Recently, Taylor Swift dropped a deluxe album called The Life of a Showgirl: The Encore that featured four bonus tracks from the original album that was released in October 2025. Paul McCartney followed that up with three bonus tracks from his 2026 album, The Boys of Dungeon Lane.
No question whcih artist did the bonus tracks better: It is Sir Paul.
Sure, Swift's might sell better as she is currently the bigger name. That doesn't mean everything she does is elite. Her four new tracks are fine, but nothing like her best. They lack energy compared to when she is in top form, overproduced pieces of pop decentness. Good by ordinary standards, but blah in relation to her standard songs.
Paul McCartney's bonus tracks are better than Taylor Swift's recent bonus tracks
McCartney, though, delivered a slightly deluxe version of his latest bon mot with three bonus tracks, "City Fox," "One Night Stand," and "Chelsea Boots." Each is different from the other and sneaky great on their own.
"City Fox" is more than a tinge of "Eleanor Rigby" in sonic scope and sentiment, but certainly not a rip-off of that Beatles classic. Instead, McCartney gets one thinking about the state of the world and how many are less fortunate than others.
This isn't a hit-over-the-head preachiness, though. Instead, the song flows through, and the lyrics ride a bed of excellent understatement. You might not be singing this one at karaoke, but that isn't the point of the tune.
"One Night Stand" is far more pop, but not anywhere near as sappy as the title of the song might imply. In fact, after its slightly Cat Stevens beginning, the track evolves into one that has far more energy than any of Taylor Swift's recent bonus tracks. McCartney knows how to write a song and make it magic, and likely does so with little effort.
"Chelsea Boots" might not be the best of the three tracks, but one would have a right to believe it is. Be forewarned, however: the vocal of "Chelsea Boots" will get stuck in your head for hours. It's not overly dangerous, of course, but you might want to hear the song once and move on to, say, AC/DC, just to get McCartney's tune out of your system.
The best aspect might be the excellent bass part by Paul McCartney. He can crank out a well-written tune and is still a master of his instrument, too.
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