We’ve still not emotionally recovered from Oasis’ five homecoming nights in Manchester, and after seeing that the band just released a live recording of ‘Cigarettes & Alcohol’ from Heaton Park, it’s taken us right back to Friday, 11 July, and we can’t stop thinking about a Live ’25 album.
In fact, while the live record of the reunion world hasn’t been confirmed just yet, we’re becoming increasingly convinced that this is exactly what fans are going to get – and following the second Live ’25 concert capture dropping this week, we’re almost certain we know what they’re doing.
And if so, you can consider the vinyl of the ‘Oasis Live ’25‘ LP already in the basket.
Many of you might have already thought the same thing, but for anyone it hasn’t yet clicked for, let us explain; we got the live taping of ‘Slide Away’ from the Principality Stadium in Cardiff to start with, i.e. the first stop on the world tour. Here’s a snippet of how it sounds:
Have we listened to it pretty much non-stop ever since? Yes, but concentrate, that’s not the point we’re getting at; we think Oasis are doing something very specific for their almost inevitable Live ’25 album.
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Up next was the aforementioned ‘Cigs and Alcohol’, performed and recorded on home turf right here in 0161, and released in honour of their magnificent Manc comeback.
More accurately, the live version of the song is plucked from their unforgettable opening evening at Heaton Park, as opposed to any of the other five dates.
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Can you see where we’re going with this yet?…
With their place of birth having waited more than a decade and a half to hear the first few iconic chords that signal the start of the timeless Oasis classic and a pure rock and roll blowout, you can literally hear the energy from the crowd in your ears.
If you haven’t heard it dozens of times already, take a listen for yourselves and feel free to Poznań wherever you happen to be reading this:
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That first Poznań for #OasisManchester hit like a chuffing freight train. 🔥
Upon checking the date of the Cardiff recording of ‘Slide Away’ was taken from, we noticed that they had also chosen the inaugural night of the entire Live ’25 tour, i.e. their very first live show in 16 years.
While we’re aware an official Oasis reunion tour album is technically still TBC, if you see a third live track released after the first of their SEVEN shows in the capital get underway this Friday (25 July), you can pretty much bank on the special live release being all but nailed on.
So, not only are we getting an Oasis Live ’25 reunion documentary from the man behind Peaky Blinders, but it looks like they’ll be providing fans with a virtual tour and a chance to experience/relive the gigs aurally, with each of the 23 tracks on the setlist being pulled from a different city on the world tour.
Now, while this isn’t an entirely unheard of idea in the world of live albums, that’s not all.
Better still, if our suspicions are correct and the next drop is taken from night one of Oasis Live ’25 in London (bonus points if you can guess which tune they go for), then the entire thing will capture the sonics and atmosphere at its best: propped up by the utter euphoria of a dream finally being realised.
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We’re sure they could pull the audio at any part of the set, from any old date, and it would sound great, but nothing is like the palpable ecstasy you could quite literally hear on the opening nights in Cardiff, Manchester and, no doubt, Wembley. Having said that, the final farewell was pretty biblical too.
Put simply, isolate any night of the world tour and there’ll be something unique in the master.
Die-hards have been waiting what feels like a lifetime to finally see their favourite band in the flesh again; actually, like many of us here in Greater Manchester and indeed all over the world, some were simply too young to experience the Britpop craze and ‘Oasis Mania’ the first time around.
They obviously have a huge following not just in the UK and Ireland, but all over: the US, Japan, across South East Asia and throughout most of South America – you only have to watch clips or even hear Noel Gallagher talk about Buenos Aires to not how ‘mad fer it’ they are over there.
For a lot of fans, this IS their 1990s moment, and even those who sadly didn’t manage to get tickets have a chance to almost feel like they were there.
One thing’s for sure: if/when the Oasis Live ’25 album arrives, that Manchester buzz will take some beating in the unofficial contest to see who loves the legendary British rock band the most.
Tame Impala at Co-op Live, Manchester – lasers, lights, and a bit of a hangover
Daisy Jackson
The coolest man in the southern hemisphere has finally made his way back up north, for his first Manchester gig in a decade.
That cool man in question is Tame Impala, the music project of what-the-hell-can’t-he-play multi-instrumentalist Kevin Parker.
Sure, last year’s single release ‘Dracula’, and then its remix re-release with K-pop megastar Jennie, may have propelled Tame Impala up towards the top of the UK singles chart for the first time, but he’s got almost two decades-worth of music to dig through beyond that too.
It’s a hefty discography and it leads to a setlist that seems to almost peak about six times.
‘How could it possibly get better than this?’ we seem to ask as he plays The Moment, Elephant, Dracula, and Let It Happen pretty early on – but better it does indeed get.
It doesn’t seem to matter whether he’s up on the main space-ship-esque stage surrounded by lasers and lights, or sat on the floor of the B Stage playing around with a keyboard, Tame Impala has an irresistible, enchanting charisma. A lot more charisma that you’d expect from a man called Kevin.
Early on, he confesses that he’s quite severely hungover from last night’s show, where he had Dua Lipa (he wrote and produced her Radical Optimism album) as a surprise guest.
But you can see the hangover clear from his eyes in real time as 23,500 Mancs scream in his face. Which might not sound like a likely hangover cure, but who am I to argue with the evidence in front of me?
Although Kevin writes, produces, and records his music solo, he’s got half a dozen musicians up on the main stage with him, which looks like a convoluted space ship that fires confetti out of its thrusters (FOUR TIMES!).
With revolving lights, dancing lasers, and a metal grid base spewing out dry ice, it’s really one hell of a production.
It’s a light show designed to give us all a glimpse of his synesthesia (meaning he sees colours when he hears music (Billie Eilish has it too)) – essentially, if you couldn’t hear a thing and could only see the stage, you can still tell exactly what song is playing.
Still, when he saunters straight through the crowd to his smaller stage to mix tracks solo – no lasers, just a few lamps – flopping down onto a tangle of wires like a mad magpie building himself a nest, it’s a chance to remember this guy’s composing prowess.
A lot of the songs performed tonight are almost orchestral in their complexity, so that the whole show merges into one thundering, bewitching night of dancing and being blasted in the face by confetti.
It’s genius.
So can you not leave it another decade before you come back, Kevin?
Kahiki Soundhouse – the new Mint Lounge site is living up to the old name and its live music legacy
Danny Jones
If you went out in town back in the day (pretty much any time from the late 90s to the 2010s), or indeed have sampled a Funkdemia over the past couple of decades, chances are you tried or at least heard of Mint Lounge – but did you know it’s been replaced by a new kid on the block, Kahiki?
Kahiki Soundhouse, to give it its full name, is the new live music venue bar that has opened up the old basement space on Oldham Street in the Northern Quarter.
In truth, it’s now more of a classic lounge than ever before.
The large open-plan floor, which used to be filled with people standing/two-stepping inside a fairly barebones club room with no air conditioning, has now been traded up for a stylish space lined with plush padded seats, classy low-lit tables perfect to share a glass or two over, and lots of new features.
Perhaps the biggest change is that the old soundbooth/stage area that used to be way at the back has now been swapped for a central 360° podium that changes up each night.
It really is the star of the all-week-round Kahiki show, if you ask us.
This also means that no matter where you are in the main venue (there are other rooms, but we’ll get to that), be it tucked in a booth to the side, at the bar, or even ‘behind’ whoever’s playing, you’ll have a virtually unobstructed view of what’s happening from noon until night.
Seriously, thanks to their already jam-packed schedule, the reviews aren’t just off to a great start only a few days in, but people have been turning up in the early evening and staying well into the early hours of the next day.
They’ve got duelling pianos, live bandaoke, acoustic nights and straightforward DJ sets for those who still fancy a taste of the previous vibe.
Kahiki’s maiden Manchester city centre venue definitely harks back to the good times had in the Mint Lounge days, but the team, who possess decades of experience between them, have combined a retro feel almost more akin to 1960s speakeasies, cocktails and evening venues.
It’s no secret that clubbing and the UK nightlife scene have changed quite a bit since the pandemic, but these guys look to have found that perfect blend of more relaxed seating, along with plenty of room to get up and boogie; there’s even a raised mini-stage/dance cage for your main character moments.
Better still, if you do want something a little bit away from the crowds of punters that are continuing to make this one of the liveliest new additions to NQ, they also have adjustable karaoke rooms where bi-folding doors can make room for up to 50 of you and your lot to party in privacy.
Let’s just say the spirit of the Lounge is alive and well in the Soundhouse.
Just one corner of KahikiYour podium awaitsOne of the smaller karaoke rooms
Danny Jones -
24th July 2025 
