The Mic's Maia Gibbs reviews the hotly anticipated Liam Gallagher show at Manchester's Etihad Stadium.
I think it is a fact not often accepted by younger siblings, that one of the primary desires in their youth is for their older brothers or sisters to think they are cool. There are many ways they attempt to receive this praise – dressing like them, watching the same films, making the same jokes – yet most of the time this venture ends up with a familiar kick out of the bedroom and chastisement for being annoying. This was certainly the case for me, who, when my older brother, Tom, was out at football, or with friends, or generally doing something ‘cool’ – would sneak into his room and steal one of his many CDs. It was there that I was gripped by the cover art of five men posing in a lounge, facing a bay window. Inspired by the back cover of the Beatles’ 1966 compilation LP A Collection of Beatles Oldies; the photograph of George Best, the wine glasses and masses of denim all oozed a desirable nonchalantness that I, a spotty twelve-year-old, did not possess. It was that photo by rock photographer Michael Spencer Jones and the age-old passage of sibling bullying that sent me into adolescence obsessed with British music.
So when The Mic gave me the opportunity to go see this charismatic man lying on the wood flooring of some townhouse – and with my brother as the plus one – I could hardly turn it down, could I?
The Etihad is a mammoth stadium – imposing, overwhelming, and macho. If a building can be macho. Decorated in the light blue that Oasis and Man City fans have come to adorn almost ceremoniously around the grounds, it certainly felt like a coming home of sorts for the front man.
It also felt slightly like the fashion week of indie-lovers everywhere, strutting imaginary catwalks that often ended in the ticket booth or bar. I soon found the game of ‘Count the Bucket Hats’ slightly too daunting a task, and instead turned to ‘Find the Coolest One’. The marijuana leaves and rainbow tie-dye (Happy Pride) were certainly top contenders. They must be a staple at any respectable LG gig as there were bucket hat stalls lining the entrance of the stadium – sort of like a flea market for Britpop-loving dads. Equally 70% of Adidas customers were in attendance – the crowd acting as a virtual showcase for the brand’s entire shoe range. Who knew there were that many colour combinations of stripe and suede? Not me.
''They must be a staple at any respectable LG gig as there were bucket hat stalls lining the entrance of the stadium – sort of like a flea market for Britpop-loving dads''
I do have some criticisms of the venue, however. The Etihad bar certainly told the stark reality of Britain’s ‘cost of concert drinking prices’. It is dark days when I confuse the price for a ½ pint as the logical price for a full one. The life of a student music journalist is certainly becoming a costly business, as the culture of gigs is now made up of not only dancing and singing but cringing at contactless payments. Maybe wait till the next Student Finance payment has dropped for my second trip up north?
Liam still knows how to share a concert with brothers – if not a different one from his 90s heyday. DJ Paul Gallagher was the opener at a considerably early 5 o’clock start, whereas Goat Girl, now virtuosos of the warm up sets, having spots at Sam Fender and LG's tours, took the stage at 6:45. I must say attendance for the openers was disappointingly poor. And with the four-day weekend just starting, we can only assume that the crowds’ tardiness was not for a lack of wanting to party, but laser focus on only one man.
This is true for what I found to be an appallingly low turn out for The Charlatans, a band who have been a staple in the British music scene for decades, although the mammoth stadium probably hid what was actually many thousand attendees. Tim Burgess, dressed almost like a young Kurt Cobain in light blue jeans and striped jumper, when he took off his mac, danced and jived as if he was back in a Mancunian nightclub. Despite the bright June sun still blaring. His penchant for a Twitter posts was shown to the crowd, and followers back home, as he filmed and photographed the live set in a way that was similar to a Facebook mum posting her glass of wine.
Hits like Weirdo, Then, North Country Boy and The Only One I Know all played as the day pushed into evening. Arguably, The Charlatans were a perfect band to warm up the crowd. Maybe it was their's and Gallagher’s shared musical history, grounded in the city of Manchester. Or maybe it was the fact that in any good playlist entitled ‘British Pub Bangers’ or ‘Drunk English Family Party’, a The Charlatans track is often followed by one from a Gallagher.
And followed they certainly were.
To anyone attending a Liam Gallagher concert this tour, make sure you’re firmly in the crowd in time for his entrance. The crowd were greeted with a wall of words to announce the singer’s arrival – as the great screen depicted what would happen if an indie-boy was battered with a thesaurus. In white bold letters flashed ‘Biblical’. ‘Icon’. ‘Legend’. ‘Celestial’. ‘Jedi’.
‘Humble.’
And on he strutted, in, what I must say was, a beautiful flower-patterned parka.
"Yes Manchester,” and into Hello he sang.
The setlist was extensive. A sixteen track main set list. Five track encore. And one track second encore. The prodigal son was not messing about.
''He knows why people are there - Oasis - and he’s happy to please''
If there’s one thing you must respect Gallagher for is that he doesn’t hide from his roots. He isn’t a solo artist who begs attention for his new tracks, throwing in one classic crowd pleaser, often annoyed and unenthusiastically, to appease fans who have shown their loyalty throughout the decades. Out of twenty two songs he played five from his new solo album C’Mon You Know, released last week, including the title track. Yet he knows why people are there – Oasis - and he’s happy to please.
I admire when artists understand and respect why they’re successful. And LG does.
And he proved this by paying respect to one of the pinnacles of Oasis. The owner of the living room bay window on Definitely Maybe – Bonehead. Bandmate Paul Arthurs couldn't be at this run of shows as he is undergoing treatment for tonsil cancer. And the frontman picked a truly apt track to commemorate the rhythm guitarist with Rock ‘N’ Roll Star. "This is for our Bonehead.”
It said all it needed to say.
In many senses it did appear like a family affair (ironic, I know). Especially as son Gene joined dad on stage to perform drums for The River. He did so rather well for a novice – and by that I mean did not soil himself, cry, or puke at the sight of 50,000 plus people crowded before him. I feel like soiling myself, crying and puking at the thought.
(I sometimes forget people will read these articles).
At least the crowd were on good behaviour, after a gentle chastisement from the singer: ''don’t be a **** and push people, put your arms around each other and bounce''. Which made me, a gig-goer who is incredibly feeble and easily bruised, incredibly grateful. I believe more tellings off from performers should be promoted all round this great Isle. Especially when 90% of the crowd are pumped up on Carling and £6.80 Strongbow Dark Fruit.
Yes, you read that right. (Go Fund Me linked down below).
But then again, excitement can only be expected when Rock 'N' Roll Star, What’s the Story Morning Glory and Wall of Glass are played in such quick succession. Never mind the pure mayhem caused by those maracas.
''I believe more tellings off from performers should be promoted all round this great Isle''
Alongside the expected Oasis tunes and solo singles, there was a surprise treat with Roll It Over’s, its live debut.
“This is underrated!” said my brother. “This is one of my favourites!”
The closing track to Oasis’s 2000 album Standing On The Shoulder Of Giants has never been performed by either Oasis or Noel or Liam. Until now.
“This is for all the old school Oasis fans. You should remember it.”
And by the excitement beside me, at least one person did.
And the setlist only continued to golden from there.
Now I do realise that I was, technically, sent there to review this gig. And I should probably give my insight or thoughts into every part of the night. But if there’s one thing I think I can let speak for itself is the encore(s).
Encore: Some Might Say, Cigarettes and Alcohol, Supersonic, Wonderwall and Live Forever. Encore two: Champagne Supernova.
I do think a venue like the Etihad does offer a different perspective through which to view Gallagher’s live shows, probably more than his upcoming Knebworth. For any standing attendee, the wave of enthusiasm would sweep you away – wrap you up in the music, sweat, flares, and what I imagine to be a lot of Chanel Bleu. The atmosphere would intoxicate you into the frenzy. Yet seated offered a new kind of introspection - a look into a performer who knows exactly what he needs to do, when, where and how.
''For any standing attendee, the wave of enthusiasm would sweep you away – wrap you up in the music, sweat, flares, and what I imagine to be a lot of Chanel Bleu''
Liam Gallagher has perfected his certain brand of musicianship – to the point that even if you don’t particularly like him yourself, you have to admit, he knows his brand and he does it pretty bloody well.
(P.S. I knew I said I would let the encore speak for itself, yet I think it’s important to note that Liam Gallagher condoned the use of vapes during his introduction to Cigarettes and Alcohol. "Don’t listen to anyone who says this stuff is f***ing bad for you.” I believe that this message should be taken seriously by music lovers everywhere. Please get your ‘Watermelon and Cherry’ vaporised smoke out of people’s faces.
As you were xxx.
Maia Gibbs
Edited by: Amrit Virdi
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