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Edinburgh Reporter
44 minutes ago
- Edinburgh Reporter
As Oasis return to Edinburgh – a new book and a new film are released
Creation label boss Tim Abbot, described as the sixth member, will make a public appearance in the city the night before the Oasis concert with a new film about the band. And as the band returns to Scotland, a new book is also being released. When The City of Edinburgh Council commented unfavourably on Oasis fans relating to their three sell-out concerts at Scottish Gas Murrayfield – the band's frontman responded quickly. Fans were described by the council as 'rowdy' who would 'take up more room' and drink to 'medium to high intoxication'. Gallagher posted on X: 'To the Edinburgh council, I've heard what you said about OASIS fans and quite frankly your attitude f**king stinks. I'd leave town that day if I was any of you lot.' Journalist, musician, and cultural commentator, John Robb – whose grandparents came from Edinburgh – has released a new book: Live Forever: The Rise, Fall and Resurrection of Oasis, which details the band's history. John Robb's book He responded: 'I think it's snobbery, and I have a connection to Edinburgh through my grandparents. If they can't cope with the Oasis concerts because of the Fringe, they should have let it go to Glasgow. There are always a few idiots in crowds of over 60,000 at a concert, but I think the problem here is that everyone gets tainted by them. It's one of the problems with the country as people look down on people. It's a working class band and culture and for decades, there has been a sneering attitude, a kind of 'look at them' which is horrible. It was great that Liam stuck up for his fans.' Robb attended one of Scotland's most mythologised gigs, later writing about it in his book about The Stone Roses (The Stone Roses and the Resurrection of British Pop). Their concert under a hot, sweaty tent in Glasgow Green, as Robb suggests, paved the way for Oasis. He said: 'It was the classic Roses gig. They sounded like a cross between The Beatles and the Sex Pistols, it was a much heavier gig than Spike Island. Oasis was almost a continuation of that sound and they took those references and ran with them.' It's 31 years since Oasis played their first gig in Edinburgh back in April 1994 at La Belle Angele. By the end of that year, they were headlining the Glasgow Barrowlands, attended by this writer. The gig was seen as a major turning point for the band. Robb said: 'You had to prove it at the Barrowlands. It was one of those gigs. Oasis were seen as an overnight success but they had two years of being ignored. Most bands have to take baby steps doing three support tours, but with Oasis, after that it was really quick.' The show didn't run smoothly with Liam Gallagher walking off stage due to throat problems. It was left to Noel Gallagher to play an acoustic set while promising to return with Liam two weeks later. The promise was fulfilled, but there was something special about the first night despite Liam's absence. Robb said: 'It's almost like two different bands. 'Noel was doing demos a few years before, and that's almost like his style with those more introspective acoustic songs that appeared on the single B-sides, along with the more raucous tabloid band on the A-side, it was like two different bands. While there was this tabloid version of the band, the truth is both brothers are super-smart.' Tim Abbot Liam Gallagher with Tim Abbot (middle) and Oasis producer Owen Coyle. PHOTO Tim Abbot Tim Abbot was the label manager for Creation Records and he is hosting a special event in Edinburgh one day ahead of the first Oasis gig in Edinburgh since 2009. The author and filmmaker also comes from Scottish roots in Dundee. He explained: 'I shot twenty hours of footage which began in 1993 and ran into 1994. I'd say 20% of the Supersonic film is my material. It's all hand-held stuff that includes Noel playing an early version of Don't Look Back In Anger and there's footage of them working on the overdubs for Champagne Supernova. The film is the early story of the band surpassing everyone and their life on the road. I'm the man in the middle of it all with a video camera backstage in places like Earl's Court'. Tim has also been working on a new version of his 1996 book, Oasis Definitely, which includes photos being published for the first time. What was it like to be in the eye of the storm during the band's rise? 'It wasn't chaos,' suggested Tim, 'if it was, then we managed to control it, we kind of harnessed it … we were all holding on for grim life. In truth, we were a functioning team and we were all Celts, there was myself and Marcus Russell, who was Welsh. Maggie Mouzakitis was the band's tour manager, and she was a bit of a star. 'When the wheels did come off after the gig at the Whiskey-a-go-go in L.A. I did have to go and find Noel and bring him back into the flock.' Noel disbanded Oasis in 2009, so I asked if his return to the flock this time was a surprise? 'It was to be honest' said Abbot, 'but I always thought they would when you looked at The Stone Roses getting back together. Liam has always wanted it and when Noel became a free bird again he thought, 'let's get it on' and why wouldn't you?' Tim Abbot will appear in person alongside a showing of The Lost Tapes: Oasis Like Never Before at Cineworld on 7 August. For more info click here John Robb's new book Live Forever: The Rise, Fall and Resurrection of Oasis is out now Tim Abbot's book about the band Photo Tim Abbot Photo Tim Abbot Photo Tim Abbot Like this: Like Related
The Guardian
an hour ago
- The Guardian
Roger Norrington: a maverick, an irresistible firebrand and a musical visionary
The conductor Sir Roger Norrington, whose death was announced yesterday at the age of 91, remains still the maverick presence that classical music needs. His mission wasn't only to make us hear the repertoire we thought it knew through the prism of the techniques and playing styles of its time, rather than the ossifications of later traditions. He was also an irresistible firebrand in performance, whose energy wasn't only about inspiring his performers to get closer to the music they were playing, it was also an invitation to his audiences that their listening should be involved too. Norrington wanted everyone to feel the urgency of Beethoven's rhetorical power and rudeness, from the radiance of one of his favourite pieces, the Missa Solemnis, to the emetic contrabassoon in the finale of the Ninth Symphony, which was always the richest of raspberries in his performances and recordings. The Guardian's journalism is independent. We will earn a commission if you buy something through an affiliate link. Learn more. Haydn's symphonies, particularly, were pieces of participative performance art in Norrington's hands, in which his delight in sharing the radical humour and jaw-dropping discontinuities of the music was so evident. The conductor would turn round to his listeners - especially in the Prommers in the arena of the Royal Albert Hall in one of his 42 appearances at the Proms - to make sure we all realised just how weird and wonderful this music really was. The revelations of hearing Norrington's historically informed musical mission in action defined an era, along with his fellow iconoclasts, such as Nikolaus Harnoncourt, Christopher Hogwood and John Eliot Gardiner, all of whom founded ensembles of period instruments, like Norrington's London Classical Players, and took the lessons they had learnt therein to transform the sound world of modern instrument orchestras. Norrington's work with the Stuttgart Radio Symphony Orchestra is the sound of his later legacy in action, in Brahms, Berlioz, Tchaikovsky, and Elgar, as well as Beethoven and Mozart. But Norrington's distinctiveness was his unshakeable belief that there was a right way to play Beethoven – and a wrong one. He was also completely committed to his idea that the curse of vibrato was an aberration in performances of all music composed before the early 20th century, whether Bach to Mahler. While his vibrato-free performances brought astonishing moments – listen to the opening of the slow movement of Bruckner's sixth symphony, and connected music from across the centuries, it was an experiment that didn't catch on. Or at least it hasn't yet. Norrington's many crusades for the right tempo and textures in Beethoven's symphonies, for the clarity and directness of drama in Bach's Passions, for the transparency of sound world in Wagner and Debussy, have had repercussions across the whole of classical music, even with conductors and orchestras who might not think they're working under his influence. Norrington's decades-long mission to wean musical culture off the drug of vibrato may yet have its day. And his work remains fresh and thrilling. His Beethoven recordings with the London Classical Players - all the symphonies, and the piano concertos with Melvyn Tan, from the 1980s - are as impishly radical as ever. The paradox of Norrington's performances is that what seemed like austerity and ideology was in fact a generous invitation to re-hear the incendiary meanings and power of music that had been taken for granted for too long. Norrington was associated with what used to be called 'authenticity' in the performance of 17th, 18th, and 19th century repertoires. But he was too intelligent to believe that what he was doing was a mere restoration job or a return to a sound world of Mozart's or Beethoven's time - something that can never truly be recaptured. He wasn't a musician trying to return to the past. Instead he was going back to find a musical future. The sound of his recordings is the sound of the indelible imagination of all those composers he loved being released in all their rapier wit, sublimity and delirium into our time.
BBC News
an hour ago
- BBC News
Charli XCX weds drummer of The 1975 George Daniel
Pop star Charli XCX has confirmed her marriage to George Daniel, drummer of band The 1975, after a video snapped by a passer-by sparked online speculation of a pair were spotted posing on the steps of Hackney Town Hall on Saturday afternoon - Daniel in suit and tie and the 'brat' idol in white.A TikTok post from the singer several hours later confirmed the nuptials, racking up 3.9m views and thousands of congratulatory comments for "Mr and Mrs XCX".Charli XCX's album, Brat, became a global cultural phenomenon on its release last year. Filling social media feeds with viral videos and receiving critical acclaim, its success saw her perform a headline slot at Glastonbury in June. The singer confirmed the news while dressed in an off-the-shoulder white dress and her signature dark wraparound sunglasses. She stomped away from the camera – pretending to be annoyed – on a video beneath text that read, "When George isn't crying when he sees me walking down the aisle."But "Luckily he did xx" was the accompanying caption. A later post, which included shots of Daniel wearing Charli's veil, gave "bridal party energy", according to footage from outside Hackney Town Hall suggests the couple had an intimate ceremony. The two have been public about their relationship for several years and shared engagement photos in have also worked together multiple times, first collaborating on Charli's song Spinning and then on Brat, with Daniel named as co-producer and co-writer of two also took part in the viral "Apple dance" at one of Charli's London shows, appearing on the concert's screens in front of thousands of band The 1975 is fronted by singer Matty Healy and are well known for their song Chocolate. Daniel has released several tracks as a solo artist in recent years.
