrast gives the concert its central tension: a performer with a catalog built for stadium-sized singalongs in a space where the scale felt more contained.
What songs did Paul McCartney play in Nashville?
The reported set moved among Beatles standards, Wings songs and McCartney solo selections rather than treating any one era as the whole story. Nashville Scene called it a 150-minute marathon of nearly three dozen songs; the event setlist and other reviews document the breadth of the repertoire.
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- Beatles: “Help!,” “Drive My Car,” “Got to Get You Into My Life,” “Something,” “Ob-La-Di, Ob-La-Da,” and “The End.” American Songwriter describes a Beatles arc extending from the early “In Spite of All the Danger” to “The End.”
- Wings: “Coming Up” and “Letting Go” were among the reported selections.
- McCartney solo: “Every Night” and “Maybe I’m Amazed” represented his solo catalog. The official tour diary notes that “Every Night,” from his 1970 album McCartney, was a rare appearance on the main setlist.
American Songwriter also reports “Now and Then” and a virtual John Lennon duet during “I’ve Got a Feeling.” The setlist listing includes “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)” in the closing stretch, followed by “The End.” The range makes the show read less like a Beatles nostalgia set than a career-spanning performance with the Beatles songs as its most recognizable landmarks.
The solo songs give the set its quieter distinction
“Every Night” is a telling inclusion precisely because it is less inevitable than the best-known Beatles material. The artist’s tour diary identifies it as a rare main-set appearance and connects it to the 1970 McCartney album. Its presence makes room for an earlier, more personal part of McCartney’s catalog amid the familiar hits.
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The same diary recounts an emotional response to “Maybe I’m Amazed.” That is the artist site’s description of the moment, not a measured audience response. Together, the two solo selections give the set a different center of gravity: one is notable for its relative rarity, the other for the reaction the official account says it drew.
Phones away, performance in focus
Both the official tour diary and the Nashville Scene report that attendees had to secure their phones in locked Yondr pouches. The arrangement meant the audience experienced the concert without screens, an unusual condition for a major contemporary show. In a room already described as intimate, that policy reinforced the focus on the stage and the people in the venue rather than on recording the event.
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How the night unfolded
The event listing records a start time of 8:25 p.m. and an end time of 11:05 p.m.; the local review says McCartney took the stage at 8:30 p.m. Taken together, the accounts place the start at approximately 8:25–8:30 p.m. The Nashville Scene reports a 150-minute performance and nearly three dozen songs, a long set that gave the show room to move between eras without being confined to a short sequence of greatest hits.
McCartney was joined by longtime band members Rusty Anderson, Brian Ray, Abe Laboriel Jr. and Wix Wickens, according to the Nashville Scene. The available accounts support an assessment of scale, repertoire and format; they do not establish independent measurements of attendance or a basis for making claims about the sound or vocal performance.
Verdict: an intimate frame for a career-spanning show
The Nashville date’s defining feature was the contrast between a relatively small room and a set expansive enough to cover the Beatles, Wings and McCartney’s solo years. “Every Night” gave the evening a less predictable solo touch, while the familiar songs and reported 150-minute length preserved the broad sweep expected of a Got Back performance. For a documentary-minded viewer, the date is compelling as a study in how venue, audience setup and repertoire can change the feel of a familiar catalog without changing its history.
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