Noel Gallagher

Wadsworth Theater - November 9, 2006

Live Review by Amber Henson

Okay, so I worked my ass off to win tickets, and, lucky skank that I am (as one friend called me), I actually won.  So off I toddled to the Noel Gallagher/Gem Archer show at the Wadsworth Theater (who even knew that was in use?) and proceeded to be shown the film Lord Don’t Slow Me Down, which is sort of an Oasis documentary that doesn’t actually explain anything about the band, and is only interesting to those who already know about the brothers’ rivalry, their heavy drinking, and their love of the ladies.  The film will be shown on British television this week, and excerpts of it will be on several different DVDs released here and there, but there is no news on what is to become of the film in its entirety.  At the moment, it is just being shown on these special concerts Noel has been doing.  The film is an hour long, and full of humorous moments, be they Liam dancing around without being noticed, Noel saying crude things to an interviewer, or Liam’s birthday party where little people seemed to be running the show.  Some of the footage is in black and white, and other times it is in stunning color.  All of the concert footage is beautifully shot, and to be highly appreciated by fans (there was a group of girls at the Wadsworth that were in the film in the audience of the Hollywood Bowl show).  There is Tom Cruise bashing, an astonishing amount of concert-goers in Cardiff, and many fans singing in Japan, including a poignant “I’m always supporting to Oasis.”

After the film, we were given a twenty-minute intermission while they set the stage.  There was a chair in the middle, a keyboard on one side, and a small snare drum on the other side.  After watching the movie, there was speculation that perhaps a midget would be on drums that night.  Eventually, Noel, Gem, and a regular sized drummer (who we later would learn is known as Terry) took the stage to the standard amount of screaming.

Noel started it off with “It’s Good to Be Free,” with Gem at the keyboards and Terry at the drums with bells (what is it with this band and the metallic sound of bells or a tambourine?).  As the background for the stage, there were three gold banners that either had red or green lights shown on them.  Despite everyone having a seat in the house, we stayed standing after giving a standing ovation.  Everyone was very respectful, almost as if the whole audience were holding their breath.

For the second song Gem switched to one of two red electric guitars that look exactly alike.  “Talk Tonight,” started, and Noel didn’t seem to really be there with us.  He played the first few songs keeping his head down with his eyes closed, and his black jacket on.

Once finished, people started to request songs, some of them outrageous.  Noel sat and tuned and laughed.  Eventually, he pointed out his machine that keeps time, and then said, “If you like Oasis B-sides, then you’ll have a good time, and if you don’t, then you won’t.”  Classic, uncaring Noel—just what the audience wanted.

“Fade Away” came next, with the echoes for the vocals being done live.  Such impressive things we can do now outside of the studio.  Terry is shaking an egg.  After that song, Noel took the opportunity to introduce us to the aforementioned Terry: “Everybody knows Gem.  But I assume nobody knows him,” he said, gesturing towards Terry.  A small group from the front screamed his name.  “There you are, Terry.  It’s amazing what MySpace can do for you,” Noel joked, and then added, “Now let’s play another song that’s not on this album,” referring to Stop the Clocks, the best-of CD that will be released next week.

Onto “Cast No Shadow,” and here the audience starts quietly singing along.  We’re at the fourth song, and we’re becoming more comfortable, with Gem on keyboard again and Terry back to the bells.  Once finished, Noel takes off his jacket to reveal a black polo.  “Yeah, take it off!” yells a man.  “You haven’t even been drinking,” answers Noel, which is true; we’re on federal property, so none of us have been drinking for at least an hour and a half.

Now it’s “The Importance of Being Idle” and we’re rocking more than before, although it’s still very mellow.  The lights are green now, and after the song, Noel switches guitars (although they’re both plain looking brown acoustics).  During this pause, someone yells out “Drum solo!”  Noel misinterprets: “Han Solo?” We laugh.  “Isn’t he in Star Wars?”  Eventually he is corrected.  “Oh, well, go ahead,” he instructs Terry.  Terry smoothly starts “Listen Up,” for which Noel is a little flat.  All of the songs, though, are so lovely to listen to in this stripped down fashion that the audience is almost hypnotized.

After Gem switches from guitar to keyboard, there is a large request of songs.  “Free Bird!” someone yells near me.  Someone else suggests “Rock and Roll Star,” to which Noel answers: “Yeah, ‘cause that will sound great acoustic.”  A few more song names are yelled out, and finally Noel tires of this: “Alright, fuck off now.  I didn’t rehearse for hours for this so you guys could mess it up.”  He starts in on “Half the World Away.”  Terry’s rocking out with his snare and his egg.  Those who know in the audience clap rhythmically at the right times.

We’re more than halfway done now.  “Thank you!” yells a girl from the audience.  “My pleasure, my child,” Noel answers.  We are rewarded with the Ryan Adams version of “Wonderwall.”

There’s some joking with the stage techs, and then we’re into “Whatever” with Gem producing a harpsichord sound from the keyboard.  When it’s over, Noel tells us that we’re very well behaved; when he did this in London, it was just chaos.

“Slide Away” begins, and again we are singing along.  Gem does his solo and is well applauded for it.  “Where’s Liam?” Noel is asked when he’s done.  “He’s in someone’s pocket,” Noel answers.  We giggle at this.  “I made you laugh, but it’s not that far from the truth.” 

“Strawberry Fields” is next, and Noel tells us afterwards that he is aware he got some words wrong, but he doesn’t want to hear about it, and we should remember that he pointed that out to us.

After “Don’t Look Back in Anger,” Noel tells us there is one more song.  We groan.  “You didn’t even pay for the tickets,” he tells us.  “If you’d paid, we’d play two.”  “Married with Children” is how the set finishes, and during this song it is clear that Noel is now enjoying himself, and he watches Gem during his solos.  When they’re done, Noel says, “Thank you very much,” and walks offstage.  We want to give him a standing ovation, but we’re already standing, so instead we applaud like crazy, and then reluctantly leave, those who don’t already know Noel’s opinion of encores being told by those around them.