Back catalogue: All genres

Review: Anyway, here's... Knebworth 22, the latest live album from Liam Gallagher, renowned British singer-songwriter and former frontman of Oasis. 15 tracks of Gallagher's solo originals are heard after being recorded live at the Knebworth Park in England on 3rd-4th June, 2022, including 'Wall Of Glass', 'Shockwave', 'Once' and 'All You're Dreaming Of'. Of course, it wouldn't be the same without the inclusion of a great many Oasis classics, not least 'Rock 'n' Roll Star', 'Wonderwall', and 'Champagne Supernova'. Also a celebration of the 25th anniversary of Oasis' legendary concerts at the very same Park in 1996 - which were attended by over 250,000 people each night - the album is available on yellow vinyl 2xLP with a poster and a replica ticket.

Review: Liam Gallagher is many things to many people, and one thing to everyone - authentic. It seems unthinkable we could question the indie roller's motives, or expect anything other than the "meat and veg rock" he described his own work as during a 2018 interview with The Guardian. "Why Me? Why Not" sees him take that mantra to new heights. As an album it's as accomplished and polished as anything this pied piper of the raw and unpolished has gifted us in the years after *that band*, making for an immediately engaging collection of anthems-in-the-making that will have crowds eating out of the palm of his hand as if they'd never seen his hand before, or tasted any of the food he's been feeding them for years now. And therein lies the reason it remains impossible to criticise this undeniably upfront British songwriter. Enough said.

Review: Ah Liam Gallagher - a man who never seems to grow old or fully out of touch. Well, depending on your opinions on absolutely everything, of course. The Manchester icon and former-Oasis enfant terrible has spoken from his heart on a range of subjects, from "dance music can fuck right off" to "I am not an entertainer", and understandably his off-the-cuff honesty resonates with both the die hard disciples and sceptics alike. Simply put, nobody can accuse him of not wearing heart on sleeve.

In many ways, that approach guides his latest solo offering, C'Mon You Know. Back in February 2022, three months before this record's release, he told NME "I'm quite happy with the formula... I look cool. I sound good. I talk from the heart." If that's not evidence we're not ranting rubbish we don't know what is. As for the record's sound, think timeless British indie that has one foot in a 1990s glory era of British rock 'n' roll, and another in li-fi contemporary noise, all delivered with operatic drama.

Review: There's almost no point writing about this one - an album that already has legions of disciples waiting to embrace it, with pretty much everyone who knows the names Liam Gallagher and John Squire guaranteed to be interested in what their self-titled LP is about. More so, without even hitting play we all kind of know what it's about, with two of the biggest names to come out of Manchester's 1990s indie rock breeding ground coming together for a record that sounds every bit the sum of its parts. Squire's incredible guitar playing - a centrepiece of The Stone Roses' sound - is incredible as ever, sending riffs soaring over the dilapidated rooftops of North West England and out into the stratosphere. Meanwhile, Gallagher's elongated but gruff vocal style remains steadfast across ten anthems-in-the-making. Powerhouse stuff, but like we said, nobody expected less.

Review: The upcoming collaborative studio album between Liam Gallagher and guitarist John Squire is set to shine a refreshed light on the current state of Britpop. Consisting almost entirely of round-bellied rock, leading the charge is the arresting 'Just Another Rainbow' - here the pair are heard in neat unison, painting a picture of unfazed Gallagher-esque nonchalance in the face of a promised utopia - and 'Mars To Liverpool' - concerning the experience of realising a relationship is over before it's too late. Squire and Gallagher make for an exciting pairing, their synergy fleshed out by the album's stellar, full-bodied mix.

Review: Saviours is the forthcoming fourteenth studio album by all-American punks Green Day, recorded between London and LA and in the words of Billie Joe Armstrong himself, an intensely political one, covering "power pop, punk, rock, indie triumph, disease, war, inequality, influencers, yoga retreats, alt right, dating apps, masks, MENTAL HEALTH, climate change, oligarchs, social media division, free weed, fentanyl, fragility..." In other words, and in true Green Day fashion, this one'll be an all-out lampooning of the American Dream, in all its late-stage inauthenticity, failure, and inability to prevent its own collapsing-in-on-itself.

Review: Following on from their acclaimed headline set at Las Vegas' When We Were Young Festival, and continuing the highlight reel of returning pop-punk acts to the fray with new albums from both Paramore and Blink-182 already arriving this year, Green Day have opted to not be outdone by announcing their highly anticipated follow up to 2020's garage-rock leaning Father Of All Motherfuckers. Due to ring in 2024 with nihilistic yet anthemic abandon, Saviors promises to reinstill much of the trio's classic punk formula whilst taking their homeland to task for its egregious and abundant number of modern-day errors. Where once Billie Joe protested against being classed as an American Idiot, we've finally reached the stage where, as the lead single so aptly puts it, 'The American Dream Is Killing Me'. Recorded between London and Los Angeles with acclaimed producer Rob Cavallo, the band's fourteenth full-length seems poised to re-start the Green Day spin-doctor decimator machine all over again.