Rick Beato Questions Paul McCartney’s Media Approach in New Video

YouTube personalitiy Rick Beato speaks on stage on Day 1 of the 2026 NAMM Show at Anaheim Convention Center on January 22, 2026, in Anaheim, California.

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Shortly after the release of his studio album The Boys of Dungeon Lane, Paul McCartney launched a publicity campaign targeting platforms such as TikTok and the YouTube series Chicken Shop Date. Notably, music commentator Rick Beato, a veteran interviewist with extensive conversations involving artists like Brian May and Sting and a channel surpassing five million subscribers, was not included in that rollout.

Fans recognized the oversight, especially given the appeal of Beato’s approach, exemplified by an hour‑long interview with Billy Joel that amassed over one million views within three days. In the conversation, the two discuss chord progressions, song structure, and the harmonic impact of dissonant notes in Joel’s classics such as “And So It Goes.”

Numerous viewers urged Beato to arrange a sit‑down with McCartney, leading him to publish a follow‑up video titled “Why Paul McCartney Won’t Be On My Channel,” which surpassed one million views more quickly than the Joel interview.

Rick Beato vs. music publicity gatekeepers

In his latest upload, Beato explains why securing a conversation with McCartney seems unlikely. He argues that the gatekeepers surrounding major artists often favor tightly controlled, mainstream publicity campaigns aimed at broad reach, rather than the in‑depth musical analysis that defines his channel.

Beato emphasizes that his channel is dedicated to music, attracting viewers who are keen on learning how songs are written and performed.

He contrasts this deep musical appreciation with the pursuits of prestige media outlets and Gen‑Z viral trends that many artists chase—trends that, while boosting a star’s ego and aligning with current zeitgeist, have an uncertain effect on sales.

Beato adds that the publicists representing these artists often do not regard YouTube as a legitimate platform, even though all of this content ultimately appears on YouTube, where audiences watch.

He’s right, to a point.

Having spent over two decades as a professional journalist, I concur with Beato; this conversation extends beyond the music industry into a broader media narrative, reflecting the uncertainty of metrics and the difficulty of determining what truly influences audience engagement.

‘Nothing’s really working anymore’

Online content can underperform for various reasons: insufficient SEO optimization, competition from AI chatbots such as ChatGPT, or simply being of lower quality. Any combination of these factors—or none at all—can affect performance.

I previously spoke with Wesley Schultz, lead vocalist of The Lumineers, who echoed this sentiment: “Nothing’s really working anymore; it’s essentially everyone guessing.” He added that while strong ideas and quality songs remain essential, creative distribution strategies are crucial.

Several dynamics are at play in Beato’s video.

First, prestige no longer guarantees a large audience, compelling creators to choose between genuine attention and superficial media exposure.

If a PR team believes there are many untapped fans, they might place McCartney on a popular internet show. However, given the size of his existing fanbase, a more effective strategy may be to focus on mobilizing that core audience, akin to a political ‘get‑out‑the‑vote’ effort.

The reason a McCartney-Beato interview is unlikely

Nevertheless, a more straightforward explanation exists for why a McCartney interview with Beato is improbable.

McCartney does not engage in the type of interview format that Beato employs.

At 84, McCartney has carefully crafted a charismatic public persona over six decades. His publicity strategy relies on familiar smiles and recurring narratives, and he typically deflects when interviewers attempt to shift the conversation—an occurrence recently heard when he appeared on NPR’s Song Exploder podcast to discuss “Ripples in a Pond” from The Boys of Dungeon Lane.

Song Exploder is a program that explores deep musical analysis, albeit in shorter episodes. When host Hrishikesh Hirway asked for the song’s background, McCartney responded with playful exasperation: “Hey, Rishi, I’ll tell you one thing. You’re making me think more about this song than I’ve ever thought about any song ever. My gosh.”

One of his challenges is persuading PR teams to view his platform as a viable alternative to legacy outlets such as The New York Times, whose YouTube content Beato frequently surpasses in total views. Nevertheless, some PR teams shield their clients from a format that requires them to deviate from their established personas.

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