Beady Eye In London Review And Gallery

Beady Eye - Live at Brixton Academy, London

‘Definitely Maybe’ was the pinnacle for bombastic Oasis front man, Liam, the stock of older brother Noel rising with their second album, before the subsequent cliff jump of ‘Be Here Now’, and years of drowning in middle-of-the-road mediocrity.

Still, genuine icons are in short supply these days, and in lieu of their emergence, this is the age of reruns and resurrections. Roll out the new-old, and the people will flock. Nostalgia is the new drug of choice.

So, Beady Eye, new-old Oasis, sans Noel, still fronted by Liam – stay with me - stated recently, “Oasis are done; this is something new”, and released their debut album, ‘Different Gear, Still Speeding’, it’s new-old sound, giving a shot in the arm to those lamenting the demise of old Oasis, but shattering any wistful dreams of an avant-garde or aurally expansive new direction.

Not that the old-old, modish, packed Academy crowd cared about a lack of originality. Engaging in baying chants, obligatory beer throwing, they showed no loss of appetite for the posturing of the duffel coated larrikin, the irrepressible outbursts and caustic frontage, a familiar, menacing, if sometimes caricatured, presence. Vocally improved on the late period Oasis offerings, if sporting the same tired Lennon-Lydon scowl, Liam’s power-wail easily carried over the signature wall of noise format.

Nostalgia-bashing aside, the best moments appeared when the band sounded least like the band they used to be - are trying not to be - without actually trying. Opener ‘Four Letter Word’, is a showcase extraordinaire for Liam’s voice, and guitarist Andy Bell’s wah pedal skills. The breezily melodic ‘Millionaire’ benefits from some infectious, slide guitar, whilst the lightly psychedelic, ‘The Morning Son’ hints at some emotional depth.

There’s laudable variation from the Little Richard indebted ‘Bring the Light’, pounded out on bluesy piano, and a demonstration of more svelte song writing on ‘The Beat Goes On’ and ‘Kill for Dream’, inducing indifferent sighs and sympathetic swaying during the obligatory mid-gig slow down – does anyone power on through these days?

However, despite a typically energetic performance, with highs for those in need of a quick fix, there was little that was lastingly memorable. ‘Standing on the Edge of Noise’, was pure swagger and, er, noise, whilst ‘The Roller’, with its Lennon-esque beseeching, “hold on”, begged the question of the band, aren’t you bored of this stuff now? I know we are.

Click here for a number of pictures from the gig.

Source: www.clashmusic.com