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Noel Gallagher’s High Flying Birds Review, Glastonbury 2022: The Band That Could Have Been Last Era’s Oasis

“What’s going to happen here now,” says Noel Gallagher, perfunctory stepping to the mic halfway through his set and exuding the energy of Mike Lynch, “is I’m going to play you some more tunes that you care about, they are to me. But if you stay here after that, woo, there’s going to be a lot of very happy people with bucket hats…”

Could the gloves be off in the world’s most infamous sibling rivalry? After several years in the dramatic doldrums, reduced to a one-way caps lock slanging match on Twitter, the final season of Gallagher vs. Gallagher has picked up significant momentum. High-spirited young fighter Liam became the pair’s surprise stadium-level success, performing (who knew?) a slew of big Oasis hits in his solo sets. Elder brother – and one-time protector of Glastonbury from the scourge of hip-hop – Noel, meanwhile, continues his creative renaissance with the High Flying Birds, who are saved from a Knebworth of their own only by fair play. His outbursts of Oasis tunes were mostly songs he sang on record, filling sets with mid-paced, acoustic-driven singalongs but lacking the punch of a “Supersonic” or “Rock ‘n’ Roll Star.”

The High Flying Birds are (partridge not coincidentally) the band that could have been Oasis from the last era. Eventually, Oasis’ demise in the ’00s was largely due to Noel giving away album track filler slots to his bandmates. Now back at full songwriting helm, and with an inquiring psych rock mentality, he’s produced three increasingly impressive and imaginative albums over a twelve year period of galactic glam, motoric rock and some of the most phenomenal scissoring you’ve ever seen on an international Stage.

Percussionist Charlotte Marionneau’s famous clippers reappear on “She Taught Me How to Fly,” and she also adds a phone call solo to the stratospheric “It’s a Beautiful World.” No mere gimmicks, but oddities that indicate Gallagher’s willingness to follow his friend and mentor Paul Weller into more exploratory sonic territory. “Fort Knox” is a hypnotic dance-rock firestorm, “Black Star Dancing” is a psychedelic groove worthy of jungle. “Holy Mountain” sounds brilliant, like Wizzard covering Ricky Martin’s “She Bangs” on Penny Whistle. The first half of the set, even if it’s just for Noel, is easily the most exciting.

Not that the Oasis half isn’t a heartwarming deal. “You did it,” says Noel as he launches into “Little By Little” and the field erupts. Keeping the brotherly feud above the waistline, he cedes the rock ‘n’ roll floor to Liam and sticks to the acoustic singalongs and soaring anthems – “Wonderwall,” “Whatever,” “Stop Crying Your Heart Out,” “Half the World.” “. A way”.

“Let the dogging begin,” he quips before “Don’t Look Back in Anger,” a crowd favorite to worry “Hey Jude.” It’s a smart, forgiving move; The best soap operas need a clash of characters.

https://www.independent.co.uk/arts-entertainment/music/reviews/noel-gallagher-review-glastonbury-2022-b2109343.html Noel Gallagher’s High Flying Birds Review, Glastonbury 2022: The Band That Could Have Been Last Era’s Oasis

JOE HERNANDEZ

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