Review
Community
Culture
Music
4 min read

Oasis: If feuding brothers can get together again, maybe the country can too

Some might say Liam and Noel Gallagher’s reunion is reminiscent of Joseph, Prince of Egypt.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two middle age rock star brothers pose for the camera in a black and white picture
Any dream will do.
Liamgallagher.com.
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There’s a man with a black rainhat and jacket on the stage swearing at over 50,000 teenagers. It’s Liam Gallagher, the lead singer of Oasis, that iconic 90s rock band. He’s singing his way through the entire Definitely Maybe album to mark the 30-year anniversary of its release. Somehow, these 50,000 teenagers know all the words, as they sing along on a warm summer evening for their rite of passage that is the Reading Festival.  

I feel strangely alone in the crowd. I remember where I was when the album was first released - nobody around me was even born then. On the stage, Liam too is strangely alone. For 15 years he’s been estranged from his brother Noel – the song-writing genius behind all of Oasis’ greatest hits. He’s in a reflective mood as he sings ‘Live Forever’: 

“Maybe I will never be, all the things that Ii want to be, now is not the time to cry, now’s the time to find out why”

(Live Forever) 

This lyric has aged well. Back when Liam was 21 years old, about to be biggest band in the world, about to see their album become the fastest selling debut album of all time, he wasn’t seriously considering the question.  

Back then, fame didn’t seem to suit him. He famously ditched a huge US tour with the band, when he was about to board the plane from Heathrow. He stubbornly refused to go on stage for the MTV unplugged concert at the Royal Festival Hall despite a packed-out audience and a full orchestra on the stage. Maybe it was youth. Maybe it was anxiety. Maybe it was some illegal substance. 

Even now, at Reading, with rumours rife of a reunion tour, Liam seems a little vulnerable. He delivers a brilliant vocal performance to a huge crowd, but his hat covers most of his face for the entire concert. He mentions that he had thought the young people getting their GCSEs might have let their academic excellence go to their heads, but they turned out to be “alright” after all. And then, with more swearing, more swaggering guitar chords and more defiant sneering vocals, there comes more vulnerability:  

Their song brought the country together in a pledge of hope. While terrible things are going on around us in our world, we need all the togetherness and hope we can get.

“All this confusion, nothings the same to me, I can’t tell you the way I feel, because the way I feel is oh so new to me”

(Columbia) 

Liam dedicates “Half a World Away” to his brother Noel, and then the promise of something more… “27/08/2024 8am” is revealed on the huge screen. Is there going to be more to the Oasis story? Could the feuding brothers have buried the hatchet?  Have they listened to their own lyric – don’t look back in anger – and decided to drop the bitterness and animosity and find a new way forward? 

I wonder how the reconciliation happened. I like to imagine it was like Joseph, Prince of Egypt and wearer of coat-of-many-colours, finding himself face-to-face with the brother who tried to murder him all those years earlier, and privately breaking down in tears before declaring “God meant it for good”.  

I like to imagine it was like Joseph’s father Jacob, Patriarch of Israel and hot-headed runaway, returning to his twin brother Esau after two decades of separation, praying he would be received favourably, and overwhelmed when his prayer was answered. 
 
‘Some might say’, excuse the pun, that the timing of this impossible reconciliation is less to do with making peace and more to do with making money. The Gallagher brothers have both been through costly divorces. Perhaps they have seen the appetite for megatours as demonstrated by Taylor Swift’s Era’s extravaganza.  

A few days later there is controversy brewing around dynamic pricing which is adding to the rumours of extortionate profiteering. Presale tickets initially range from £73 to £205, with standing tickets priced around £150. Then resale prices skyrocket, with some tickets listed for as much as £6,000—approximately 40 times the original price. It remains uncertain how much of these profits Oasis directly receives. 
 
And then there is the timing. Next year the ownership of the Oasis back-catalogue reverts back to Noel. Only a few months ago Queen sold the rights to their back-catalogue to Sony Music in a record-breaking $1.27 billion, surpassing previous deals such as Bruce Springsteen's sale for $500 million. A sell-out tour will go a long way to upping the value of the Oasis catalogue.  

Whatever the motivations, whoever is profiting, and however genuine the reconciliation, the reforming of Oasis, in my eyes, is a great moment for our country.  I’ll never forget the woman who spontaneously sang “Don’t Look Back in Anger” after the minute’s silence to remember the 22 Ariana Grande fans killed at the Manchester Arena terrorist attack in 2017. While Noel and Liam were still feuding, their song brought the country together in a pledge of hope. While terrible things are going on around us in our world, we need all the togetherness and hope we can get.  

Review
Culture
Digital
Film & TV
Work
5 min read

Heaven can wait: the gig economy can’t

Good Fortune skewers modern work culture with a celestial twist

Giles is a writer and creative who hosts the God in Film podcast.

A film character talks to an angel in the street who has wings on the back of his coat.
Aziz Ansari and Keanu Reeves star.
Lionsgate.

Good Fortune sees a well-meaning but rather inept angel named Gabriel meddle in the lives of a struggling gig worker and a wealthy venture capitalist, with unpredictable results.  

The film follows Arj (Aziz Ansari), a frustrated documentary editor who is unable to get any steady employment and has been relegated to working in the gig economy, bowing and scraping to all app users for fear that they’ll give him a one-star review. Arj has resulted to sleeping in his car and is only one step away from being completely destitute. After a short trial period working as a personal assistant for bumbling millionaire Jeff (Seth Rogen) that ends badly, Arj reaches the end of his tether. Out of the blue, an angel named Gabriel (Keanu Reeves) appears to Arj, trying to show him that his life has meaning. In order to convince him, he swaps Arj’s life of poverty for Jeff’s of luxury in an attempt to show him that having money won't solve all his problems. But unfortunately for Gabriel, it does solve most of his problems, and Arj does not want to swap back.                                                    

Aziz Ansari writes and directs Good Fortune, making his directorial debut. Unfortunately, while this film may promise a lot, it sadly fails to deliver. The social commentary is on point, but the laughs are spaced very far apart. It manages to accurately diagnose the problems that society faces, namely that the gig economy created by big tech has taken us back to Victorian levels of economic uncertainty for many people. But the prognosis somehow seems to lack any punch when it’s finally delivered. Good Fortune feels like a mix of Trading Places, a cynical version of It’s a Wonderful Life, with a touch of the sitcom Superstore thrown in for good measure. It wears its influences on its sleeve, but never really coalesces into its own thing. The one area it does flex its muscles is the performances.  

Ansari’s Arj voices the frustration of a generation when he says, "I did everything I was supposed to do and nothing's working out”. It is quite enjoyable when Gabriel asks him if he has learned that being rich and privileged isn’t all it’s cracked up to be, and Arj vehemently disagrees. Rather than learning any particular moral lesson, Arj has simply learned that it’s much nicer to be depressed in a mansion than in a hovel.  

Seth Rogen has the hapless privileged idiot down to a science at this point; there’s something cathartic about him seeing how difficult it is for people trapped in the gig economy. “This is too hard,” he despairs, “How do people do this, without just being miserable and angry, all the time?”  

Perhaps predictably, the stand-out performance is Keanu Reeves as Gabriel. Far from being a serenely wise archangel in this iteration, Gabriel is, by his own admission, a bit of a “dumb-dumb”. The film opens with Gabriel feeling frustrated in his current role, stopping people from texting and driving at the last possible moment. Gabriel feels desperate to change the course of someone’s life for the better. Gabriel’s meddling in Arj and Jeff’s lives is not looked on fondly by Martha, his superior (played by Sandra Oh). She makes Gabriel human as a punishment, sending him on a journey of self-discovery.  

After the weighty self-importance of the John Wick franchise, it is thoroughly enjoyable to see Keanu shifting into comedy mode. His Gabriel has a touch of his Bill & Ted performance, making him a naïve idiot who lights up the screen every time he’s on it. Seeing him enjoy tacos, milkshakes and ‘chicken nuggies’, simple pleasures that are so easily taken for granted, brings some much-needed levity to a script that doesn’t always manage to rise.  

In a sense, Good Fortune writes itself into a corner and can’t quite figure out how to get out of it. It feels like there’s a lot of time floundering around for an answer, which is frustrating, even at a brisk run time of 98 minutes. If there is any area that feels under-served it’s the sub-plot with Elena (played by singer and actress Keke Palmer). Serving as the love-interest for Arj, Elena seems to be the only one clear-eyed enough to see that systemic oppression requires an organised response, and is in the halting process of forming a union. Elena is the only one able to talk any sense into Arj when she says: “I’d rather be back down there, trying to help more of us get up here”.  

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