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Set List: Paul McCartney’s Got Back Tour

Listen to the hits performed on the blockbuster tour.

39 Songs, 2 hours, 9 minutes

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Paul McCartney's 'Got Back' Tour 2022 - Set List Revealed!

Paul McCartney is currently on tour and playing stadiums across the United States as we approach summer!

The legendary singer just played a show in Los Angles and Variety noted that he is performing a “marathon” of a set list that includes more than 30 songs. The show reportedly ran two hours and forty minutes, which is way longer than most acts half his age are doing.

Paul is performing up to four hours a night thanks to sound check experiences he is giving to fans who buy VIP packages. During those pre-show sets, he is performing 8 to 13 songs for about an hour.

The former The Beatles singer will be celebrating his 80th birthday in June, two days after the tour wraps.

Click inside to check out the set list…

Keep scrolling to see the full set list…

1. “Can’t Buy Me Love” 2. “Junior’s Farm” 3. “Letting Go” 4. “Got to Get You into My Life” 5. “Come On To Me” 6. “Let Me Roll It” (with “Foxy Lady” coda) 7. “Getting Better” 8. “Women and Wives” or “Let ‘Em In” 9. “My Valentine” 10. “Nineteen Hundred and Eighty-Five” 11. “Maybe I’m Amazed” 12. “I’ve Just Seen a Face” or “We Can Work It Out” 13. “In Spite of All the Danger” 14. “Love Me Do” 15. “Dance Tonight” 16. “Blackbird” 17. “Here Today” 18. “Queenie Eye” or “New” 19. “Lady Madonna” 20. “Fuh You” 21. “Being for the Benefit of Mr. Kite!” 22. “Something” 23. “Ob-La-Di, Ob-La-Da” 24. “You Never Give Me Your Money”/”She Came In Through the Bathroom Window” 25. “Get Back” 26. “Band on the Run” 27. “Let It Be” 28. “Live and Let Die” 29. “Hey Jude”

ENCORE 30. “I’ve Got a Feeling” (duet with John Lennon) 31. “Birthday” 32. “Helter Skelter” 33. “Golden Slumbers”/”Carry That Weight”/”The End”

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Paul McCartney Gets Back to Live Performing: Set List, Video

Paul McCartney  returned to the road last night in Spokane, Wash., where he launched his 2022 Got Back Tour . The concert marked the former Beatles star's first live performance in more than two years.

He began the show with 1964's "Can't Buy Me Love," kicking off an evening that included numerous other Beatles favorites. "Getting Better" and "You Never Give Me Your Money" had not been played live since 2003, according to Setlist.fm . McCartney also performed "She Came in Through the Bathroom Window" for the first time since 2008, as well as a selection of Wings and solo material.

"Women and Wives" a track from his most recent album, 2020's  McCartney III , made its concert debut. Another highlight from the evening included McCartney's "duet" with John Lennon on "I Got a Feeling," utilizing footage from Peter Jackson 's  Get Back documentary.

A complete set list, as well as video from the show, can be viewed below.

Watch Paul McCartney Perform 'Can't Buy Me Love' and 'Junior's Farm' Live in Spokane

“Wow, is all I can say [is] you’ve been a fantastic audience for our opening night,” McCartney told the crowd. At the end of the show, he brought a Ukrainian flag on stage.

McCartney's most recent public performances took place in 2019 when he embarked on a 39-date world tour that finished with a sold-out show at Dodger Stadium in Los Angeles. The concluding concert featured guest appearances from Ringo Starr and Joe Walsh .

McCartney then participated in Starr's virtual charity broadcast , organized in July 2020 to honor of Starr's 80th birthday, where other guest performers included  Gary Clark Jr. ,  Sheryl Crow ,  Jackson Browne ,  Elvis Costello ,  Peter Frampton  and others.

Watch Paul McCartney Perform "Getting Better" and "Women and Wives" Live in Spokane

McCartney III arrived in December 2020, marking his 18th studio LP and third self-titled one-man-band production. A separate version of the album, dubbed McCartney III Imagined , was released shortly after and featured covers and remixes by St. Vincent ,  Beck , Phoebe Bridgers and Josh Homme , among others.

“I was living lockdown life on my farm with my family and I would go to my studio every day," McCartney said at the time. "I had to do a little bit of work on some film music and that turned into the opening track, and then when it was done, I thought, 'What will I do next?' I had some stuff I’d worked on over the years, but sometimes time would run out and it would be left half-finished, so I started thinking about what I had."

McCartney's Got Back Tour will continue across the United States for the next several weeks before wrapping up on June 16 at New Jersey's MetLife Stadium.

Watch Paul McCartney Perform "I Got a Feeling" Live in Spokane

Paul McCartney, April 28, 2022, Spokane, Wash., Set List

1. "Can't Buy Me Love" 2. "Junior's Farm" 3. "Letting Go" 4. "Got to Get You Into My Life" 5. "Come On to Me" 6. "Let Me Roll It" (followed by "Foxy Lady" jam) 7. "Getting Better" (first time since 2003) 8. "Women and Wives" (live debut) 9. "My Valentine" 10. "Nineteen Hundred and Eighty-Five" 11. "Maybe I'm Amazed" 12. "I've Just Seen a Face" 13. "In Spite of All the Danger" (Quarrymen song) 14. "Love Me Do" 15. "Dance Tonight" 16. "Blackbird" 17. "Here Today" 18. "Queenie Eye" 19. "Lady Madonna" 20. "Fuh You" 21. "Being for the Benefit of Mr. Kite!" 22. "Something" 23. "Ob-La-Di, Ob-La-Da" 24. "You Never Give Me Your Money" (first time since 2003) 25. "She Came in Through the Bathroom Window" (first time since 2008) 26. "Get Back" 27. "Band on the Run" 28. "Let It Be" 29. "Live and Let Die" 30. "Hey Jude"

Encore: 31. "I've Got a Feeling" 32. "Birthday" 33. "Helter Skelter" 34. "Golden Slumbers" 35. "Carry That Weight" 36. "The End"

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Got Back Tour - North American Leg

Spokane Arena

28 April 2022

720 W Mallon Ave Spokane WA 99201 United States Of America

Seattle Climate Pledge Arena

334 1st Ave N Seattle WA 98109 United States Of America

Oakland Arena

7000 Coliseum Way Oakland CA 94621 United States Of America

SoFi Stadium

13 May 2022

1001 Stadium Dr Inglewood CA 90301 United States Of America

Dickies Arena

17 May 2022

1911 Montgomery St Fort Worth TX 76107 United States Of America

Truist Field

21 May 2022

475 Deacon Blvd Winston-Salem NC 27105 United States Of America

Hard Rock Live

25 May 2022

1 Seminole Way Hollywood FL 33314 United States Of America

Camping World Stadium

28 May 2022

1 Citrus Bowl Place Orlando FL 32805 United States Of America

Thompson Boling Arena

31 May 2022

1600 Phillip Fulmer Way #202 Knoxville TN 37996 United States Of America

JMA Wireless Dome

4 June 2022

900 Irving Ave Syracuse NY 13244 United States Of America

Fenway Park

7 June 2022

4 Jersey St Boston MA 02215 United States Of America

8 June 2022

Oriole Park

12 June 2022

333 W Camden St Baltimore MD 21201 United States Of America

MetLife Stadium

16 June 2022

1 MetLife Stadium Dr East Rutherford NJ 07073 United States Of America

Tour Information

Following more than a year of speculation, Paul *GOT BACK* on the road with a 13-city return to stages in 2022. Kicking off April 28 with Paul’s first ever show in Spokane and running through to June 16 in East Rutherford NJ, where Paul played MetLife Stadium for the first time since 2016. Band Paul McCartney Paul 'Wix' Wickens Abe Laboriel Jr. Rusty Anderson Brian Ray

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Paul McCartney Announces Dates For 2022 ‘Got Back’ Tour

Macca's hitting the road for his first live shows since 2019.

By Gil Kaufman

Gil Kaufman

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Sir Paul McCartney is hitting the road for his first live shows since 2019. The pop icon announced dates for his 2022 “Got Back” arena/stadium tour on Friday (Feb. 18), which is slated to kick off on April 28 at Spokane Arena in Spokane, Washington, his first-ever show in that city.

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The 13-city, 14-date outing will also find the Rock and Roll Hall of Famer playing East Rutherford, New Jersey’s MetLife Stadium for the first time since 2016. “I said at the end of the last tour that I’d see you next time. I said I was going to get back to you. Well, I got back!,” the indefatigable 79-year-old said in a statement.

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The tour will mark some other firsts and landmarks for Macca, who will make his live debut in three cities — Hollywood (FL), Knoxville (TN) and Winston-Salem (NC) — as well as his first gigs in Fort Worth, Texas and Baltimore, Maryland since 1976 with Wings and 1964 with the Beatles, respectively; he’ll also play in Oakland for the first time in 20 years.

Tickets for the tour will go on sale to the general public beginning Feb. 25 at 10 a.m. local time, with American Express card members invited to get in early on Tuesday (Feb. 22) at 10 a.m. local time through Thursday (Feb. 24) at 10 p.m. local time. The Got Back dates are McCartney’s first run of live shows since his 39-date, 12-country Freshen Up tour wrapped up in July 2019.

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Check out the dates for the Got Back tour below.

April 28 – Spokane, WA @  Spokane Arena May 2 – Seattle, WA @ Climate Pledge Arena May 3 – Seattle, WA @ Climate Pledge Arena May 6 – Oakland, CA @ Oakland Arena May 13 – Los Angeles, CA @ SoFi Stadium May 17 – Fort Worth, TX @ Dickies Arena May 21 – Winston Salem, NC @ Truist Field May 25 – Hollywood, FL @ Hard Rock Live May 28 – Orlando, FL @ Camping World Stadium May 31 – Knoxville, TN @ Thompson-Boling Arena June 4 – Syracuse, NY @ Carrier Dome June 7 – Boston, MA @ Fenway Park June 12 – Baltimore, MD @ Oriole Park June 16 – East Rutherford, NJ @ MetLife Stadium

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Paul McCartney Kicks Off 2023 Tour in Australia: Videos + Setlist

He played Adelaide Entertainment Centre on Wednesday night

Paul McCartney kicked off the Australian leg of his 2023 tour at Adelaide Entertainment Centre on Wednesday night (October 18th), marking his first live performance in more than a year.

During the nearly three-hour set, McCartney mixed in his own solo hits alongside his work with the Beatles and Wings. As with his previous “Got Back” concerts , Macca opened the show with “Can’t Buy Me Love” before going into Wings’ “Junior’s Farm” and “Letting Go.” This was followed by his first performance of the Beatles’ “She’s a Woman” since 2004.

Though none of the songs from Macca’s most recent album,  McCartney III , made the setlist, he did run through “Fuh You” and “Come On to Me” from 2018’s  Egypt Station . He also reached back into his catalog for songs like “Maybe I’m Amazed,” “Here Today,” and “Dance Tonight.”

And as he has in the past, McCartney played The Quarrymen cut “In Spite of All the Danger.” Among the Beatles highlights were “Hey Jude,” “Love Me Do,” “Ob La Di Ob La Da,” “Sgt. Pepper’s Lonely Hearts Club Band (Reprise),” and “Helter Skelter.”

Check out fan-shot footage and the full setlist below.

Get Paul McCartney Tickets Here

McCartney’s Australian tour continues through early November, after which he will play Mexico City for a pair of shows and then embark on a five-city jaunt through Brasil . Get your tickets here .

Paul McCartney She's A Woman at Adelaide Entertainment Centre on October 18, 2023 in Adelaide, Australia Video Tanya Stanton #TheBeatles #paulmccartney #paulmccartneygotback #paulmccartneybrasil pic.twitter.com/ePGSgD7mU7 — DIÁRIO DOS BEATLES (@Diario_Beatles) October 18, 2023

Paul McCartney Live And Let Die at Adelaide Entertainment Centre on October 18, 2023 in Adelaide, Australia Video Shane Thomson #TheBeatles #paulmccartney #paulmccartneygotback #paulmccartneybrasil pic.twitter.com/nzkkTMvL1Q Advertisement — DIÁRIO DOS BEATLES (@Diario_Beatles) October 18, 2023

Paul McCartney Helter Skelter at Adelaide Entertainment Centre on October 18, 2023 in Adelaide, Australia Video Raf Azaria #TheBeatles #paulmccartney #paulmccartneygotback #paulmccartneybrasil pic.twitter.com/wel42BLaXJ — DIÁRIO DOS BEATLES (@Diario_Beatles) October 18, 2023

Setlist: Can’t Buy Me Love (The Beatles) Junior’s Farm (Wings) Letting Go (Wings) She’s a Woman (The Beatles) (First time since 2004) Got to Get You into My Life (The Beatles) Come On to Me Let Me Roll It (Wings) Getting Better (The Beatles) Let ‘Em In (Wings) My Valentine Nineteen Hundred and Eighty-Five (Wings) Maybe I’m Amazed I’ve Just Seen a Face (The Beatles) In Spite of All the Danger (The Quarrymen) Love Me Do (The Beatles) Dance Tonight Blackbird (The Beatles) Here Today New Lady Madonna (The Beatles) Fuh You Jet (Wings) Being for the Benefit of Mr. Kite (The Beatles) Something (The Beatles) Ob La Di Ob La Da (The Beatles) You Never Give Me Your Money (The Beatles) She Came in Through the Bathroom Window (The Beatles) Band on the Run (Wings) Get Back (The Beatles) Let It Be (The Beatles) Live and Let Die (Wings) Hey Jude (The Beatles)

Encore: I’ve Got a Feeling (The Beatles) Birthday (The Beatles) Sgt. Pepper’s Lonely Hearts Club Band (Reprise) (The Beatles) Helter Skelter (The Beatles) Golden Slumbers (The Beatles) Carry That Weight (The Beatles) The End (The Beatles)

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Paul McCartney Will Get Back to the Road on ‘Got Back’ Tour

By Jon Blistein

Jon Blistein

Paul McCartney will return to the road this year, announcing his 13-show Got Back tour, which will launch this spring.

The run will kick off April 28 at the Spokane Arena in Spokane, Washington, (his first-ever show in the city), and wrap June 16 at MetLife Stadium in East Rutherford, New Jersey (his first time there since 2016). McCartney will also play Hollywood, Florida, Knoxville, Tennessee, and Winston-Salem, North Carolina, for the first time, while he’ll return to Fort Worth, Texas, and Baltimore for his first shows there since 1976 with Wings and 1964 with the Beatles, respectively.  

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Tickets for the Got Back tour will go on sale on Feb. 25 at 10 a.m. local time. A presale for American Express cardholders will run from Feb. 22 at 10 a.m. local time through Feb. 24 at 10 p.m. local time. Full information is available on McCartney’s website .  

The Got Back tour marks McCartney’s first full-fledged tour since his Freshen Up run, which wrapped in July 2019. While not on the road — understandably, because of the pandemic — McCartney has stayed busy with a variety of other projects, like releasing his latest solo album, McCartney III , in December 2020. Last year, he also starred alongside Rick Rubin in the Hulu docuseries McCartney 3, 2, 1 , and he was also involved as a producer on Peter Jackson’s Beatles doc, Get Back .

Paul McCartney Got Back Tour Dates

April 28 – Spokane, WA @ Spokane Arena May 2 – Seattle, WA @ Climate Pledge Arena May 3 – Seattle, WA @ Climate Pledge Arena May 6 – Oakland, CA @ Oakland Arena May 13 – Los Angeles, CA @ SoFi Stadium May 17 – Fort Worth, TX @ Dickies Arena May 21 – Winston Salem, NC @ Truist Field May 25 – Hollywood, FL @ Hard Rock Live May 28 – Orlando, FL @ Camping World Stadium May 31 – Knoxville, TN @ Thompson-Boling Arena June 4 – Syracuse, NY @ Carrier Dome June 7 – Boston, MA @ Fenway Park June 12 – Baltimore, MD @ Oriole Park June 16 – East Rutherford, NJ @ MetLife Stadium

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Paul McCartney Talks the Famous Beatles Ballad That Started as a Song He’d Play to Impress People at Parties

I n the latest episode of the McCartney: A Life in Lyrics podcast series, Paul McCartney discusses the popular Beatles ballad that got its start as a song he’d play as a teenager trying to impress people at parties. Years later, McCartney would play the song specially for a first lady.

The song was “Michelle,” which appeared on The Beatles’ classic 1966 album Rubber Soul .

[RELATED: Beyoncé Collaborator, Other Stars React to Paul McCartney’s “Blackbird” Take]

McCartney said that the origins of the song came from a piece he came up with using a few interesting chords he’d learned from different sources. He first played the chords at parties that John Lennon’s art-school classmates attended.

“I remember going to one [party], and I took my guitar,” McCartney recalled. “So I’m sitting enigmatically in the corner with my black polo neck sweater on, trying to look French, trying to look interesting to this older crowd. And so, one of the weapons that I used was to play this sort of Frenchy-sounding song and sort of make guttural noises, kind of half thinking that someone will think, ‘Well, he’s French, probably.’”

McCartney explained that the chords he used in the song included one he’d learned from Jim Gretty, a guitar salesman who worked at the Liverpool music store Hessy’s, and another taken from The Coasters hit “Along Came Jones.”

On Finishing Writing “Michelle”

McCartney noted that years later, while The Beatles were putting together tunes for what would become Rubber Soul , Lennon suggested he revisit the French-sounding song he’d played at those school parties.

As he worked on finishing the song, McCartney said he thought of the 1959 Edith Piaf tune “Milord.” The rock legend said he liked the sound of the word “milord,” and wanted to use something similar in his song, and he thought of the name “Michelle.”

McCartney also wanted to include some actual French in the song, but he’d never studied the language while in school. He said he had a very close school mate, Ivan Vaughan, who’d actually introduced him to Lennon years earlier, and he knew Vaughan’s wife, Jan, taught French, so he asked her for some help with the tune.

“I said, ‘Jan, what rhymes with Michelle? Two syllables. Can you think of anything?’” McCartney recalled. “She said, ‘Ma belle?’ I said, ‘I love it. What’s that mean?’ … [She answered,] ‘Well, my beauty.’ ‘Oh, okay. Michelle, ma belle. I think that’s lovely!’”

Jan Vaughan also translated McCartney’s line “These are words that go together well” into French, and he put that phrase into the song as well.

The Recording of “Michelle”

The Beatles recorded “Michelle” very quickly, finishing the track in just an hour and a half.

“Luckily, we came in prepared. We knew it all,” McCartney remembered. “So I played the guitar, did that, George [Harrison] made a lovely solo on electric guitar, and the rest of the guys sort of filled in. And then it came time for me to play the bass on it.”

McCartney said his inventive bass part on “Michelle” and other songs around that time were inspired by Motown session musician James Jamerson.

“Michelle” Won a Grammy

Although it wasn’t released a single in the U.S., “Michelle” was awarded a Grammy for Song of the Year in 1967.

McCartney’s Special White House Performance of “Michelle”

The podcast points out that whereas “Michelle” originally sprung from McCartney’s desire to impress cool kids at parties, in 2010, Sir Paul used it to impress an audience that included the President and first lady of the United States—Barack and Michelle Obama.

McCartney had been invited to perform at the White House in honor of him receiving the Library of Congress Gershwin Prize for Popular Song.

Before launching into “Michelle,” McCartney quipped that the song was a tune he’d been “itching to do at the White House.” He added, “I hope the President will forgive me.”

About the McCartney: A Life in Lyrics Podcast

As previously reported, the McCartney: A Life in Lyrics podcasts incorporate segments of audio interviews that Irish poet Paul Muldoon conducted with McCartney for the 2021 book The Lyrics: 1956 to the Present .

The McCartney: A Life in Lyrics podcast is available at iHeart.com , Pushkin.fm , and on various popular streaming services, including Apple Music and Spotify. The series is co-produced by iHeartPodcasts and the Pushkin audio-production company.

(Photo by Keystone/Getty Images)

The post Paul McCartney Talks the Famous Beatles Ballad That Started as a Song He’d Play to Impress People at Parties appeared first on American Songwriter .

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How Khruangbin’s Sound Became the New Mood Music

The Texan trio’s vibes have spawned countless imitators, but their magic isn’t so easy to replicate.

By Ryan Bradley

Ryan Bradley is a writer based in Los Angeles.

I worry that the word “vibes” is overused, but in what follows it is unavoidable: The band Khruangbin, a trio from Houston, has become so popular that there now exists an entire subgenre of music broadly known as “Khruangbin vibes.” If you have walked into a relatively hip coffee shop in a major or even minor city lately, you have probably encountered Khruangbin vibes. They’re marked by low-key, reverb-heavy, often guitar-forward instrumentals — music that’s groovy and pleasant, bewitchingly exotic yet comfortingly familiar, inoffensive and instantly graspable as existing within a particular sonic space. A vibe, as it were.

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That such music has come to have a real toehold on the culture says as much about the way music is listened to today as the sound itself. Music now exists primarily within the stream, which is to say passively: We turn it on, like a faucet, and out pour songs representing some mood, or emotion, or any of the other words we used before we had “vibes.” Perhaps it’s an aura, like “chill.” Or a vague, evocative mind-set, like “always Sunday.” The tap turns and out pour songs we already liked, along with burbles of what is a little new and different yet fits in beautifully. This is the arrangement in which “Khruangbin vibes” excel. Such music is extremely slippery, genrewise. (Is it psychedelic lounge dub? Desert surf rock? The sound you hear inside a lava lamp?) As such, it pairs well with a huge span of music, across genres and eras; it has a kind of algorithmic inevitability to it. But this slipperiness also means that quite a lot of the bands now producing Khruangbin-vibesy music are entirely forgettable.

Fortunately, being the three musicians who popularized a sound that so many others are chasing is not the same thing as chasing that sound yourself. To the members of Khruangbin — pronounced krung-bin, and featuring Laura Lee Ochoa on bass, Donald Johnson on drums and Mark Speer on guitar — that sound is not so much a goal as a result: It is what happens when they play music together. And while many others have tried, and are still trying, to identify and replicate what is so particular about Khruangbin’s sound, this is not really possible, because what happens among people when they play music together cannot really be quantified. Often, when it works, it is more — well, it’s more vibey than that.

Steve Christensen, Khruangbin’s longtime producer, explained it to me like this: Just about every day, he gets hit up on Instagram by folks asking how to achieve a particular Khruangbin sound. He responds, keeping no secrets, readily giving away everything, because Ochoa, Johnson and Speer have used pretty much the exact same setup for well over a decade now. Their gear and their instruments are simple and straightforward to the point of being borderline ascetic. (Ochoa, for example, has not changed the strings on her bass since 2010, when the group first formed.) When people write back to Christensen, which they often do, they will tell him that they now have all the same gear, and have learned all the songs perfectly, and still cannot get quite the same sound. “Well, I’m sorry,” he tells them, “but that’s just how they play.” Someone might copy Speer’s rig down to the last knob setting, and play his guitar melodies note for note, but without Ochoa and Johnson playing, too, the Khruangbin sound cannot be duplicated. “I know it sounds so simple,” Christensen says, “but if they’re not playing as a trio, it just doesn’t sound like KB.”

Questlove — the producer, documentary filmmaker, author and longtime bandleader of the Roots — is someone who has thought quite a bit about this quality in music, the ineffable alchemy that can occur when certain musicians join together. When he first saw Khruangbin, he was grabbed by not just the way they played, but also by their extreme level of togetherness. “They are so well gelled,” is how he described it. This quality, he went on, was a very rare thing, particularly in a trio. “Think of the Police,” he said. “Like, it’s so hard to do that. Musically speaking, you have to check your ego at the door and just trust that someone completely gets you.” And the Police were plagued enough by bickering to disband after about eight years — Khruangbin has, so far, been together for about 14.

After he first saw Khruangbin perform, Questlove reached out to the group. He was enamored with their sound, he told me, and wanted to find a way to help them preserve it. “They have magic — I don’t want them to ever lose that. You know what I mean?” I had to admit that, while I sort of understood, I had also never been a member of a wildly popular band: How did one lose the magic? That was easy, Questlove said: By not checking your ego. By having “one person stand like, ‘Oh, look at me, look at me.’” This was especially difficult to avoid, he said, because musicianship, like so much else these days, was increasingly focused on the individual. So how did Khruangbin gel so well, and stay well gelled?

Speer and Johnson first met in 2004, when the Houston keyboard hero Cleo Sample, who has toured with D’Angelo, pointed Speer out to Johnson, saying, “That white boy, he’s amazing.” Both musicians were gigging heavily in Houston: Johnson played in funk and jazz combos when he wasn’t playing organ in church, while Speer played with just about anyone, from ska, hip-hop and rockabilly to zydeco and R.&B. He was, Johnson says, “like a Swiss Army utility knife that can do it all.” Speer often felt as if he were the only guy in town moving among all these different scenes, and he took pride in trying to make musical connections among them. He played guitar with Solange Knowles, back when she was performing as Solo Star, and remembers asking: “Solo, have you listened to the Flaming Lips?”

Around 2006, Speer and Johnson began playing together at St. John’s Downtown Church. Its pastor at the time was Rudy Rasmus, whose love of jazz and exacting ear had long made the place a sort of Everest for local musicians. (Beyoncé grew up singing there.) Johnson put it to me simply: “Rudy knew if you sucked,” and if you sucked, you didn’t get hired. Johnson grew up with gospel, but Speer was also a wonder at it; it is, Johnson says, a type of music that is all-encompassing, containing many genres at once. It also requires a kind of egoless playing: You have to be listening intensely to the other musicians, and to on-the-fly changes from the musical director, who is locked in on the pastor, who is responding to the congregation.

After rehearsal, on Tuesday nights, the two of them would get tacos and beers at a nearby bar. One bartender had an iPod with a lot of good, obscure music from around the world — all of which Speer seemed to know about already, tracing scales and techniques from one continent to another. “He’s like a music encyclopedia,” Johnson says. In fact, Speer told me that one of the most formative musical moments in his life came when he discovered a Microsoft Encarta CD-ROM included with his parents’ new Compaq and became obsessed with its huge catalog of 30-second music samples from all corners of the globe.

One of Speer’s friends — Ochoa — eventually joined the Tuesday-night drinks. She was not a musician; she was studying art history, and would later teach math to third graders. Soon after meeting Speer, she noticed him playing his guitar along to any song that came on the radio. One day she asked him: “How do you do that?” He told her it was just a matter of following the bass, which led her to try playing one herself. “It was the first time an instrument just felt easy,” she says. Speer didn’t so much teach as guide her: “He would hear me playing, and would come over every so often, and be like, ‘Is that where that note ends?’”

Years passed, and Speer asked her to join him on a short tour, backing the electronic artist Yppah, who was opening for the British D.J. and producer Bonobo. It wasn’t just playing onstage that gave Ochoa the confidence to think about starting a band of her own; it was backstage, watching Bonobo’s camp, where she saw what music-making required “from, like, a go-getter organizational-producer-type place.” Everything around the music suddenly snapped into focus. “I love spreadsheets,” she explains — and seeing firsthand that musical success also required those skills “made being in a band feel like an attainable goal.”

She and Speer had been playing together in an old barn Speer’s family had in Burton, about 90 minutes’ drive west of Houston, in the wide-open hill country. Now she asked Johnson to join them, to start their own project. His ultratight, nearly metronomic hip-hop drumming was an ideal thread for Ochoa’s mellow, melodic bass to fold itself around — all while Speer’s guitar sang its gorgeous, worldly melodies over the top.

The magic, Ochoa says, was there from the jump. But she also knew, even after a few gigs around Houston, that they needed to get out onto the road to really grow. To do that, they needed recordings. Out at the barn, over 18 hours or so, they cut about 14 tracks. One of them, “A Calf Born in Winter,” begins with the distant sound of jingling bells — maybe sleigh bells, maybe something like the bells from Javanese gamelan music — followed by a pretty little line from what sounds like some kind of zither. Then Speer and Ochoa and Johnson make their musical entrance. The song has no chorus, no hook, no bridge, no vocals; it meanders along its own absorbing path.

Ochoa eventually got the track into the hands of Bonobo, who used it on his 2013 contribution to “LateNightTales,” a beloved series of mixtapes built on nocturnal moods. While Bonobo’s mix included far better-known artists, like Nina Simone and Bill Evans, the Khruangbin track was the standout. Here was a band no one had heard of, with an exotic name — Thai for “engine fly” or, less literally, “airplane” — and a sound that felt timeless and impossible to place. With seemingly no other tracks by them available anywhere else, it was easy to imagine the recording might have come from some long-forgotten 1970s Thai psychedelic-rock outfit, the kind of crate-digger find so popular among music nerds. That it turned out to be a trio from Houston only made them more intriguing.

Over the next two years, more tracks from that initial barn session trickled out; the three toured and toured as their audience grew and grew. They put out a full album, and another, and another, and a very good disc of dub remixes. They sold out Red Rocks in Colorado, the Greek theaters in Berkeley and Los Angeles and two nights at Radio City Music Hall. They made two EPs with a fellow Texan, Leon Bridges, one of which, “Texas Sun,” made it to the top of Billboard’s Americana/Folk Albums chart; there was also an album with Vieux Farka Touré, son of the Malian guitar god Ali Farka Touré. They recently remixed the Paul McCartney song “Pretty Boys” after he tapped them for his “McCartney III Reimagined” project. What is most noticeable, listening to their collaborations, is that the essential Khruangbin-ness of their sound is impossible to dispel — even their more famous collaborators get gathered into the band’s sonic world.

That is what has led the trio to dominate this niche in the streaming environment, as the flagship purveyor of alluring, mood-setting music that will mellow out the air in your home or boutique or TikTok video. Unlike with so many forgettable imitators, their particularities somehow refuse to stay in the background; they draw in and hold your attention. To date, Khruangbin’s albums have passed 775 million streams, a large number that still does not capture their weirdly broad appeal. Their frequent festival shows come closer: The audience for those tends to be a remarkable cross section of scenes, the E.D.M. kids and hip-hop heads rubbing shoulders with the psych-rock freaks. If the algorithms have a habit of slipping Khruangbin tracks into everyone’s ears, it’s surely because that works — they beguile across tastes.

The three of them like to joke that if they had any sense of how big they would one day be, they would have picked a name that was easier to pronounce. But even the name has added to the band’s intrigue and iconography. Same goes for the wigs Speer and Ochoa have always worn when photographed or onstage — a spur-of-the-moment choice by Ochoa, right before Khruangbin’s very first show. “I’ll be honest: It was the look and the name that grabbed me first,” David Byrne said in an email. He’d recently gone with Ochoa to see the singer-songwriter Mitski perform, and was struck by how anonymous Ochoa was when out in the world wig-free. He, like Questlove, was a big Khruangbin fan, and thought of the band as existing within a genre he called “instrumental pop,” which he then defined with a glorious list of musicians: the Serbian guitar virtuoso Branko Mataja, the benju player Ustad Noor Bakhsh, the Ethiopian jazz legend Mulatu Astatke and Santo and Johnny, best known for their 1959 steel-guitar hit “Sleep Walk.” These artists come from wildly different scenes, different eras, different continents. And yet, to the modern listener, all are similarly marked by an easy beauty, a genrelessness — a vibe.

Last month, I met with Ochoa, Johnson and Speer in Brooklyn, where Ochoa now lives. They were in town to rehearse tracks from their new album, “A La Sala,” for a new tour, their 19th. Much of their progression as a band has involved adding new layers to the stripped-down, airy sonic space they found in that barn — from vocals (sung by all three at once, though always mixed so Speer’s guitar melodies remain the focus) to the percussive, danceable sound of their last studio album, “Mordechai,” from 2020. “A La Sala,” however, goes in the other direction. It’s quieter, less busy, more like a return to the band’s earliest days in the barn in Burton — even though it was not recorded in the barn, and is, in fact, the first time they’ve made one of their own albums outside the barn.

This was a purely practical decision. When they got together to record, Ochoa was eight months pregnant, and being out in the middle of nowhere seemed like an unnecessary risk. Instead, they used Steve Christensen’s Houston studio, which is in an old warehouse: brick walls, concrete floors, train tracks nearby, a sheet-metal roof that got loud when it rained. All three members of Khruangbin become animated when talking about sound — the space around each tone, how to fill the right gaps without letting the music get crowded — but Speer is particularly obsessive. Between sessions for “A La Sala,” he would travel out to the barn with a field recorder and tape things like hand claps echoing around the space. These types of recordings can be used to create what’s called an “impulse response,” a model of the way the space reflects sound — which could then be used in the studio to make the music they were playing in the warehouse sound more open, more barnlike, more Khruangbin.

Once, out in Burton, Speer was noodling around on a little synth, and composed “Les Petits Gris,” the stripped-down track that closes the album. Throughout the recording, there is ambient noise: crickets, birdsong, creaking wood, the musicians’ hushed breaths. It feels like a direct rebuke to the idea that a band’s getting bigger and more successful has to mean getting busier, louder, more danceable.

The three now live far apart: Ochoa in Brooklyn, Speer in a tiny town north of San Francisco and Johnson in Houston. In Brooklyn, together for the first time in months, conversation turned to the upcoming tour. Speer said he wanted to spend it getting back to basics and becoming a better player. Johnson laughed: “I can’t believe Mark Speer said, ‘I want to be a better player.’” When they started, Ochoa and Speer explained, everything around them, all the different scenes of their Houston lives, contributed to their sound. But success and touring had pulled them from the environment that shaped them — something that did not help the music, because it was not what had given them their particular vibe.

What had? Speer described a wine bar in a town near his, where a group of local musicians played. He’d been eyeing it up, hoping to sit in on congas. It was this sort of exploration — being in different scenes, finding new things to try — that he wanted to return to. Johnson, when he’s home, still plays organ in his grandfather’s church. Ochoa tried to explain what Speer was driving at, what he meant by getting back to basics, by telling the story of a bad show they’d had at a huge venue. She had been pushing Speer on “being bold, and being bigger,” but he was struggling with his pedalboard. It was driving him bananas: Why did his guitar suddenly sound different? This was all the same gear he’d always used, the same stuff he’d used since the band began. Where had the magic gone?

It turned out that the stage was so big that the signal from his guitar was degrading as it ran through the very long cable required to cross it. It’s tempting to read this as a metaphor for success. But it was also the answer to the question of what made Khruangbin Khruangbin. Theirs was a sound of self-imposed limits. Not just of three of them playing, but also of the spaces between: the sounds of the barn, its birds and its crickets, the length of the guitar cable, a sense of distance, but never too much.

Ryan Bradley is a writer based in Los Angeles. He last wrote for the magazine about the L’Rain song ‘‘Find It.’’

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Paul Draper Setlist at Hertford Corn Exchange, Hertford, England

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• Anti Everything by Mansun
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• Cancer by Mansun
• Fall Out by Mansun
• Inverse Midas by Mansun
• Legacy by Mansun
• Negative by Mansun
• Serotonin by Mansun
• Shotgun by Mansun
• Six by Mansun
• Special/Blown It (Delete As Appropriate) by Mansun
• Television by Mansun
• Witness To A Murder, Pt. 2 by Mansun
• Cult Leader Tactics
• You've Got No Life Skills, Baby!
• Feeling My Heart Run Slow
• Friends Make the Worst Enemies
• Things People Want

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