Reviews

Oasis

Matt Pomroy
Oasis

Oasis

City: London
Venue: Finsbury Park
Date: 2002-07-05
S E T    L I S T
Fuckin' in the Bushes
Hello
The Hindu Times
Hung in a Bad Place
Go Let It Out
Columbia
Morning Glory
Stop Crying Your Heart Out
Little by Little
D'You Know What I Mean
Cigarettes and Alcohol
Live Forever Better Man
She's Electric
Born on a Different Cloud
Acquiesce ENCORE
Force of Nature
Don't Look Back in Anger
Some Might Say
My Generation
For a band that are supposedly well past their sell-by date, it is something of a wondrous feat to sell out the 50,000 capacity Finsbury Park for three consecutive days. The Charlatans, Black Rebel Motocycle Club, The Soundtrack of Our Lives and The Coral were all invited by Oasis to support -- that Noel Gallagher can invite the bands he's into and they'll turn up to play throughout the day is a further testament to their influence. So where are Oasis in 2002 and why the near-religious devotion? For the band that soundtracked Britain in the 1990s, they have seen American acts elbow their way to the forefront in the new Millennium; still, they stand as a totem of rock both in the music and tabloid press because there is nothing like seeing one of your own up there. By the end of the night, there was little doubt that they are still as vital and hungry as when they were penniless urchins trying to break out of their working-class Manchester background. The belief is that the new album, Heathen Chemistry, is better than the previous two but not a patch on the first couple and that's probably fair. But thanks to a leak on the Internet, the crowd are more than familiar with it despite only being officially released this week; as part of a live set it all comes together and makes sense. The single "Stop Crying Your Heart Out" might be just aural wallpaper on your kitchen radio while you do the washing up, but in front of thousands of people it raises the hairs on the back of your neck. "Some Might Say" and "Hello" are still immeasurably better played live than they could ever hope to be on record, while "Live Forever" and "Go Let it Out" are meatier and find their heart on the live stage. When it all comes together for Oasis, it really comes together. "I never thought I'd be playing this to 50,000 people when I wrote it," Noel laughed before launching into "She's Electric", probably the least rock and roll song of the night. It steals the "I'll be you and you be me / there's lots and lots for us to see." Line and tune straight from early 1980s British children's programme Me & You. But like a warm comfort blanket of vague childhood memories, it's impossible to dislike. The very essence of Oasis is their twisted familiarity and accessible sense of belonging. The band's music is the centre point of a Beatles, Sex Pistols and T-Rex Venn diagram, while Liam is still the only bone fide British rock icon that women want and men want to be. Britpop standard "Cigarettes and Alcohol" is still as raw and relevant as ever while "D'Yo Know What I Mean?" was a snarling and prowling epic. As Liam sneers "all my people, right here right now / D'know wot I meeeean?" you know exactly what he means. Sloshing about in the mud, drunk, stoned and high on music, thousands of fans sung and sniggered along like Muttley knowing that this time there would be no Dick Dastardly to rip the medals from them. Tonight we were Liam's people -- the last gang in town and they were on our side. They left us with a scorching cover of The Who's "My Generation," dedicated to the late John Entwistle, but a perfect summation of what this gig represented -- a celebration of our generation. Oasis might never be cutting edge but when it comes to cutting it live there are few that can touch them. Why are people still so mad about Oasis some seven years after their commercial peak? Well, as long as people are still drinking, smoking, doing the white line and want no-nonsense balls-out bands that you can shout along to, then Oasis will continue to sell out venues this big. Fuckin' 'ave it.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.


20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta


Keep reading... Show less
Film

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

Keep reading... Show less

The Force, which details the Oakland Police Department's recent reform efforts, is best viewed as a complimentary work to prior Black Lives Matter documentaries, such 2017's Whose Streets? and The Blood Is at the Doorstep.

Peter Nicks' documentary The Force examines the Oakland Police Department's recent reform efforts to curb its history of excessive police force and systemic civil rights violations, which have warranted federal government oversight of the Department since 2003. Although it has its imperfections, The Force stands out for its uniquely equitable treatment of law enforcement as a complex organism necessitating difficult incremental changes.

Keep reading... Show less
6

Mary Poppins, Mrs. Gamp, Egyptian deities, a Japanese umbrella spirit, and a supporting cast of hundreds of brollies fill Marion Rankine's lively history.

"What can go up a chimney down but can't go down a chimney up?" Marion Rankine begins her wide-ranging survey of the umbrella and its significance with this riddle. It nicely establishes her theme: just as umbrellas undergo, in the everyday use of them, a transformation, so too looking at this familiar, even forgettable object from multiple perspectives transforms our view of it.

Keep reading... Show less
7
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image