After coping with a divorce and the demise of Oasis, the frontman is finally back – and ready for a fight
IT MIGHT NOT HAVE SEEMED LIKE IT during the champagne-and-cocaine supernova of his Brit-pop Nineties – back when a given night might find him detained by police on a ferry to Amsterdam, tossed out of Abbey Road Studios midsession, or skipping an Oasis gig to go house-shopping – but Liam Gallagher was always thinking long-term. Or at least he was always thinking. Take his habitual onstage pose: arms clasped behind his back, every part of him immobile save for his lips. “I knew for a fact I was gonna live forever,” he says now, having made it to a lean, fiery 45.
He ran about seven miles through Central Park this morning, but he’s still pacing the carpet of a New York hotel room. He’s wearing a zipped-up blue jacket and running shorts, as if his top and bottom halves exist in different climates. “So I thought to myself, ‘When I get to about 80, there ain’t no fucking chance I’m doing fucking dance moves like Mick Jagger.’ ” He throws his hands behind him and leans forward to an imaginary microphone. “So all I have to do is just fucking stand still. Jagger’s still gotta jump up and down!”
This story is from the November 2017 edition of RollingStone India.
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This story is from the November 2017 edition of RollingStone India.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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