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Post by girllikeabomb on Mar 28, 2022 15:36:12 GMT -5
Three more -- I know the Guardian reviewer was there, but haven't seen them run a piece yet.
Clash Music:
Live Report: Liam Gallagher - Royal Albert Hall, London A special show for Teenage Cancer Trust...
Liam Gallagher is more than a rock ‘n’ roll singer. He has a special way of connecting with big crowds of people. It’s a relationship built on a sense of belonging, and that connection becomes vital at the live shows. Creating a people’s movement of sorts, the gift is his.
The evening sunset at South Kensington fits tonight’s live performance, as mild conditions support all-around positive vibes ahead of Gallagher’s show for Teenage Cancer Trust. Not that positive vibes has been a rare find at the former Oasis frontman’s live shows.
Inside the Royal Albert Hall the atmosphere is one of buzzing warmth coupled with a high level of anticipation. Yet, somehow, this concert seems more intense, rawer emotionally than they usually tend to come. Perhaps, some of this is down to the venue, its history and association, or the charity cause itself.
What seems as likely though, is that a part of the emotional intensity comes from the shocking news about Foo Fighters drummer, Taylor Hawkins’ death, which hit the music world with tornado shock force, leading the singer to tweet about it earlier in the day.
With an evolving setlist, the selection of songs for this evening still looks to the future, however. Gallagher is due to release his third studio record in May, and tonight the crowd gets to hear title track ‘C’mon You Know’ for the first time.
“Beautiful People, come out to play. Brothers and sisters, it’s time. So let’s start living, be thankful and giving, we’re only here for a short while” he sings. An infectious, melodic stomper, it offers echoes of The Who and The Rolling Stones. The sound is one of today, it has a modern, current ring to it, and if the crowd goes quiet, everyone clearly continues to pay attention.
Notably, “Leeamm, Leeamm, Leeamm” is repeated throughout the show. It marks the sound of fulfilled voices in the crowd. Chanted nicely in unison, the trick has been part of the routine for some time now, fully adopted as an integral gig ingredient, no matter where the frontman performs.
Having kept quiet about Beady Eye, there is a fascinating twist to this gig tale, when ‘Bring the Light’ from 2011’s album project ‘Different Gear, Still Speeding’ is given a fresh lease of life. The song is catchy and represents an appropriate match for the show. To hold back these songs is a shame, and hopefully there will be opportunities to experience more BE material with the current band setup, especially as they sound vibrant and together.
Highlights include ‘Greedy Soul’, ‘Slide Away’, ‘Columbia’, ‘The River’ with Gene Gallagher on drums, and ‘Wonderwall’. The delivery of ‘Live Forever’ is a tender moment. “I dedicate this last song to the one and only Taylor fucking Hawkins,” he declares, before adding a “This is for you, brother.” A thoughtful gesture, the emotion stays in the room.
Once again, the singer has led a room of passionate people, so they can share a spectacular moment, which is no small thing. It has been another biblical encounter with Liam Gallagher and the sound of his bold, heartfelt, enticing make of music.
Gigwise:
Live Review: Liam Gallagher at the Royal Albert Hall, 26/03/22 The love/hate figure at his best Alisdair Grice 15:37 28th March 2022 ‘Is anyone here an Oasis fan?’ Gallagher posits a question that elicits rapturous applause and continuous shouts of ‘Li-am!’ that refrain throughout the night. It is impossible not to be drawn to his abrasive yet endearing personality under the lights of the Royal Albert Hall. Gathered to raise money for the annual Teenage Cancer Trust fundraiser (previous nights showcased the eclectic mix of Yungblud, Madness and The Who headliners), Gallagher is beaming, and his fans are restless. Joined by the outspoken punk rockers Kid Kapichi and scruff-punks RATS, Gallagher certainly pins a lot of pressure on the youths to create an energetic prologue to his performance. Kid Kapichi’s presence at the show was a stroke of sonic serendipity, however. Gallagher himself replied to a tweet of a Kid Kapichi music video, expressing his intrigue in their project, and Kid Kapichi got the call a few days later that they would be playing the Royal Albert Hall. So maybe a good social media strategy does pay off. They careered through their anthem-laden set with fervour, the armed ‘New England’ (dedicated to the late Taylor Hawkins) poking holes in the concept of ‘English-ness’ (which perhaps didn’t float too well with devout Gallagher fans) and their runaway hit ‘Working Man’s Town’ embracing the blight of the working man. They’re quick to plug their 4th May, Electric Ballroom headline to the sold-out room, in hopes the Gallagher fanbase can pinch the remaining handful of tickets - you have to admire the opportunism. Eventually appearing to the jeering shouts of ‘Li-am!’, and prefaced by a heartfelt video detailing the hardships of a teenage cancer patient, Gallagher stepped onto the stage. The maraca-wielding frontman interlaced Oasis classics (it was for a good cause after all) with his solo material, even throwing in a Beady Eye deep cut of ‘Bring The Light’ to keep the audience guessing. Kicking off with the doting ‘Hello’ and tongue-in-cheek ‘Rock 'n' Roll Star’, his pathos is vibrating the room, whipping up a mini-tornado in the standing section. I have never been to a gig where so many people knew the words of each and every song. We were blessed with the live debut of ‘C’mon You Know’, seemingly the second single of Gallagher’s album that marries both his acoustic-rock roots with a more snarling lyricism than usual, whilst his protege son Gene picked up the sticks for ‘The River’, joining Gallagher’s drummer in duet. ‘Stand By Me’ and ‘Cast No Shadow’ were obvious highlights, whilst the swelling Once shed light on a more emotional side of Gallagher. Each song was dripping in crystalline production and the roaring synergy of his band, and his yearning, drawn-out lyrics were buttressed by the chorus of 3 backing singers that sat at the back of the stage. Much like Kapichi, he dedicated the apt ‘Live Forever to the late Taylor Hawkins, the lyrics eerily echoing the news of his passing that morning. Gallagher’s generational power is apparent, and I very quickly leaned into the energy in the room, realising that good music transcends all barriers, and Gallagher’s conducting presence had every eye tracking his every move. He is an unabashedly brilliant performer, with a justifiably veritable fanbase, leaning into each song with a crooning charm that serves to make each moment memorable. Gallagher belongs on the largest stages in the world, and at this rate that is where he will remain. To donate to Teenage Cancer Trust, visit: www.teenagecancertrust.org/
The Upcoming:
Liam Gallagher at the Royal Albert Hall 28 March 2022 Francis Nash
Ever since the first multi-day incarnation of the Roger Daltrey-curated Teenage Cancer Trust series in 2002, (the same year Liam last performed there with Oasis), Britpop stalwarts and their associated influences and inspirations have been an ever-present feature on at least one of the days. That gig, though, was a far rowdier affair. Even before the band walked onstage, the entire alcohol supply in the venue had been thoroughly guzzled.
This crowd are suitably watered again, but the air is slightly more sedate. Nonetheless, Liam is still given the raucous welcome of a prodigal son returning home.
As has come to be the case with Gallagher’s setlist, his solo material is woven into a predominantly Oasis-heavy setlist. Tonight, interestingly, Gallagher includes Beady Eye’s debut single Bring the Light, dusting it off live for the first time since 2014. However, the glaringly inert response from the crowd suggests the fanbase is only here for solo or Oasis material – a fact that is starkly verified by the fact that even the brooding live debut of Come On, You Know stems the exodus to the bar or toilet.
Ordinarily, the pure rock classics of Oasis generate the most vociferous response. This is not to say that opener Hello and Definitely Maybe-era classics Rock and Roll Star, Columbia and Supersonic are not as loved as they have been since the mid-90s, but the most raucous reactions are saved for the 90s icons’ reduced-tempo balladesque tracks.
Slide Away is roared back in pinpoint synchronicity, with Gallagher’s voice even having the strength to tackle his brother’s vocal outro to the song. That unmistakably strained quality remains apparent as the set nears its close, but he can still reach the high notes of Live Forever in a fine, poignant tribute to Foo Fighters’ drummer Taylor Hawkins – it’s just that the crowd can hold those sustained notes at the ends of lines longer than he can.
His return to the stage for his now staple one-song encore of Wonderwall has people standing on chairs, clambering onto shoulders and joyfully singing aloud to one another. While it is far too brief, it’s a wholly satisfying end for everyone whose appetite is thoroughly whetted for seeing him again, no doubt, in the summer. Roll on, Knebworth, for the real return of rock’s most iconic son.
★★★★★
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Post by thewhiteshadow on Mar 29, 2022 3:44:33 GMT -5
Bonehead plays guitar on all the songs, which is a great switch! But does that mean Jay Mehler left Liams band?
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Post by girllikeabomb on Mar 29, 2022 3:50:37 GMT -5
Bonehead plays guitar on all the songs, which is a great switch! But does that mean Jay Mehler left Liams band?
Jay was ill, one guesses with something where you gotta stay home.
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Post by El Auténtico Dios on Mar 29, 2022 14:37:42 GMT -5
Bonehead plays guitar on all the songs, which is a great switch! But does that mean Jay Mehler left Liams band? an incredible dream
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