Who's supporting on the UK tour?

Baxter Dury, who really did go down like a lead balloon. The 2 people sat next to me didn't even bother watching. They only turned up at 9pm when Noel came on.

I think he could drop one of Dream On/Ballad Of The Mighty I for an Oasis song and it would probably solve that little issue.

But he's playing 6 big Oasis tunes, and it seems some are complaining that's not enough, yet others are complaining they're not the right ones.

Exactly, if it's sounding that great, then its possibly more a question of inadequacy of the audience to the band than anything else.

I also think that he's possibly not enjoying this reaction either, and far less the 'Liam-heckling' windheads. And this is my fear, because I for once like the new songs and couldn't care less for the oasis songs he chooses to play or not.
This is me being selfish, yes, allow me to it.

Everyone else going to any NG gig for the sole purpose of reliving the past is way more selfish and it is unfair for the artist also.

Noel looks like he's enjoying himself just fine.

He doesn't care. 

I selfishly hope you are right 😉

www.theguardian.com/music/2018/apr/23/noel-gallagher-high-flying-birds-review-brighton-centre?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+co%2FwtoR+%28The+Guardian+World+News%29


Noel Gallagher's High Flying Birds review – anti-nostalgia set doesn't look back in anger
4 / 5 stars

Brighton Centre
Unlike his brother, Gallagher Sr mostly refuses straightforward Oasis renditions, and instead embraces electronic drones, dance-rock and saxophones
As Noel Gallagher departs the stage at the end of his UK tour’s first date, he tells the audience to get home safely and that he’ll see them soon. “Probably at some shitty festival,” he adds. “We’ll be third on the bill. Fucking travesty.”

It’s clearly meant as a joke, but there’s a certain edge to it. The last six months have been a curious period in Gallagher’s career. He released Who Built the Moon?, by some considerable distance the most interesting album he’s made since the mid-90s, and the sort of record he’s been threatening to make ever since Oasis split up. A collaboration with dance producer, DJ and soundtrack composer David Holmes, it pushed Gallagher out of his comfort zone of mid-tempo anthems and Beatles references into more colourful and spacier territory: it touches on ambient electronica, New Order’s shimmering dance-rock hybrid, easy listening, and the sonically super-saturated glam of Roy Wood’s Wizzard. For his trouble, he’s been bested commercially by his brother’s debut solo album As You Were, on which pop songwriters-for-hire were drafted into the aforementioned comfort zone: mid-tempo anthems and Beatles references abound.

Perhaps the problem is that Noel should have made Who Built the Moon? 20 years ago. If you spend decades dealing in more of the same, that’s what people come to expect of you – they’re bound to react coolly when you suddenly start breaking out the trombone and the French spoken-word interludes from Charlotte Marionneau (formerly of My Bloody Valentine-affiliated experimentalists Le Volume Courbe), who’s also spotted at one juncture using a pair of scissors as percussion.
till, better late than never, and there’s something pleasingly bullish both about the sound of High Flying Birds – simultaneously expansive and powerful, not least on the brass-assisted Keep on Reaching, which feels like the work of a band rather than backing musicians – and about the show’s implicit suggestion that his audience can very much like his new direction or lump it. While his brother comes onstage to Oasis’ old intro music and immediately starts clobbering them with the contents of Definitely Maybe, Gallagher Sr’s appearance is preceded by a lengthy passage of electronic drone, his set opens with the Screamadelica-ish near-instrumental Fort Knox and proceeds through four songs in a row from Who Built the Moon? Wonderwall and Don’t Look Back in Anger aside, it steps lightly around Oasis’ big hits, concentrating instead on previous moments from Gallagher’s solo oeuvre when he pushed more gently against his self-imposed boundaries: the sax-heavy Riverman, the house-influenced AKA… What a Life!

Occasionally, when he does dip into the Oasis catalogue, it acts as an intriguing study in contrasts. Half the World Away is still fantastic, but a trudge through Little By Little serves to remind you of what you’re not missing. It goes down a storm, but it feels leaden next to She Taught Me How to Fly’s breezy sparkle or the propulsive honk of Holy Mountain. There’s the sense of a man slogging away trying to recapture the inspiration that propelled Oasis to the top in the first place, versus the sound of man who seems genuinely inspired once more, powered by something other than nostalgia for Oasis’ mid-90s moment in the sun.

Yeah, and they're right about the 20 years delay.
Regarding kids relying on Liam for back to basics rock n roll, I'd pity any generation that have to rely on a 45 year-old to teach them this path, and don't take it as a dig on Liam, please.

Regarding the mature audience, I'd happily discard those who are not interested, and I can only hope Noel is too. Hopefully someone else may come along, give it time.

As one of those 'new generation' of fans, I have to disagree here.

Liam isn't 'winning over' anyone. He hasn't had to. The new generation of fans were into Oasis before Liam came back, and what has set the stage for Liam to do so well is because this generation - my generation - needs a proper, out-and-out rock and roll star. It's sad that ultimately the closest we've got is one that was in his prime 20 years ago.

Liam has tapped into that brilliantly because he is the man. He's the frontman of the band that my generation have to look to as the biggest British band because we don't have one ourselves.

There's always been plenty of younger people at Noel's gigs. No, it obviously won't be to the extent that there are now at Liam's, but that's in the main because of Oasis' impact on British youth culture in the last 20 years, not Liam himself (as good as he is live, as good as the album is).

This was how large parts of the crowd seemed to me in Amsterdam too. I was standing quite close to the front but taking a look around the arena at times, I couldn’t believe how subdued the crowd were

Charlemagne was somewhat of a hit over here, but otherwise they're not well known at all. I (and people around me) also thought the sound was crap.

Still gutted he's not playing The Man Who Built The Moon.