Noel Gallagher’s High Flying Birds: Council Skies ★★★★☆
In the past fortnight, I have reviewed thrilling comeback concerts by Blur and Pulp. With Suede still on the road, there is really only one big beast missing to make a second glorious summer of Britpop (nostalgia edition) complete.
Yet with little sign of rapprochement between the battling Gallagher brothers, fans will have to make do with Noel Gallagher’s fourth solo album, Council Skies. Its 10 tracks offer a timely reminder of just why Oasis resonated so widely, empowered by a melodious and snappy songwriter with plenty of heart and soul.
Council Skies switches tack from the stylistically experimental diversions of 2017’s Who Built the Moon, returning Gallagher to his baseline of epic mid-tempo anthems, brooding ballads and tight rockers. Strummed acoustic guitars ground arrangements that have softer, broader tones than you might associate with his Oasis glory days. Sonic edges are blurred by lustrous widescreen orchestral flourishes, while horns punch up the drama in spaces that might have once been occupied by distorted electric guitars.
If there is a prevailing mood, it is of wistful yearning for things lost, or never found, rather than the bullish optimism of yore. At 56, emerging from the aftermath of a second divorce, unfailing positivity may be harder to maintain. Nevertheless, something of that trademark uplifting spirit remains imbued in Gallagher’s songcraft, coded in melodies that demand to be sung along with.
Dead to the World is a dreamy ballad that shrugs off life’s problems by pulling soft blankets over its head, while epic closer, Think of a Number, grapples with the disappointments of a “cruel world” with contrary defiance.
The jaunty Open the Door, See What You Find and soaring ballad Easy Now could slot perfectly into the Oasis back catalogue, complete with verses that seem to mean something even if you can’t quite put your finger on what that is. “Above the cities and the towns / Where people fly upon the ground / I stop to say a prayer / For everybody there / Your destination comes without a fare.” Even after all this time, I remain unsure as to whether Gallagher’s lyrical opacity is a sign of genius or laziness.
Yet I can’t escape the feeling that something is missing. This is Noel in his comfort zone, and it is, if anything, just a little too comfy, lacking the spark to really ignite. Maybe that is what Liam brought to the party. Gallagher’s singing is pliable and accomplished, yet he rarely dominates a song the way his younger brother can.
The truth is that both Gallagher brothers have been doing just fine without Oasis – Liam as the last of the rock stars, Noel as a steadfast singer-songwriter. But there are songs on this album that I would love to hear Liam sing, just to give them an edge. Indeed, I suspect Liam might feel the same, offering begrudging admiration for Dead to the World on Twitter (“How can such a mean-spirited man write such a beautiful song?”). Maybe that should be a future project: Liam Sings Noel? I imagine a few people would buy that. Or wait, maybe these talented siblings could, er, form a band… Neil McCormick
