Liam Gallagher is a huge Manchester City fan who uses the Manchester City chant at gigs. He has now borrowed Soccer Saturday presenter Jeff Stelling’s catchphrase “C’Mon You Know” for the title of his new album. Whilst Liam has demonstrated that he can elevate himself to the status of a cult leader live by sticking to the status quo of early Oasis songs and similar-sounding solo material, for the most part, C’Mon You Know is all change.
C’Mon You Know opens with “More Power”, a high-pitched children’s choir evolves into a gospel rendition as Liam allows himself to be vulnerable and reflective by singing with a tint of echo about how he wishes he had more power. With occasional, unexpected brief guitars and organs and a string outro, one feels uplifted and contemplative with Liam singing, “mother, I admit that I was angry for too long”.
Equally sanguine is the piano and organ-led “Too Good For Giving Up”, where Liam puts his faith in the universe. The beginning of “It Was Not Meant To Be” brings visions of Dylan’s “Positively 4th Street”, which mixes natural folk instruments and organs with synths to produce soothing psychedelic twists. Ironically, this song about returning to reality is a defining moment where Liam takes the listener on an escapist trip.
By doing gigs in aid of NHS workers and Teenage Cancer Trust, Liam has become reflective and has increasingly supported charitable causes. “World’s In Need” sees Gallagher being thoughtful and humble, singing “I need sunshine, and I’ll be fine”. This harmonica led song with eccentric string arrangements is supported by a subtly growing communal, psychedelic ambience. C’Mon You Know then turns dark with “Moscow Rules” without citing or indirectly referencing specific geopolitical scenarios. The unnerving strings with quiescent yet tense piano with brief orchestral clusters and pipes serve as a well-produced dystopian soundscape.
The most aggressive, heavy, guitar-led anthem is “Everything’s Electric”, co-written with David Grohl. “Everything’s Electric” has gone down well live and equally impresses on C’Mon You Know. “Don’t Go Half Way” is instant with similar energy, which unexpectedly ends and proceeds straight to “C’Mon You Know”. “C’Mon You Know” is lyrically philosophical about how “we’re only here for a short while” whilst calling for unity. Indirectly musically influenced by Oasis’ “Mucky Fingers”, “C’Mon You Know” goes further with orchestral and jazz arrangements and chimes amidst noisome, anthem sounding guitars.
“I’m Free”, with intense pounding synth drums and jagged guitars, has the making of becoming a new football anthem. The pleasantly surprising interludes of early nineties reggae and trippy dance beats add sophistication and intelligence to this politically and adrenaline-fuelled anthem. The infectious drumming opening is equally impressive and louder on “Better Days”. This static-filled, psychedelic song about healing is inspired by The Beatle’s song “Tomorrow Never Knows”. The injection of brief bursting guitar solos and melancholy concluding strings create the feeling of transformation. On the playout track “Oh Sweet Children”, Liam positions himself as a guru offering advice.
Liam Gallagher could have easily played it safe on C’Mon You Know and repeated the template he used on his two previous solo offerings and still sustain interest and record sales. C’Mon You Know has not only evolved Liam Gallagher’s sound, but it has also introduced his fans to another side of him not seen previously.
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