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Post by walterglass on Nov 1, 2017 23:37:25 GMT -5
Man, Liam has fucking killed 2017. From choosing the right Oasis songs, promoting and marketing, the quality album, his VOICE. I never thought I'd hear Liam do Slide Away justice ever again. I never thought I'd hear DYKWIM live ever again. Same goes with Some Might Say. Perfect. I’m not exactly a big fan of looking back - tonight Come Back To Me & For What It’s Worth absolutely floored me - but there are Oasis songs Liam is doing ATM that are 96-esque. And people at upcoming gigs still have Rockin’ Chair to come. I-ma-gine.
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Post by SheSaidHerNameWasDot on Nov 4, 2017 16:11:12 GMT -5
In the short time between the Strypes and Gallagher, the crowd appears to double in size, and the venue morphs into a seventies football stadium. The grinning faithful break into chants of “LIAM-O!” roaring, shouting and whistling in the excited wait for kick off. The opening bars of ‘Fuckin’ In The Bushes’ bring a howl of recognition, which approaches a jet engine level that this room must be used to when Gallagher walks on stage. He’s looking fit and trim, sporting a no-nonsense crew cut and a no doubt ridiculously expensive parka. He is spectacularly handsome, the bastard. We can argue about his musical merit from now until next year, but there is no denying his charismatic presence. Whatever ‘it’ is, he has a shed of it. ‘Rock N’ Roll Star’ and ‘Morning Glory’. Just think about that opening for a minute. If he had jumped back in the van there and then, we wouldn’t have felt short changed. His debut solo album, As You Were, isn’t even a month old yet, but this adoring throng volley every word of ‘Greedy Soul’ and ‘Wall Of Glass’ back at the stage. The latter proves yet again that nobody does sibilance like Liam, who else could make the double s of the song title sound like something you should cross the street to avoid, unless you’d like to wake up with a crowd around you? Other album tracks are just descending Beatle chord sequences that blend into one another, although ‘For What It’s Worth’ sticks out. Is this head case actually owning up and saying sorry? Before we have time to probably mull over any of that soppy shit, Gallagher hits us with ‘Slide Away’. People are up on shoulders waving phones in the air in ecstasy. Shirts would surely be coming off too, if there were anything resembling a radiator within a square mile. ‘Slide Away’ proves too much for Kate - she gets a bit teary eyed, and she’s not alone either. Isn’t this what we all want? Music to move us, to stir something inside, to give us a charge that all the technology/social media/Instagram/snapchat/video-on-demand soul sucking can never deliver? You might think Hot Press was busy taking notes, maintaining a professional decorum, but you’d be wrong - I was roaring along with the rest of them. ‘Some Might Say’ has the crowd “singing” the guitar intro which causes even Gallagher himself to crack a grin, he even gets a huge repose for just putting up his hood during ‘You Better Run’, and ‘Be Here Now’ is welcomed like a classic, rather than the half-baked coked up nonsense that it is. A monumental ‘Cigarettes & Alcohol’ – The Faces playing T.Rex after a case of Blue Nun - follows after a short break, and, to close things out, ‘Wonderwall’. You have to hand it to Gallagher; he knows what people want and he’s happy to give it to them. There’s a false start due to some technical difficulties before the crowd take over completely. The Pope in the Park would have been happy with this reception. “You’ve been the bollocks!” says Gallagher, before he goes. It’s a great finish to a great night. Are there any tickets left for Malahide? www.hotpress.com/Liam-Gallagher/music/reviews/live/Liam-Gallagher-The-Strypes-and-TOUTS--Samhain-Festival--Weston-Airport/21073141.html
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