The Sheffield Scenester

Prior to writing this, I read a review of Beady Eye’s Sheffield debut which described it as, “A pale imitation of Oasis”. I couldn’t help thinking that the writer of the piece had clearly missed the point because nobody on the Academy stage was even attempting to imitate Oasis, nor were the sold-out crowd there to see or listen to Oasis. They have moved on. They have moved forward. Also moving forward, musically, is a clearly rejuvenated Liam Gallagher, boosted by the new lease of life Beady Eye has offered.

Indeed, Liam looked like a new man; totally focused on delivering the best show possible for everyone who wants to have a good time. He had warned that anyone causing trouble or throwing beer towards the stage –something of an occupational hazard back in the Oasis days – would be thrown out. That was exactly what happened, no messing around. Beady Eye are all business and it is clear they are set on making their mark on the live circuit without those unwanted distractions knocking them off their stride.

Seemingly humbled by the intensity of the enthusiasm generated in the room before Liam had even appeared, he was quick to greet the audience and thank everyone for coming, just as the band launched into the battle cry that is ‘Four Letter Word’, then straight into the up-tempo ‘Beatles and Stones’. Both had the room bouncing and set the pace for a hot and sweaty ninety minutes of top-notch rock ‘n’ roll. In both instances, Liam was note-perfect and the band were right behind him with a strong and precise backbeat. Not that anyone would have been surprised by this display. After all, when you have the likes of Gem Archer and Andy Bell providing the riffs, you are in pretty safe hands.

A slight change of pace a few songs in had the Academy bopping along to ‘Millionaire’, with the trademark Gallagher attitude and swagger really shining through, Liam revelling in the attention as the intimate audience sang the chorus right back to him. One suspects that having spent so many years comparatively swallowed up by stages of various enormodomes across the globe, the opportunity to tour smaller UK venues - where you can clearly see the whites of the eyes in the first ten rows - is one that the lead singer jumped at.

B-side on the ‘Roller’ single, ‘Two of a Kind’ didn’t seem to be as familiar to many as the album material, but it was a strong offering all the same, with precisely-timed beats from Chris Shamrock on drums and the band showcasing just how tight they are. It’s hard not to think back to the Oasis days when four fifths of that band are right there in front of you, but songs such as this are perfect examples of how that is the only big similarity because the band members themselves have each reinvented their writing styles and are playing to their strengths as a group unit at all times; something which perhaps didn’t happen in Oasis as often as it should have. By contrast, it feels as though this new crop of songs have been crafted by a band who are on the same page and working as one.

‘The Roller’ was a highlight, perhaps worth the price of admission alone. It has the sound of a modern day ‘Instant Karma’ and is a guaranteed sing-along crowd favourite. Coupled with ‘Three Ring Circus’, both faultless, the band actually made it all look effortless, with Gem and Andy standing towards the sides of the stage, connected by their musicianship; Liam basking in the spotlight, connected to his adoring audience. It works on every level. Even when Liam had a bit of a moan at the sound man, or shouted at the lighting technician for shining spots right into his eyes, it didn’t spoil his enjoyment or his desire to swagger across the stage, full of attitude and basically owning the place.

Sombre single, ‘The Beat Goes on’ had everyone swaying as the Beady Eye equivalent of a lullaby drifted across the crowd, everyone singing along in unison. Similarly, ‘Kill for a Dream’, with its somewhat reflective and melancholic lyrics, offered suitable respite for an audience which, by Liam’s own admission, had surprised him with their constant energy and unwavering enthusiasm. It was a nice touch from Liam and perhaps summed up where he’s at now, as there were times earlier in his career when his attitude got in the way and he didn’t take the time to appreciate those who attended his performances. Now, in the process of building a new fan base and creating a following, he isn’t taking any of this for granted. There were no guarantees that Beady Eye would take off, and he wouldn’t have been able to trade on past glories alone. Maybe it’s come with age, but this fresh perspective is working and it seems like it’s a win-win situation for all.

‘The Morning Sun’ was perhaps the showcase piece, owing to its duration and complexity, with the band once again showing how tightknit they are, barely taking a breather before closing the main set with ‘Wigwam’ and then exiting to a thunderous round of applause and visceral chants of “Liam! Liam! Liam!”

The cheery acoustic ditty, ‘World Outside My Room’ opened the encore. Perhaps not the strongest track or especially familiar to those who hadn’t bought the singles, but it’s a good tune all the same and a chance to listen to the band perform the most basic of pieces with Liam concentrating on a clear and pitch-perfect vocal delivery.

Ending with the World of Twist track, ‘Sons of the Stage’, one senses that this will be the way Beady Eye choose to end their shows for a long time to come. Intense and energetic, it gave the room one final chance to bounce with the last burst of energy they could collectively muster, for they had done the band proud and the band knew it. So much so, Liam jumped down from the stage to hi-five everyone along the barrier.

Beady Eye came, they saw, they conquered.

Words & Photos by Paul Handley