
Gallagher brothers' sibling Paul dropped from Oasis after-party in Dublin ahead of court date
Liam
and
Noel Gallagher
, will no longer perform an
Oasis
after-party DJ set in Dublin ahead of his court appearance this month.
He was due to appear at The Grand Social this weekend to coincide with the Oasis reunion tour's Dublin performances.
Police said in July that Paul Gallagher (59), who lives in East Finchley in north London, had been charged with rape, coercive and controlling behaviour, three counts of sexual assault, three counts of intentional strangulation, two counts of making a threat to kill and assault occasioning actual bodily harm.
The alleged offences are claimed to have taken place between 2022 and 2024, the Metropolitan Police said.
READ MORE
He is due to appear at Westminster Magistrates' Court on Wednesday, August 27th.
A spokeswoman for The Grand Social venue confirmed that Paul Gallagher 'will no longer be DJing at our Oasis after-party'.
'Mani from The Stone Roses will DJ on Saturday night and Alan McGee will DJ on Sunday,' she said.
The promoters of the event, Up Close and Personal Promotions, have been contacted for comment.
Liam and Noel Gallagher announced last August that they would this year perform together for the first time since Oasis's dramatic split in 2009.
The Oasis Live '25 tour kicked off in Cardiff's Principality Stadium in July, before moving on to Manchester, London and Edinburgh.
The band have
two upcoming sold-out performances at Dublin's Croke Park
, on Saturday, August 16th and Sunday, August 17th. – PA
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The Irish Sun
2 hours ago
- The Irish Sun
Oasis weigh up offers for huge gigs in 2026 including four Knebworth anniversary shows after success of reunion tour
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Irish Times
2 hours ago
- Irish Times
Fiction in Translation: The prisons we inhabit
In Good and Evil and Other Stories , (Picador, 192pp, £16.99) Samanta Schweblin once again proves herself to be one the most unsettling and incisive voices in contemporary fiction. The collection, translated by her long-time collaborator Megan McDowell, offers six stories that move from the heartbreaking to the surreal, and are all marked by a claustrophobia that is at once spatial, emotional and existential. While Schweblin's stories are marbled with the dreamlike and the inexplicable, her characters are profoundly human, trapped by relationships, by expectations, by their own spiralling thoughts. Welcome to the Club, the bitterly ironic story about a failed suicide attempt, quivers with tension and fear – not of death, but of the hum and bustle of mundane family life, of the dread inspired by a child asking 'Mommy, are you happy?'. In A Fabulous Animal, Elena, who is dying, calls an old friend she has not seen since she left Argentina, but what might have been just another casual conversation is haunted by the vision of a dying horse, and an accident that shattered both their lives. In the most devastating story, An Eye in the Throat, two parents care for a bright two-year-old who suffered a serious injury when he swallowed a battery. But it's not the panic and the anxiety of illness that leads to the collapse of the family, but a seemingly anodyne incident in which the boy wanders off. Years later, the father's phone still rings in the dead of night, but when he answers there is only the dead air on the other end of the line. This simple supernatural trope offers a brilliant example of Schweblin's ability to make the uncanny feel inevitable, to weave abject horror out of silence and fear and the haunting nature of unresolved guilt. McDowell's translation is exceptional, effortlessly capturing the dark poetry of Schweblin's prose like a series of whispered confessions, and preserving the oppressive tone and the strange tenderness of the original. READ MORE [ Samanta Schweblin's Fever Dream review: extraordinary work full of eerie menace Opens in new window ] Annah, Infinite (Tilted Axis Press, 345pp, £19.99) is not a translation in the customary sense, but is subtitled 'translated from the painting Annah la Javanaise " . Through her writings, poetry and exhibitions, the Indonesian polymath Khairani Barokka has spent more than a decade exploring Paul Gauguin's unsettling and disturbingly sexual portrait of a child that is all-too-often hailed as a masterpiece, with little consideration for the sitter. Little is known about Annah (and, as Barokka points out, like all nouns in Indonesian the name can be singular or plural, so Annah may be multiple, or infinite). Gauguin's art dealer, Ambroise Vollard, claims to have 'gifted' the child to the artist when she was 'about 13', and Annah was widely assumed to be Gauguin's lover. But the painting (now in a private collection) and its digital versions offer no information about this child historically described as 'Javanese', 'mulatto', 'mixed-race', 'Ceylonese', 'half-Indian, half-Malayan'. What Barokka explores in this dazzling, endlessly imaginative piece of non-fiction is Annah, a child, perhaps multiple children, who may have been she/he/they or dia – the gender-neutral Indonesian pronoun used for everyone. Through essay, poetry and image, she tries to understand who Annah might have been, considers their pain, the abusive nature of their relationship, the unbridled license afforded to 'artistic genius', and in particular to men. Through this study of a single canvas and its subject, Barokka presents a brilliant book that defies classification, one that delves into linguistics, colonial history, queer theory and memoir, and is by turns lyrical, angry, tender and pained, harking back to the pioneering work of Linda Nochlin and John Berger, but blazing a new trail that is as unexpected as it is enthralling. A single image is also the inspiration for Capitalists Must Starve by Park Seolyeon translated by Anton Hur. The photograph, taken during the Japanese colonial occupation of Korea, shows Kang Juryong, a striking worker sitting on the roof of the Pyongwon rubber factory in Pyongyang in 1931. From the power of this image and the scant details known about the historical figure of a pioneering female activist, Seolyeon fashions a novel that is spare and stark, but shot through with joy, love and sensuality. Capitalists Must Starve begins at the end, in a cell, where Kang Juryong, an imprisoned union activist now on hunger strike, attempts to lift her bruised and beaten body so she can turn her back to the approaching footsteps in a last gesture of defiance. From here, Seolyeon takes us back to West Gando (the Korean name for Manchuria), to the day when, at the age of 20 (already considered too old to be a bride), she was married off to a man-boy of 15. In arranging the wedding, the Jeonbin's parents hoped to prevent their son running away to join the Liberation Army. In this, they failed: Seolyeon delicately and tenderly evokes the passionate conversations and the growing friendship between the mismatched bride and groom that gradually grows into love. Juryong has no wish to stop her husband achieving great things, and when he leaves to join the rebels, she goes with him. Though at first, Juryong is left to cook and tend for the men, she is befriended by Baek Gwangwoon and proves an audacious and ingenious comrade during dangerous missions. Humiliated by Juryong's successes, Jeonbin sends his wife away, though she briefly returns when a comrade comes to tell her that her husband is dying. Having been widowed at a young age, Juryong is horrified to discover that her parents plan to marry her off again, so they might own their house and land, Juryong leaves for Pyongyang. But her determination to be a 'modern girl' founders when poverty dictates that she take work in a rubber factory. Juryong's gradual politicisation and her innate sense of justice are simply and powerfully portrayed – and when the strike led by workers to protest against a decrease in pay is brutally crushed, her decision to climb on to the factory roof and stage a hunger strike seems as inevitable as it is courageous. Hur's taut, masterful translation wisely refuses to pander to what anglophone readers might not know, but maintains the brittle tension of Seolyeon's spare prose, and brilliantly succeeds in conjuring a time, a place and a movement and a pioneering activist who became a catalyst for change from within her cell. [ Translated fiction reviews: the best of China's incredibly deep storytelling tradition Opens in new window ] Imprisonment seems to be a theme in this month's choices. Later this year, Dubliners will have the opportunity to hear the Kurdish poet İlhan Sami Çomak, the first honorary member of the Dublin Book Festival. But when Words that Walk through Walls (Palewell Press, 121pp £12) was published recently, such an event was impossible, since İlhan was a prisoner before he became a poet. Arrested in 1993, at the age of 21, he spent 30 years as a political prisoner in Turkey. While in jail, he published eight volumes of what Ruth Padel describes as 'lyric poems of astonishing beauty, vitality and strength', which garnered numerous prizes. Led by his long-time editor Caroline Stockford, with Kelly Davis Words that Walk through Walls is a luminous, achingly poignant conversation. Writers from around the world (among them Theo Dorgan, Celia de Fréine and Leeanne Quinn) address poems to İlhan, who replies to some with poems of his own. It is a powerful, compelling, often uplifting collection that brings together a host of poets and translators, one that encapsulates, reflects upon and frames İlhan's shimmering work and his resilience as he asks: How much of flight is wind, how much the bird? How much the stubborn call of freedom? Branches follow the logic of light and the natural miracle of reaching. We must reach out.

The Journal
3 hours ago
- The Journal
Paul Gallagher dropped from Dublin Oasis afterparty ahead of court appearance for rape charge
PAUL GALLAGHER WILL no longer perform an Oasis afterparty DJ set in Dublin ahead of his court appearance this month. The older brother of Liam and Noel Gallagher was due to appear at The Grand Social this weekend to coincide with the Oasis reunion tour's Dublin performances. Police said in July that Paul Gallagher, 59, who lives in East Finchley in north London, had been charged with rape, coercive and controlling behaviour , three counts of sexual assault, three counts of intentional strangulation, two counts of making a threat to kill and assault occasioning actual bodily harm. The alleged offences are claimed to have taken place between 2022 and 2024, the Metropolitan Police said. He is due to appear at Westminster Magistrates' Court on Wednesday August 27. Advertisement Mani from The Stone Roses will DJ on Saturday night and Alan McGee will DJ on Sunday A spokeswoman for The Grand Social venue confirmed to the PA news agency that Paul Gallagher 'will no longer be DJing at our Oasis afterparty'. 'Mani from The Stone Roses will DJ on Saturday night and Alan McGee will DJ on Sunday,' she said. The promoters of the event, Up Close and Personal Promotions, have been contacted for comment. Liam and Noel Gallagher announced last August that they would perform together for the first time since Oasis's dramatic split in 2009. The Oasis Live '25 tour kicked off in Cardiff's Principality Stadium in July, before moving on to Manchester, London and Edinburgh. The band have two sold-out performances in Dublin's Croke Park on Saturday August 16 and Sunday August 17. Readers like you are keeping these stories free for everyone... A mix of advertising and supporting contributions helps keep paywalls away from valuable information like this article. Over 5,000 readers like you have already stepped up and support us with a monthly payment or a once-off donation. Learn More Support The Journal