.:.Sao Paulo 27.03.2019.:.
Here is a new interview (conducted two days ago by phone and published today) about Paul's upcoming concerts in Brazil. It includes interesting questions, but since it's in Portuguese and some of them are about politics, I'll translate just a few of less controversial ones:
While Brazilians are happy that you're coming, many fans that can't afford the tickets are sad. Ticket prices are high in Brazil. Isn't it time to do a free concert here?
"A few years ago we did a show and allowed it to be broadcast on TV in Brazil, I think it was for a network called Globo. Then, even people who lived in small villages had access to the show. We do that kind of thing sometimes. I've done it in Rome for more than one million people on the streets and in Mexico, for about 500,00. It would be great to be able to do the same in Brazil".
Your latest record, 'Egypt Station', includes a story set in Brazil on the song Back in Brazil. Part of it sounds like a social criticism when you say that the girl is afraid and that “Hope starts to crumble and her dream begins to fade”. Is that a metaphor?
"That song is a love story, as it it were a movie, and I didn't think of anything else when I did it. But I like it when the song opens doors to other interpretations. If you want it, you can see it that way, I think that's great".
Are you going to play it in Brazil?
"We are rehearsing it, I don't know whether we'll have the time to learn it until then. I hope so".
You voice sometimes sounds tired at concerts and you seem to have a hard time reaching some notes. Is it becoming more difficult to do three-hour concerts?
"In which moment do you think my voice gets tired?"
"Oh, during moments of higher notes in songs like 'The Long and Winding Road', 'Oh, Darling' or at the end of 'Hey Jude', for example..."
Paul becomes silent for a moment and then lets out a scream with the highest note that he seems capable of reaching, hurting the interviewer's eardrums. Then he sings the beginning of ‘Oh, Darling’ in an equally strong way. He stops, breathes and asks: "How about that?"