Noel Gallagher’s High Flying Birds to soar at Hull Bonus Arena and Leeds First Direct Arena. Bingley and Sheffield gigs too

Noel Gallagher: New album, new arena tour dates

NOEL Gallagher’s High Flying Birds will play Hull Bonus Arena on August 30 and Leeds First Direct Arena on December 18.

Tickets will be available for special pre-sale on Wednesday for fans who pre-order the forthcoming album Council Skies via the official Noel Gallagher’s High Flying Birds store at store.noelgallagher.com and on general sale at tix.to/NoelGHFB from 9am on Friday.

Erstwhile Oasis guitarist Gallagher, 55, has released his latest album taster, Dead To The World, ahead of his fourth studio set’s arrival on June 2 on Sour Mash Records.

“By some distance it’s my favourite tune on the album,” he says. “It has this film-noir vibe. It’s not like anything else I’ve ever done before. It’s very melancholic, but I like that. I’m a Gemini – I’m as up as I am down, and the trick is to meet somewhere in the middle and turn that into music.”

The arrival of Dead To The World follows fan excitement over mysterious orchestral clips – filmed by Gallagher at Abbey Road Studios, London – emerging on social media at the beginning of 2023.

Dead To The World turns out to be one of several songs on Council Skies that boast strings arranged by Rosie Danvers, a long-time High Flying Birds collaborator. “Rosie gets what I do,” says Gallagher. “Spending a weekend recording strings in Abbey Road…that’s one of the great privileges in a musician’s life. It sounds majestic.”

Already, Gallagher has issued Pretty Boy and Easy Now as singles from Council Skies. The Cure’s Robert Smith remixed Pretty Boy earlier this month, adding a spaced-out dimension. 

Council Skies is available to pre-order on CD, heavyweight vinyl with bonus 7”, LP picture disc and various digital formats, including a Dolby Atmos spatial audio version. The Robert Smith remix will appear on deluxe limited-edition triple vinyl and 2CD formats that  also will feature a live session version of Live Forever and a Pet Shop Boys remix of Think Of A Number.

A printed handwritten lyric sheet of title track Council Skies will be included with all album pre-orders via the official store at noelgallagher.lnk.to/Councilskiespr.

Gallagher already has announced a summer series of outdoor venue and festival shows for his High Flying Birds, including Bingley Weekender on August 4 and concluding with a September 1 appearance at Sheffield Don Valley Bowl’s Rock’n’ Roll Circus. These will be his first British concerts since performing on Glastonbury’s Pyramid stage last June. Box office: noelgallagher.com/live.

The High Flying Birds have confirmed a 26-date USA tour too, co-headlining with Garbage.

Track listing for Noel Gallagher’s High Flying Birds’ Council Skies deluxe album:

Disc 1:

  1. I’m Not Giving Up Tonight
  2. Pretty Boy
  3. Dead To The World
  4. Open The Door, See What You Find
  5. Trying To Find A World That’s Been And Gone
  6. Easy Now
  7. Council Skies
  8. There She Blows!
  9. Love Is A Rich Man
  10. Think Of A Number

Disc 2:

  1. Don’t Stop…
  2. We’re Gonna Get There In The End
  3. Mind Games
  4. Pretty Boy (Instrumental)
  5. Dead To The World (Instrumental)
  6. Council Skies (Instrumental)
  7. Think Of A Number (Instrumental)
  8. I’m Not Giving Up Tonight (David Holmes Remix)
  9. Think Of A Number (Pet Shop Boys Magic Eye 12” Remix)
  10. Pretty Boy (Robert Smith Remix)
  11. Council Skies (The Reflex Revision)
  12. Flying On The Ground (BBC Radio 2 Session, 08.09.2021)
  13. You Ain’t Goin’ Nowhere (BBC Radio 2 Session, 08.09.2021)
  14. Live Forever (BBC Radio 2 Session, 08.09.2021)
The poster artwork for Noel Gallagher’s High Flying Birds’ arena dates

Why Imelda’s chomping at the bit to play 11 Past The Hour’s songs at York Barbican

“It’s a magical feeling we can only get from live music. Let’s go! ” says Imelda May as she returns to York Barbican

IRISH singer-songwriter and poet Imelda May plays York Barbican tomorrow in the only Yorkshire show of her first major UK tour in more than five years.

“I cannot wait to see you all again, to dance and sing together, to connect and feel the sparkle in a room where music makes us feel alive and elevated for a while,” said the Dubliner when announcing the Made To Love itinerary last April. “It’s a magical feeling we can only get from live music. Let’s go!”

Imagine how she feels, a year on from that “Let’s go!” invocation, as Imelda at last has the chance to promote her sixth studio album, last April’s 11 Past The Hour.

“I’m absolutely chomping at the bit to perform these songs live because normally you put out the album, go out on tour at that time, and see the songs grow as you play them,” says Imelda, 47.

“But until now, I’ve not really played any of them live, apart from Made To Love at a couple of things. When you start playing them, it can change suddenly what you might release as the next single, as you see what people enjoyed, but with this album I had to release them blindly as there couldn’t be any comeback from audiences. So, it’ll be interesting to see which ones they most react to, now I’m touring again.”

The cover artwork for Imelda May’s 2021 album, 11 Past The Hour

On a record that “brims with sensuality, emotional intelligence, spirituality and intuition”, Imelda collaborated with Rolling Stone Ronnie Wood, Noel Gallagher, Miles Kane and Niall McNamee.

“Niall is a wonderful Irish musician and actor and it was Ronnie [Wood] who introduced him to me because he was acting in a play by Ronnie’s wife, and we got on so well, we started writing together,” says Imelda.

The duet Don’t Let Me Stand On My Own resulted, with its theme of mental health, sticking together and holding on together. Lo and behold, Imelda and Niall are indeed not standing alone. “We fell in love over the kitchen table and we’re still together,” she says.

Imelda is grateful to Ronnie Wood for that post-show introduction but more besides. “It’s great to have Ronnie on the record, playing on Just One Kiss and Made To Love. I’ve known him since I was 16,” she says. “I’d never gone to music college or state schools; I just jammed at clubs, and I’d just started playing at this little club when Ronnie turned up and we ended up playing Rollin’ & Tumblin’ together.

“Later, I toured with Jeff Beck, who introduced me to Ronnie, saying ‘I don’t if you remember Imelda’, but he did!”

Artwork for Imelda May’s 2017 top five album, Life. Love. Flesh. Blood

Noel Gallagher co-wrote and sings on Just One Kiss while Miles Kane features on What We Did In The Dark. “Miles has been a friend for a long time and Noel is a good friend too,” says Imelda.

Feminist thinkers and activists Gina Martin and Dr Shola Mos-Shogbamimu contribute to Made To Love. “Gina does incredible work and it’s the same with Dr Shola, who is so eloquent and elegant and makes so much sense,” says Imelda.

“I was writing this song about how we’re made to love, because if we don’t look for love, what are we aiming for, especially now? I’m a living thing! Love is a living thing!

“I was looking for backing vocalists and decided I’d get in touch with Gina and Shola after they really captured our attention and hearts at this beautiful event for International Women’s Day.

“I said, ‘do you sing because I need your heart and passion on this song?’, and they agreed to do it with. We had to be [socially] distanced for the recording with all the doors open. Absolutely freezing, but it was worth it.”

Imelda’s record company, Decca Records, were favouring Diamonds for a single, but Graham Norton asked specifically for Made To Love for Imelda’s performance on his BBC One chat show, and it duly became the single.

Imelda loves being creative. “The writing process is like giving birth. Suddenly something exists that didn’t exist this morning,” she says. “I love it when my brain fires up and a song flows out.

“Then you start working on the artwork and the videos, the songs get to live and that’s another chapter starting. Then you work on how the songs will sound live, which is a very different creative process from studio recordings, especially when we were recording remotely in lockdown.”

Imelda’s creativity has expanded to poetry, as heard on her 2020 EP, Slip Of The Tongue, and printed in last October’s A Lick And A Promise. “Absolutely 100 per cent, poetry will feature in the show,” she says. “When the book came out, the reaction was unprecedented, I was told. The print runs sold out three times. They flew out the door!

“Working on poems for the EP with beautiful string arrangements behind them, the reaction has been overwhelmingly positive, I can tell you.”

Now is the time for May in April, songs, poems and all, at York Barbican tomorrow.

Imelda May: Singer, songwriter, poet and multi-instrumentalist

Imelda May fact file

Full name: Imelda Mary Higham.

Born: July 10 1974, in The Liberties area of Dublin.

Occupation: Singer, songwriter, poet and multi-instrumentalist who plays bodhrán, guitar, bass guitar and tambourine.

Breakthrough: Discovered by boogie-woogie pianist Jools Holland, who asked her to tour with him.

Performed duets with: U2, Lou Reed, Sinead O’Connor, Robert Plant, Van Morrison, Jack Savoretti, Noel Gallagher and Elvis Costello.

Featured on albums and live tours with: Jeff Beck, Jeff Goldblum and Ronnie Wood.

Studio albums: No Turning Back, 2003; Love Tattoo, 2008; Mayhem, 2010; Tribal, 2014; Life. Love. Flesh. Blood, 2017; 11 Past The Hour, 2021.

Branching out: In the cauldron of 2020 Black Lives Matter movement, she released her poem You Don’t Get To Be Racist And Irish. Sentiment adopted by Irish government’s ReThink Ireland campaign on billboard displays.

What Imelda did next: Released reflective nine-poem Slip Of The Tongue EP, set to uplifting soundscape. May addressed themes of home and love, feminism, harsh realities of life, defiance, lovelorn longing and escapism.

Book: A Lick And A Promise, debut collection of 104 poems, including two each by her father and young daughter, published in October 2021.

York gigs: February 2009, at The Duchess, in bequiffed retro-rockabilly days; November 2011, York Barbican debut; May 2017, York Barbican, promoting post break-up album Life. Love. Flesh. Blood.

Imelda May plays York Barbican tomorrow (6/4/2022) at 7.30pm on her Made To Love Tour. Box office: yorkbarbican.co.uk, gigsandtours.com and ticketmaster.co.uk or on 0203 356 5441.

As the super-deluxe All Things Must Pass arrives, it’s time to ask: Is George the Fabbest solo Beatle ? For the answer…

HEAD to Episode 54 of Chalmers & Hutch’s arts podcast, Two Big Egos In A Small Car at: https://www.buzzsprout.com/1187561/8979897.

Under discussion too are: the London lag and York boom after Step 4; Sharon Latham’s Noel Gallagher exhibition at RedHouse Originals, Harrogate; M Night Shyamalan’s hokum new movie Old, plus futurist novelist Julian Barnes on foreseeing no future for the arts in 1980’s Metroland. Should we be worried?

Imelda May to follow up Friday’s 11 Past The Hour album with York Barbican gig in 2022

“I cannot wait to see you all again, to dance and sing together, to connect and feel the sparkle in a room where music makes us feel alive,” says Imelda May. Roll on next April

IRISH singer-songwriter and poet Imelda May will play York Barbican on April 6 2022 in the only Yorkshire show of her first major UK tour in more than five years.

Meanwhile, May and April will unite on Friday (16/4/2021) when the 46-year-old Dubliner releases her sixth studio album, 11 Past The Hour, on Decca Records.

Tickets for May’s 12-date Made To Love Tour next spring will go on general sale on April 23 at 10am at yorkbarbican.co.uk, gigsandtours.com and ticketmaster.co.uk and on 0203 356 5441.

“I cannot wait to see you all again, to dance and sing together, to connect and feel the sparkle in a room where music makes us feel alive and elevated for a while,” says Imelda. “A magical feeling we can only get from live music. Let’s go!”

Imelda May’s new album, 11 Past The Hour, is out on Friday

On a record that “brims with sensuality, emotional intelligence, spirituality and intuition, marking a new chapter for Imelda and showcasing her at her most authentic”, May collaborates with Rolling Stone Ronnie Wood, Noel Gallagher, Miles Kane and Niall McNamee.

Feminist thinkers and activists Gina Martin and Dr Shola Mos-Shogbamimu make inspired contributions too to an album that adds up to “an invigorating blast of rock’n’roll with a purpose”.

Born and raised in The Liberties area of Dublin, May – real name Imelda Mary Higham – was discovered by boogie-woogie pianist Jools Holland, who asked her to tour with him.

She has since performed duets with U2, Lou Reed, Sinead O’Connor, Robert Plant, Van Morrison, Jack Savoretti and Elvis Costello and has featured on albums and live tours with Jeff Beck, Jeff Goldblum and Ronnie Wood.

Branching out into poetry: Imelda May’s 2020 EP, Slip Of The Tongue

May last played York Barbican in May 2017 in support of her T-Bone Burnett-produced Top Five album, the post break-up record Life. Love. Flesh. Blood, and previously performed there in November 2011, two years on from a show at The Duchess in her bequiffed retro-rockabilly Love Tattoo days.

Not only a singer and songwriter but also a multi-instrumentalist, equally adept on  bodhrán, guitar, bass guitar and tambourine, last year she added another string to her bow: poetry.

Last June, in the cauldron of the 2020 Black Lives Matter movement, she released You Don’t Get To Be Racist And Irish, a sentiment adopted subsequently by the Irish government’s ReThink Ireland campaign on billboard display.

This was followed in October by the reflective nine-poem Slip Of The Tongue EP, set to an uplifting soundscape as May addressed such themes as home and love, feminism, the harsh realities of life, defiance, lovelorn longing and escapism.

Now comes 11 Past The Hour, to be followed by next April’s tour, for which VIP packages, including access to soundcheck and a Q&A with May, are available.  Eager fans can secure exclusive access to a presale for the tour when they pre-order the new album from May’s store at imeldamay.tmstor.es.

What was Charles Hutchinson’s verdict when Imelda May played York Barbican on May 16 2017?

Imelda May: “The blues, rock, soul and gospel-singing, mature May is a cut above the more derivative, bouncier, boom-boom past”

WHEN else would Imelda May tour but in May, when every day is a May day, 17 dates in all this month on the Irish pocket dynamo’s first British travels in three years.

“It’s been a while,” said the 42-year-old Dubliner, reintroducing herself to a pleasingly full York Barbican crowd for the first time since November 2011. “Thank you very much for sticking with me and turning up tonight.”

Much has changed in that time. Imelda ditched the rockabilly look and sound last sported on 2014’s Tribal album; her 18-year marriage to guitarist Darrel Higham ended; she turned 40; she gave herself permission to find new love; she allowed her spectacular voice full range in her song-writing for the first time since hit single Johnny Got A Boom Boom steered her down Retro Avenue.

The artwork for Imelda May’s 2017 album Life. Love. Flesh. Blood

All this is reflected in her post break-up March album, Life. Love. Flesh. Blood, whose every song – even from the deluxe edition – was in Tuesday’s setlist, bolstered by a couple of Sixties covers (The Animals, The Shangri-Las) and a smattering of May oldies. That’s confidence for you, and one met approvingly by an audience of Imelda’s age and upwards who had in turn experienced Life. Love. Flesh. Blood.

Dressed in black, down to her ankle boots, with hair designed to a Chrissie Hynde template, Imelda began seated as if in a scene from the musical Chicago, she and guitarist Oliver Darling picked out by spotlights for Call Me: the album opener that announces the blues, rock, soul and gospel-singing, mature May is a cut above the more derivative, bouncier, boom-boom past.

Stage lit warmly by nine copper-toned lamps, May fronted a wonderfully responsive band, the guitars and Al Gare’s double bass complemented by saxophone and trumpet, as she sang from and to the heart, with Black Tears, The Longing and The Girl I Used To Be particular highs. The girl she used to be is still there, but the 2017 Imelda May is flowering in fullest bloom.

Review copyright of The Press, York