RIVERSIDE THEATRE, MILWAUKEE, WISCONSIN
Gig Played: Thu 20 Apr 2000

As Oasis prepared to stride into view, a video collage of time-elapsed photos of New York City flashed on a screen draping the entire stage, while a pre-recorded version of "Fucking in the Bushes" roared around the auditorium.

As the song concluded, the Fab Five arrived. Wearing a parka and the appropriated Lennon-style shades, Liam took his usual stance with his hands behind his back. Despite the dramatic line-up changes, it is clear that there are still things in Oasis 2000 that are a constant.

The band opened with a bullish take on "Go Let It Out," the first single from "Standing on the Shoulders of Giants," and went into "Who Feels Love," a "Revolver"-esque psychedelic anthem also on that album. Sparing none of their self-professed Beatles worship, images of John Lennon's Dakota apartment and Strawberry Fields in Central Park flashed on the projection screen behind the band.

After showcasing the songs from their most recent release, which were more of a smoking bonfire than an arsonist's blaze, the band retreated to crowd favourites and safe havens such as "Supersonic" and "Shakermaker." What was lacking in intensity was made-up for by precision, such as on "Where Did It All Go Wrong," where Noel Gallagher stepped away from the shadow of his brother with an urgency in his voice absent on the album version.

For more than 90 minutes, Oasis churned out hits from their four albums, as well as some lesser-known tunes. From a revved-up version of "Wonderwall" to a rusty take on "Live Forever," it was clear, despite the current derision associated with the band, what an impact they've had since 1994.

And while they paid little attention to dynamic variation throughout the set, the Gallagher brothers, Alan White and new charges Andy Bell and Gem Archer gave their fans what they wanted -- an imaginary moment recalling, if not stealing, the best moments of rock 'n' roll's halcyon days.

The band returned minus Liam for the encore. Noel belting-out a version of Neil Young's "Rust Never Sleeps (Hey Hey, My My)," and a loosely constructed if not shabby reworking of "Helter Skelter." For the first time in the show, despite the lame rehash, Noel seemed to be losing himself in the music and not just playing the caricature of a rock star. It makes one wonder if Noel shouldn't have formed a classic rock cover band, instead of a classic rock cover band that decided to write its own tunes.

As the cheers resonated and the band left the stage, it was clear that although throughout the show there was little variation in the songs, Oasis do (still) write catchy tunes and have a presence few can challenge.

And in an era that is truly devoid of authentic rock stars, Oasis fill the market's demand while not exactly burrowing into the mind of music's more explosive headspace. Judging from the audience's reaction, the concoction still works.

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