For Whom The Bell Tells: 'GOT BACK' Europe Tour 2024

In the latest instalment of his tour blog, Paul's UK publicist Stuart Bell reflects on the 2024 GOT BACK tour in Europe...

Got Back European Tour, December 2024

PARIS

“Six years after his last visit to France, Paul returned this Wednesday evening to make 41,000 spectators sing in the capital. Even more enthusiastic, generous and moving than the last time.” - Le Parisien 

The final leg of 2024’s Got Back dates - starting in Europe just a short respite after wrapping up our phenomenal excursion across Central and South America - began in the city of love, Paris: a place where culture, history, and artistic expression has long intertwined, serving as a constant source of inspiration for musicians, poets, and artists alike. From the long and winding romantic streets of Montmartre to the iconic Eiffel Tower, the city exudes magic at every turn. As we arrived, it felt particularly magical, all lit up with festive Christmas lights and decorations.

The end of this year’s tour is in sight, with only eight shows remaining, and after following the sun for the last couple of months, it was time to move indoors as we reach closer to home in winter. With still-fresh memories of his frenzied reception on the previous leg, he wonders what’s in store in Europe.

“We were spoiled with the audiences and the shows in South America,” Paul said ahead of these shows - his first in France for six years - not taking anything for granted when it comes to potential crowd reactions. Paul is no slouch when it comes to applying himself on stage, and he’s going to continue putting 110% into the next few weeks.

Paul was returning to the French capital for two nights at the grand La Défense Arena, cementing the place as a key location in his storied career. Paris has always held a special place in Paul’s heart; its profound artistic legacy and the city’s impact on him are beautifully captured in his recent book of photography, 1964: Eyes Of The Storm, as he recounts the electrifying details of The Beatles’ first experience in Paris that fateful year. 

Today, the connection remains as strong as ever. Paul told me that he was delighted to be back in Paris, and the feeling was obviously mutual: the city offered the warmest welcome, with the iconic columns along the Champs-Élysées proudly displaying posters of Paul.

The night before the first show, Paul and the band rehearsed at the massive La Défense Arena. “Bonjour,” exclaimed Paul as he jumped out of his car, raring to get to work. This would be their first arena show since Adelaide last year, but its scale cannot be underestimated: over these two nights, Paul will play to over 80,000 people. It has been a few weeks since he and the band played together, but as they rehearse - going over the special addition of ‘Michelle’ especially for this crowd - they gel perfectly as if they’d never been apart. They play very well together - or, should I say, “tres bien ensemble!”

Watching from the side of stage as they practiced their first run through of ‘Wonderful Christmastime’ since 2018, which they plan to start playing when they get back to the UK, is Paul’s daughter, Mary. It’s all beginning to feel very festive and, after rehearsals, Paul invited us all to a little party kickstarting this little leg, where he made a heartwarming speech in which he shared his gratitude for having the gang back together in Europe, ensuring it all begins with the best possible vibe.

On the first night, December 4th, there was a wonderful throwback to that consequential trip to Paris in 1964, when Paul received a visit from the French singer Sylvie Vartan. Popping in to say hello, it wasn’t the first time Sylvie had been backstage with Paul - she had shared a bill with The Beatles throughout their residency that January/February at the Olympia, becoming good friends over the month.

“McCartney has nothing left to prove, no more speeches to make to present his work, because it is so immense, so impressive that it crushes everything else.” - Paris Match

There were other special guests that night, too. Also present was The Royal Mint, the official maker of British coins. They were in Paris to present Paul with his own personalised coin, which went into circulation on December 6th. Celebrating his groundbreaking career, the coin features Paul’s Magic Piano and other symbols from his seven decades in music, from the Höfner bass guitar to the Wings logo. “This feels like a huge honour,” Paul said. “It’s not anything I would have ever expected to happen when I was a kid.”

Representing The Royal Mint were Director of Commemorative Coin, Rebecca Morgan, Project Lead Stephanie Morris, and publicist Amy James, all escorted by a security team who were tasked with protecting a one-of-a-kind 5kg gold coin they’d brought especially to show Paul.

“A stunning journey through the repertoire of an absolute genius of popular music.” - Le Figaro

The excitement in the air at Paul’s concerts here is palpable, and it is testament to his enduring legacy. The audience is a dynamic blend of generations, from children who weren’t even born the last time Paul played here, let alone the first time he played here, to those who actually witnessed The Beatles’ shows at the Olympia. All are ignited by the awesome power of Paul and the band, who take the audience - which also included Mary’s sister, Stella, and Get Back director Peter Jackson - on an adventure soundtracked by those most classic songs from his astounding canon.

As Paul continues his Got Back tour, Paris will remain a pivotal city in his journey. The warmth and support from his Parisian fans, the historical significance of his early encounters with the city, and his own personal connection to its musical and cultural heritage make these concerts feel like a homecoming. Whether it’s the unveiling of his commemorative coin, the celebrations with family, or the emotional performances on stage, it’s clear that Paul McCartney’s relationship with Paris goes beyond music: it’s about shared moments, memories, and the timeless connection between artist and audience.

MADRID

“Paul McCartney: the guardian of the most relevant musical legacy in the history of pop.” - El Pais

It’s been eight years since Paul last played Madrid - back in the sweltering summer of 2016 at the Vicente Calderón stadium, which closed the following year. This time, we arrived to a thankfully cooler Madrid, swapping the vast open-air arenas of South America and the gigantic Defense Arena in Paris for two nights at the WiZink Center: something that almost felt intimate by comparison. A club show to 15,000 people? That’s the magic of Paul McCartney. Tickets sold out in minutes, and he could have played here for weeks. Those lucky enough to be inside knew just how special it was. As one local paper put it after night one: “If you don’t have a ticket, do everything legally possible to get one. You can’t have everything in life, but a Paul McCartney concert ca remedy many things.”

Paul was in a mischievous mood from the start. Even at soundcheck, he had the UK crew in stitches with an unexpected (and excellent) Catherine Tate impression - “Am I bovvered?” Just before doors opened, with UK shows on the horizon, they squeezed in another quick rehearsal of ‘Wonderful Christmastime’, which was really starting to get us into the holiday spirit. The Christmas prep continued as Paul looked at elf costumes for the Hot City Horns, who would - whether they liked it or not - be donning them in six days when we got to Manchester.

With soundcheck done, the crew could break for a moment, so I decided to grab a quick chat with Keith Smith, Paul’s Technical Manager. What is a Technical Manager, I hear you ask? Well, I shall let Keith explain: “Basically, whatever Paul needs, technically, to record, to play live, TV shows, videos, it’s my responsibility to make sure it’s there, it’s working, and he can just walk on stage and get on with it.”

Keith is a great guy, an essential team member, and has been with Paul for a staggering 35 years now. I asked him how he came to be working with Paul. “I was on tour with Pink Floyd as a guitar tech,” he told me, “and my best friend, Phil, was David Gilmour’s tech. David went to play guitar on the track ‘We Got Married’ from ‘Flowers In The Dirt’, and Paul was talking about touring and how he’s thinking about going back on the road. Conversations were had about production managers and crew, and Phil and David just mentioned my name. I got called by Paul’s then-manager who said, ‘Would you just come down to The Mill and meet Paul and Linda and talk about touring? I went down, spent the day with Paul and Linda in the studio, and talked about what I would do, because at the time they only had a load of old Wings gear. I was asked questions like, ‘What would you do with this? How are you going to do that?’ Luckily, I had a lot of answers. I got a call a week later, saying, ‘We’d like you to come and join the tour.’ So, I started in the summer of 1989, and by the next year was working full time with Paul, and I’ve been with him ever since.”

Having played a crucial role on Paul’s tours for so long, Keith has witnessed how they have changed with the times, but also how Paul has refined his show over the years. “The 1989 World Tour was the first time Paul had been on tour since Wings, and it was a big, big statement. I don’t think there was ever the assumption that they would carry on after that. So there were an awful lot of elements to that tour. It was huge. There was a lot of staging, and a lot of great effects. It was a very showy show, with moving stages. What’s happened now, I think, as Paul’s spent the last 20 years touring, the show hasn’t gotten any less spectacular - it’s great and we’ve still got great tricks going - but it’s not as techy as it was back in the day. All of that stuff was way ahead of its time. We were doing stuff back then that is now kind of pretty standard.”

But while the presentation may have changed in that time, one thing has not: Keith’s dedication to his job. “Part of my remit was to make it as good and as professional as possible,” he says, “which I really enjoy, because it’s what I like doing anyway. So, it was like that from day one for me. Paul has always, touch wood, managed to walk on stage for 35
years and he’s happy.”

Of course, while Keith runs a tight operation and has never yet let Paul down, that’s not to say there haven’t been challenges along the way. Even recently, when we were in South America, Keith was working overtime to compensate for less than perfect resources. Often, when we travel to new countries, they hire local crews to assist the production, and unfortunately - as was the case on occasion in South America - they don’t always have the requisite experience. “So you end up having to explain an awful lot more and try and get things done,” he says. “It just ends up a bit harder.”

Keith’s work means that, like Paul, he never actually gets to see the show. Well, until South America that was.

“I had one extra member of crew standing in for me,” he explains, “so I had half a show where I actually didn’t have to do anything. I walked out to the front of house in the middle of a show and just sat and watched half a dozen numbers. I’ve never done that in 35 years. I’ve never been in the crowd, because I’ve always been on stage. It was amazing. I’ve worked possibly a thousand shows with Paul, and I’d never done that before. I didn’t believe that I would actually be that excited, and that thrilled. I sat there and thought, ‘This is brilliant! This is such a good show!’”

The experience, he says, gave him a valuable insight into the audience experience, and made him appreciate Paul and the show in a whole new perspective. “Paul always wants to deliver a show. He wants that crowd to walk away from his show feeling entertained, and he wants people to really get value for money. When I went and sat there, I thought, ‘God, this is totally worth it. This is real entertainment.’ You can’t walk away from a Paul McCartney show and not feel like you’ve had a good time.”

Away from the stage, Keith has been involved with Paul in the studio, creating music not only for his solo records, but also for The Beatles - a not-so-insignificant fact that he hadn’t quite grasped! 

“At the time, because it’s work,” he laughs, “I didn’t even appreciate it. I was in the ‘Now And Then’ sessions when we were doing the Anthology in ’94/’95. I was working in the studio, but it wasn’t until Peter Jackson put that video together and I saw it that it suddenly occurred to me that I was there. It all came flooding back. Not just the excitement, but the nervousness, the energy. It still happens to this day. If I’m in the studio with Paul, and he comes in and he’s written a song and he wants to record it, I do sometimes sit back and think I’m watching Paul McCartney create a new song out of his head. You do have to sometimes pinch yourself.”

“One of the most important living pop composers in the world” - El Mundo

We had all wondered if the European crowds could match the energy of South America. The answer? Absolutely. From the fans waiting outside the hotel just to catch a glimpse of Paul, to the full-throttle passion in the arena, Madrid was literally abuzz. It’s hard to quantify the impact Paul has had on so many lives, but you could see it in the faces of the crowd. As one review said, the audience was “having the best Monday of their lives.” In a world that often feels heavy, these concerts are a great opportunity to immerse yourself in hours of pure joy. No doom-scrolling here - just thousands of people singing ‘Hey Jude’ together, feeling lighter, happier, better.

“More than a concert; a sacred rite of pop-rock” - RTVE

Night two felt like a celebration. It was our last show before heading to the UK, and here we were 7,000 miles from where we’d started this tour a few months ago. There wasn’t time for reflection just yet, though; Paul had a packed schedule between soundcheck and showtime. With a little under two hours to go, Paul had a lot to get through before he’d be match ready. He’s got to do his translations, team meetings, find chill time with Family Feud, and get dressed for the show. Plus, his team - me included - have always got more questions for him, or demands for his time. I had a number of things on my list to try and run by him before the year ends, and as ever, Paul was gracious in sitting and going through it all with me.

It might sound like a whirlwind backstage, but actually Paul’s dressing room is an oasis of calm. Tonight, with less than an hour to go, he’s answering questions about his year for the website team. As I listened to his answers, I couldn’t help but think, ‘How will he top this next year?’ I really don’t know, but one thing is for sure: he will. That restless, adventurous spirit never fades. It’s inspiring to watch.

And then, for the second and final time in Madrid, he stepped on stage. Another night of magic. Another night of history. Another explosion of happiness.

Next stop: the UK!

MANCHESTER

“Extraordinarily sublime and humblingly beautiful” - The Guardian *****

Excitement levels in Manchester were at fever pitch this weekend, and not just because of the sold-out shows at Co-op Live. The city was gearing up for the massive Manchester derby on Sunday, but for two nights, it was Paul McCartney who took centre stage.

December 14th marked a long-awaited milestone: Paul’s first UK show since that legendary Glastonbury performance in 2022. Since then, Paul has taken Got Back across the world - Australia, South and Central America - and now, finally, he was home. As this week’s UK shows wrap up an incredible 2024 tour, the festive spirit in the air only adds to the sense of celebration. It’s party time.

“Nothing short of breathtaking” - Independent *****

Back at Co-op Live, despite the venue’s rocky start in the press, it’s clear what a fantastic space it is. Paul arrived around 5pm for soundcheck, greeting the team in his usual warm way. By 6pm, he was working with the YSBD (You Should Be Dancing) children’s choir, running through ‘Wonderful Christmastime’ ahead of its first performance tonight. Watching the young singers jump up and down with excitement was a sight to behold - it was pure joy.

But then in soundcheck something happened that none of us will forget.

“Simply having a wonderful Christmastime in the presence of a true great” - Manchester Evening News *****

For the first time in 52 years, Paul held his stolen, lost and now found Hofner bass in his hands once again on stage. Bought in Hamburg in 1961 for just £30, this was the instrument that helped shape The Beatles’ sound, lost for decades after being swiped in 1972, and now, against all odds, returned to its rightful owner. After soundcheck, Paul gathered the band and proudly held up the bass. “There she is, boys,” he said, beaming. Then, looking down at the guitar like an old friend, he simply said, “Hi, baby!” A perfect, heartfelt moment.

While we were all together and in high spirits, I took the opportunity to speak with Barrie Marshall, Paul’s longtime Tour Promoter. Barrie is the one that arranges, books and coordinates every date and venue that Paul plays - but, he tells me, it’s not just down to him to choose destinations. 

“I present Paul with different opportunities,” Barrie explains. “He makes the decisions, and so it’s his choice where to play and what to do. He’ll give me some ideas of places he might like to go to, and then it’s my job to go out and see if I can make them work and play the right buildings at the right time. I make sure that the timing of the shows works well, and they somewhat stand alone from anyone else. That really is how it works. He’s the senior partner; I’m just here to do my bit.”

Barrie has been ‘doing his bit’ now since around 1988, when he - like Keith - worked on Paul’s debut solo World Tour. For him, the biggest difference he’s noticed in that time is the widened span of ages that has developed in the gig-goers. 

“What’s been interesting is his audiences have gotten even broader,” says Barrie. “His appeal and demographic, age wise, is fantastic; he covers right across the board. I think people go and see him and hear the songs, see the way he performs and how long he performs for, and they’re completely mesmerised and blown away. You know, there’s no half risk with Paul McCartney. He goes out every night to have a great time and really enjoy himself and entertain the audiences, and he does it really, really well.”

Working on a global canvas, Barrie has to negotiate deals in every territory, and some can often prove more difficult than others - not necessarily for any business reasons, but perhaps political reasons, or things beyond his control. For example, the economy in Argentina, Barrie told me, was in recovery, and as such, hadn’t hosted many international artists in recent years. Taylor Swift performed at the River Plate stadium in 2023, and Paul was the only act to play there in 2024. “Paul always likes to do things like that, you know - not everybody does. And that’s part of Paul McCartney’s appeal: he’s special. He walks across places other people don’t even go near.”

Despite the odd problem that may arise, like all of us on Team Macca, Barrie loves his job and takes great satisfaction from being a part of such a machine that brings happiness to so many people. Speaking of his gratitude, he says: “I’ve been privileged to work with some wonderful artists, and I’m very lucky, but to finish up with Paul putting up with me for this long, it is quite remarkable. It’s a joy. He knows I really get off on all these dates, and he knows that sometimes they’re pressured, but, you know, it’s just a great thing, and I feel we have a good relationship. I understand who I am, and I understand who he is. I work for him, he’s the boss, and there’s no question about that. I get a lot of pleasure from that.”

At every venue we arrive at, we are made to feel at home. That is due to the care and effort that Barrie and his team put into ensuring everything runs smoothly with the show, and since everyone feels so comfortable when they’re working, we all get along so well. I’ve said it
before: we’re like a family. “And that comes from the top,” confirms Barrie. “The thing is, he’s Paul McCartney. He’s the biggest, most successful artist in the world, and yet he’s approachable. You get out of a car at a gig and there’s crowds waiting to see him. Depending on how busy he is and what he’s got to do in the time, he’ll just walk over to people and put his hand out and say hi. He doesn’t run from anybody - the opposite, in fact; he’s totally full on, and very real. He’s the most real person. It is a joy to watch him do that.”

“The thing you’ve got to make sure,” he adds, before dashing off towards the stage, “is you don’t let him down. None of us like to do that, so we have to make sure. The family atmosphere is built because he acknowledges everybody. He respects all the crew and everybody; he knows who they are. They mean something.”

Meanwhile, backstage was once again a hive of activity. The press office was working frantically, with major media outlets in attendance. The buzz was undeniable. Paul McCartney, back on home soil, in front of a UK crowd for the first time in two years - it was always going to be special. 

And indeed it was. A special highlight, for me, was seeing ‘Wonderful Christmastime’ finally unveiled, with the crowd looking very merry and white as indoor snow fell from the heavens. When I caught up with Paul and the band afterwards, they too were still elated from the performance.

“It doesn’t really feel like Christmas,” Abe Laboriel Jr. told me, “until Wix hits that first synthesiser note with trailing delay and the crowd erupts with childlike glee! It was pure perfection!”

“For me,” says Wix, “it means finding a youth choir and getting that side together musically. Fortunately there are some very talented kids out there, which makes for a special moment. Plus, I get to wear a Santa hat!”

“Paul has created his own winter wonderland,” affirmed Brian Ray. “Who doesn’t love a children’s choir with the Hot City Horns dressed up as festive and mischievous elves while the snow falls? We simply had a wonderful Christmastime!”

“The song itself,” added Rusty Anderson, “is such a unique, uptempo, classic Christmas party song, it’s a fun event to find yourself in the middle of. And we can only perform it in December, which keeps it fresh. What’s not to love?”

“We thought we might be spoiled by the South American audiences, and that it might come down a notch in Europe,” Paul said, “but it's not true. It's been just as amazing. A different scale, because we were playing big stadiums outdoors in South America, but it's been fantastic. The fans have been incredible, as they always are, but perhaps more so. We've all been very pleased to get such a reaction.”

“It’s a bit cliché,” said Wix, “but every gig is its own special thing. They do like a party in South America, but Europe was definitely buzzing.”

“The crowd intensity has grown to a fever pitch globally,” Abe chipped in. “The warmth and jubilant crowd noise is overwhelming and beautiful!”

“I was taken aback as we moved from South America to France, Spain and the UK, at how those audiences were just as energetic in their own way,” Rusty agreed. “And you can hear the various accents when they are singing along which is so cool, and reminded me how far away I was from my LA home!”

LONDON

“A masterpiece of performance and a deeply moving celebration of an all-time great” - The London Standard 

From the second that Paul’s UK shows were announced in June and sold out within minutes, it was clear that December was going to be an unforgettable - not to mention busy - month. Anticipation had been steadily building back home as excitement rippled through South America earlier in the year, and now, with Christmas just a week away, the grand finale was set in London.

Manchester had set the stage perfectly. The five-star reviews, the electric atmosphere, the sheer euphoria of fans seeing Paul return to the UK - all of it heightened the sense that something truly special was coming. And being London, the excitement was amplified by an unbelievable guest list that would rival any Hollywood awards ceremony: George Clooney, Judi Dench, Hannah Waddingham, Kate Moss, Ed Sheeran, David Gilmour, Martin Freeman, Emma Thompson… the list went on! The only place where there were more stars was in Paul’s reviews!

Backstage at the O2 on both December 18th and 19th, the buzz was evident and infectious. It was part end-of-term revelry, part excited expectations for what lay ahead. Yet, through all of this, Paul remained the picture of cool. Arriving for soundcheck with his signature relaxed smile, he was every bit as chill and composed as he had been throughout this exhilarating three-month stretch. These London dates mark the culmination of a tour that has seen him play 23 shows since October 1st, performing to over half a million people across 11 countries. After the final note rings out on the second night, the thought of returning to ‘normal life’ without the nightly explosion of joy feels almost surreal. It’s intoxicating to be amid so much happiness, warmth and radiant positivity. 

As Paul took to the stage for his final show of 2024, I found myself reflecting on a memory from 20 years ago, when this very venue - then the Millennium Dome - served as his rehearsal space before a European stadium tour. Back then, local residents, unaware of what was unfolding beneath the dome, had filed noise complaints. Little did they know that it was Paul doing damage with the decibels!

Being part of Paul’s touring world is an ongoing lesson in the power of passion and purpose. Watching his unwavering commitment to his craft day in and day out is a reminder of just how much one person can achieve, and the immense impact it has on all who feel it. It shapes all of us - not just those of us working on the tour, but also the 500,000 people who came out to see him over these past few months. This isn’t just a job; it’s an experience that overflows with unforgettable moments, inspiration, and something the London Standard recently coined: “joy-blubber.”

“The Joy-Blubber,” they explained in their post-show review, “is when you’re somehow crying and laughing and making faces that should never, ever be photographed. Last night, the sensation was brought on when the performance and music and memory (ok, and a few pints) combined.”

During the tour’s stunning finale, the first surprise of the evening came when Paul unveiled to the audience with obvious delight his aforementioned long-lost Hofner 500/1 bass. “We’ve been looking for it for 50 years,” he exclaimed. “Well, I got it back! And here to make its first stage appearance in 50 years... my original bass! I haven’t played it in 50 years.”

The surprises didn’t stop there. The energy in the O2 soared when Paul introduced his first special guest: none other than The Rolling Stones’ Ronnie Wood. Together, with Paul’s band and his newly reunited bass, they tore through a thrilling rendition of ‘Get Back’, sending the crowd into a frenzy.

Just when it seemed the night couldn’t get any bigger, Paul turned to the audience with a knowing smile: “So, we have another surprise for you,” he declared. “Bringing to the stage, the mighty, the one and only, Ringo Starr!"

The O2 erupted as Paul’s Beatles bandmate took his place behind the drums. The legendary duo then launched into ‘Sgt. Pepper's Reprise’, rolling straight into an electrifying ‘Helter Skelter’. After the song’s crashing climax, a clearly emotional Ringo came onto the stage and addressed the rapturous crowd. “I’ve had a great night and love you all, especially this man,” he said, nodding toward Paul.

It was an occasion for the ages, the kind of enchantment that only great music can conjure. In one night, Paul had presented us with two hours of the world’s most beloved songs, a once-in-a-lifetime reunion, and an overwhelming wave of love and nostalgia. 

As Paul’s 2024 live dates came to an unforgettable close, the sentiment was echoed in every five-star review, every smiling face in the audience, and every heart bursting with joy-blubber: this was a night - and a tour - for the history books.

You could feel a difference in the vibe when the crew began packing everything away. There was a party atmosphere. Paul and Nancy led the occasion by celebrating with their family, guests and the band, bringing another adventure to a close. 

Taking my chance for a last word with the guys before we go our separate ways for the holidays, it was so heartwarming to see everyone beaming the biggest smiles as they talked about what had just happened on stage. Rusty laughed, and told me that it was “impossible to wrap one’s head around” the fact he’d stood on stage with both Paul and Ringo.

“I’ve had the pleasure of playing alongside several guests over the years,” said Wix. “Ringo is always a thrill because, well, it’s The Beatles’ rhythm section!”

“What an incredible highlight and honour,” Abe concurred, “to not only share the stage with two of my heroes, but to also call them my friends… Please don’t wake me from this dream!” 
⁠
⁠“I’m still buzzing,” said Brian, adding: “Ronnie Wood was shredding away too!”

As our time together came to a close, I asked if any other notable highlights from the tour stood out to them. “‘Now And Then’ live is very special,” Brian continued. “We watch the emotions flood the faces of the audience as they register the emotion of the spectrum. It has been a highlight of our 23 years as a band.”

“These two fun nights in London were a buzz,” said Rusty. “It was a great feeling, but also a little bittersweet because we are a large touring family, not just the band, but also the crew. And parting is such sweet sorrow!”

“I’d like to say thank you to all the fans for coming to the shows and listening to the music,” Paul said, rightfully having the last word. “You’ve been really great. Thanks for showing up!”

Brimming with a post-gig and post-tour glee, as I make my way out the O2, I walk into the Christmas holidays with the best feeling inside, knowing that so many thousand of people had been affected by the happiness Paul had spread on our travels, and the hope that we can make it all happen again as soon as possible!