I’ve already shared my top ten Oasis songs. As we know, both Gallagher brothers went on to forge successful solo careers before finally burying the hatchet in August 2024. Having seen each of them perform live on numerous occasions, I thought it was time to run through my favourite solo tracks from both brothers.
So, here we go, my ten favourite songs by Noel and his High Flying Birds.
When he released 'Holy Mountain' as the lead single from his 2017 album 'Who Built the Moon', Noel Gallagher literally split his fan base in two. A far cry from anything he ever released in Oasis, and a stark jump from his first two solo albums, it was far too big a jump for some fans. The sound of glam-era Bowie, Slade, The Vaccines, Showaddywaddy and Ricky Martin all marching to Jona Lewie’s tin whistle
Gallagher described the song as being one of his favourite pieces of music he has ever written, saying that it sounds great live, and his children love it,t and his friends’ children love it.
When interviewed by Radio X, Gallagher said: "Holy Mountain is about your nearest and dearest, yeah. How it came about was, one of the first sessions we did, the hook line, the tin whistle thing that is like one of the most catchiest things in the world, is a sample from a track by a brilliantly titled band from the 60s called The Ice Cream, and a track called 'Chewing Gum Kid', don't try and Google it, it's beyond obscure, you'll never find it... "
It's such a joyous affair, and a brilliant song when played live. In my opinion, it sits alongside Noel's best work.
Noel has said in his solo career that when something veers too close towards Oasis, he drops it or leaves it for a while. However, with 'Easy Now', something felt different. He believed that it could sit alongside those great Oasis songs that he'd written and sung on, i.e. 'Little By Little', 'The Importance of Being Idle', etc.
It has that Oasis anthemic quality to it, and has become one of my favourite things he has ever written. This song will win over even the most devout 'Parka Monkey'. Like all great Noel songs, it is uplifting and meaningful, relating to the listener no matter who they are or where they are.
In interviews, Noel has said that in places, the song makes some slight nods to Pink Floyd and that he'd even asked David Gilmour to play the guitar solo. Gallagher called Gilmour to discuss it; however, Gilmour declined Gallagher's request to play the solo, so Gallagher's co-producer, Paul Stacey, recorded the iconic Floyd-esque guitar part instead, capturing the atmospheric, soaring vibe Gallagher was aiming for, which many fans noticed.
Lyrically, the songs offer an impressive amount of real-world significance, with the pressures faced by this generation being seemingly greater than ever. Peppered with powerful metaphors and words of wisdom, the new track appears to break the fourth wall through offering reassuring advice to young people: "Soon your future will appear / There’s nothing left for you to fear. Through cleverly exploring the theme of perspective, the record highlights how first-hand experience of a situation can prevent us from seeing the wider picture, acting as the perfect reminder to take a step back in moments of uncertainty.
Comfortably the best song from 'Council Skies'
Noel wrote this song after returning to Manchester and retracing a walk he used to take regularly in his early twenties, long before Oasis had even formed. At the time, he was living on Whitworth Street in the city centre, and the route was part of his daily routine, wandering through town, stopping off at shops where friends worked, before eventually heading back to his flat.
Revisiting that walk years later proved to be an unexpectedly emotional experience. As he moved through the city, Noel was struck by how many of the personal landmarks that had shaped his younger life had simply vanished.
In an interview with the Manchester Evening News, he reflected:
“At every turn, the landmarks of my life had gone. And I was shocked. Pubs that used to be there were health clubs and restaurants, and some of the buildings aren’t there. And there’s a whole other part of the city built after the IRA bomb. It was like, fucking hell, I kinda don’t recognise it anymore. When I got back to London, my wife asked why I was so sad about it, and I told her it was because I would have liked to do that walk with my sons and show them where I played for the first time, or this was the Hacienda.”
That sense of loss, nostalgia, and emotional distance sits at the heart of the song. It stands as the emotional centrepiece of the 2015 album 'Chasing Yesterday'. In fact, the lyric “We let love get lost in anger chasing yesterday” ultimately provided the album’s title.
Gallagher has since noted that the track represents a more mature, reflective phase of his songwriting, looking back at Manchester from afar, rather than confronting the world with the defiance and bravado that defined much of his early Oasis work. It’s a song rooted not in rebellion, but in memory, regret, and the quiet realisation that time changes everything.
Musically, the song mirrors its themes of memory and reflection. Built around a gentle, mid-tempo groove, it blends warm acoustic textures with understated electric guitar lines and subtle orchestration. There’s a sense of restraint throughout. Gallagher’s voice is calm and measured, carrying a quiet melancholy that suits the song’s nostalgic mood. Rather than aiming for the anthemic sweep of his Oasis years, the arrangement feels deliberately spacious and contemplative, reinforcing the idea of looking back on a past that can no longer be reclaimed.
It's one of Noel's most underrated solo songs, and one I wish he played live more.
When Noel Gallagher dropped his self-titled debut solo album, the first thing fans heard was this song, and it was a statement of intent for the elder Gallagher brother. He would not be sitting around waiting for the steam to settle on the Oasis breakup.
The song set the tone for Noel's solo career, but also the album itself. Gallagher explained to Spin magazine how this song sets the scene for the rest of the album. "It's about a couple - boyfriend and girlfriend, man and wife, father and son, mother and daughter, best friends, doesn't matter - that take each other by the hand and say, 'We've got to get out of here.' Although it's about two people on the run, the narrator of the song - that being me - is saying, 'Everybody is on the run from something. Nobody is settled. Nobody is where they're supposed to be. Everybody is looking for something.'"
It features a 100-piece church choir and a 24-piece orchestra. The choir is the Crouch End Festival Chorus. They previously performed with Oasis at the Electric Proms, and have also recorded with Ray Davies, The Divine Comedy and Travis. The string orchestra are the all-female ensemble The Wired Strings.
The song was written approximately 10 years before its release. It was originally recorded as a demo during sessions for the Oasis albums 'Don't Believe the Truth' and 'Dig Out Your Soul', but Noel never felt it was "finished" enough for those records.
Long before its official 2011 release, the song became a "holy grail" for fans after it was bootlegged during Oasis soundchecks on their South American tour. Compared to the early Oasis-era demos, the final High Flying Birds version is in a different key and played at a quicker tempo, though the lyrics and melody remained unchanged
Released as the third single from his second solo album, 'Chasing Yesterday', 'Riverman' is widely regarded as one of the finest songs Noel Gallagher has ever written, not just in his solo career, but across his entire catalogue, including Oasis. Appropriately, it also opens the album, immediately setting the tone for a record that is more expansive, reflective, and adventurous than much of his earlier work.
What makes 'Riverman' so compelling is how it balances the familiar with the forward-thinking. The song begins with a gently strummed acoustic guitar and a melody steeped in classic British pop, complete with an unmistakable nod to The Beatles. The lyric “There’s something in the way she moves me to distraction” is a direct homage to George Harrison’s 'Something', signalling Noel’s affection for his songwriting roots while openly acknowledging their influence.
However, just as the track seems to settle into that familiar territory, it begins to evolve. Around the two-minute mark, a drifting, Pink Floyd-esque guitar solo emerges spacious, melodic, and unhurried, before giving way to an unexpected jazz-flavoured saxophone passage. It’s a bold left turn that few would have associated with Noel at that point in his career, yet it feels completely natural within the song’s unfolding atmosphere.
One of the key influences on the final arrangement was Brian Protheroe’s 1974 track 'Pinball'. Noel was introduced to the song by Morrissey during a night out in Los Angeles, and its impact proved decisive. Originally, 'Riverman' had been conceived as a finger-picked acoustic piece in the vein of Bob Dylan. After hearing 'Pinball' in the studio, however, Noel abandoned that approach entirely, opting instead for a more “spacey” and cinematic production style inspired by Protheroe’s recording.
Gallagher has since described his ambition for 'Riverman' as an attempt to bridge the emotional and sonic gap between Pink Floyd’s 'Wish You Were Here' era and Burt Bacharach’s 'This Guy’s In Love With You'. That unlikely combination helps explain the song’s unique character, dreamy yet grounded, nostalgic yet exploratory, and why it remains one of the most quietly daring tracks of his career.
An exceptional song.
The closing track on Noel’s second solo album, 'Chasing Yesterday', is regarded by many as one of the strongest solo releases of his career. It also features a high-profile and much-anticipated collaboration with Johnny Marr, whose involvement adds both credibility and a sense of occasion to the record’s finale. Marr recorded his guitar parts in a single day, a process Gallagher later credited as instrumental in making it “one of the best songs I’ve ever written.”
More than just a guest appearance, Marr’s playing is central to the song’s identity. His trademark chiming, rhythmic guitar lines weave effortlessly through the groove, giving the track a lightness and momentum that sets it apart from much of Noel’s previous work. There’s an easy chemistry between the two Manchester icons, born from shared influences and a mutual respect that’s been decades in the making.
Stylistically, the song represents a clear shift for Gallagher. Leaning into a more “dancey” and “funky” direction, it moves away from his traditional guitar-led rock sound and toward something closer to indie-disco. The bassline and rhythm section drive the track forward, while the guitars are used more as texture and propulsion than as a focal point. In places, there’s a definite Nile Rodgers-esque feel.
As a closing statement, the track feels both confident and liberating. Rather than ending the album with introspection or grandeur, Noel opts for movement and momentum, suggesting an artist comfortable enough in his songwriting to step outside his established sound. It’s a bold way to close 'Chasing Yesterday', and one that hints at the creative freedom that would define the next phase of his solo career.
Originally released as the B-side to 'Holy Mountain', the story of how 'Dead in the Water' came to be is exceptional. Recorded live at RTÉ 2FM Studios in Dublin, Ireland, in between takes of the then-current single 'The Dying of the Light'. Lagher recounted, "I had just written 'Dead in the Water' a couple of nights before, and they were messing about, moving microphones around,d and it sounded so good in my headphones that I just started to sing that song. I had no idea it was being recorded, right? No idea at all."
He then said that when his team were looking for bonus material to include on 2017's 'Who Built the Moon?', someone suggested including that performance of 'Dead in the Water'. Gallagher said of the performance, "That is such a special moment in time, and I might never re-record that because it's such a personal moment for me. And it's live, and it's as bare naked as you can get. And it was a brand new song, and it really is a great tune."
The song harks back to Noel's more traditional work with the High Flying Birds and Oasis, built around an acoustic guitar and a piano.
The song explores a "faltering relationship" and desperate attempts to salvage it. The title itself is an idiom for something that is unable to move or has failed. "I will not rest while love lies dead in the water." This refrain suggests a refusal to give up on a partner or a passion, even when it seems beyond hope."Let the storm rage, I'd die on the waves." This imagery emphasises a willingness to endure hardship and chaos for the sake of love."Thinking 'bout the days when we had no money." Fans often interpret this as a rare personal reference to Gallagher's early life before his massive success with Oasis.
While many listeners view it as a romantic ballad, some fans have speculated it could refer to broader themes, such as his complex relationship with his brother Liam or a general loss of enthusiasm for life that he is trying to regain. Gallagher himself has noted that his lyrics are often intended for listeners to find their own meaning.
In a YouTube video by James Hargreaves, which can be found here, there is an amazing theory as to what the song is about and how it predicted the Oasis reunion. I'll let you watch that for yourselves, though.
Released as the third single from his self-titled debut album, 'If I Had A Gun' stands out as arguably the greatest love song Noel Gallagher has ever written. Tender, melodic, and emotionally open, it reveals a softer, more vulnerable side of his songwriting that contrasts sharply with the turmoil surrounding its creation.
Noel penned the song during Oasis’ final South American tour, a period when his relationship with Liam had reached its lowest ebb, and he had stopped travelling with the band altogether. Speaking to NME, he explained:
“It was my decision. Mine and Liam’s relationship, it got so f---ing bad, it was like, ‘I’m gonna do everybody a favour here, I’m going to travel alone, because it’s a bad atmosphere.’ I’m alright being on my own. So at that point I was writing, not for any specific reason, just because I had a lot of time to kill.”
The track first surfaced online when Gallagher was recorded playing it during a soundcheck in Taiwan in April 2009, on the Asian leg of Oasis’ Dig Out Your Soul' world tour. Even in that stripped-back, unfinished form, the song’s strength was immediately apparent, quickly becoming a fan favourite long before its official release.
At its heart, 'If I Had A Gun' is a deeply personal love song, widely understood to be written about Noel’s then wife, Sara MacDonald. At a time when his professional life was marked by tension and instability, the song offers a glimpse into the emotional anchor that the relationship provided. Rather than portraying love as dramatic or idealised, Noel presents it as something grounding and quietly sustaining.
It's a powerful declaration of love, using metaphors like "shoot a hole into the sun" and "fly you to the moon" to show extreme devotion. "Excuse me if I spoke too soon / My eyes have always followed you around the room". As a moment where Noel shows his vulnerable side a little to portray his feelings for someone he really cared about.
An exceptional song.
Noel wrote this song almost a decade before it was finally released, during a visit to Thailand in 2001. At the time, it was intended for Oasis and sat in various demo forms for years, quietly waiting for the right moment. Despite Noel’s belief in the song, it repeatedly slipped through the cracks during a turbulent period for the band.
The track was first seriously worked on during the sessions for 'Don’t Believe the Truth', but the vocals were never completed. It resurfaced again during the recording of 'Dig Out Your Soul', where history repeated itself. According to Noel, the song stalled once more due to competing priorities in the studio and, as so often with late-period Oasis, unresolved tensions between the brothers.
Recalling the moment to NME, Noel explained how the opportunity finally slipped away in Los Angeles:
“That was recorded for Don’t Believe the Truth, and the vocals never got finished. I can’t remember exactly what happened, but it never got finished. And when we recorded it again for Dig Out Your Soul, I remember being in the foyer of the W Hotel in Los Angeles, and Liam had just got back, and we had two days left, and I said, ‘We’ve got to do the vocals on this today,’ and he said, ‘No, we’ve got to do ‘I’m Outta Time’ first because that’s a more important song.’ And he never got round to doing it.”
After Oasis came to an end, Noel finally reclaimed the song for himself. He re-recorded it for his self-titled debut as Noel Gallagher’s High Flying Birds, transposing it into a different key to better suit his own vocal range. The new version is slightly quicker and more fluid, giving the track a sense of lift and warmth that hadn’t been present in the earlier demos.
Speaking to Spin magazine, Gallagher explained the subtle changes and the song’s underlying meaning:
“Compared to the previous demos, the new version is in a different key and slightly quicker. The arrangement, melody, and words are the same, though. It’s about the power of music and how it can transport you to a different place, even if for just three minutes.”
That sentiment lies at the very heart of the song. Both lyrically and musically, it plays out as an ode to escapism, the idea that music has the power to momentarily lift you out of your surroundings, offering comfort, clarity, or simple release. The melody carries a quiet reassurance, unfolding with an ease that feels deliberate and unforced, as though the song itself is actively transporting the listener somewhere calmer and more familiar.
Escapism is a defining theme of Noel’s debut solo record. Having just stepped away from Oasis, he was in the process of redefining both his identity and his creative voice. Freed from the expectations and internal conflicts of the band, Noel found space to let his songs breathe, allowing mood and melody to take precedence over bombast. In that context, the track feels symbolic, not just an escape for the listener, but for Noel himself, as he carved out a new path and proved that his songwriting could thrive on its own terms.
'AKA What a Life' was released as the second single from his self-titled solo album, and immediately stuck out to fans. This was a departure from the later-day Oasis songs, blending rock, psychedelia, and dance influences. To create a euphoric, introspective anthem.
From the very first notes of 'AKA… What a Life!', listeners are greeted with an infectious, driving beat that sets the tone for the entire track. Unlike the more guitar-heavy anthems of Oasis, this song leans into a more groove-oriented, rhythmic approach. The bassline pulses with an almost hypnotic quality, giving the song an underlying sense of movement and urgency. Gallagher’s signature layered guitars are still present, but they play a supporting role, allowing the rhythm section to take centre stage.
One of the most intriguing aspects of the song is its danceable nature. While Oasis was known for its stadium-filling rock anthems, 'AKA… What a Life!' introduces elements of electronic music and psychedelia that weren’t as prominent in Gallagher’s previous work. The beat is reminiscent of classic 90s dance tracks, infused with a rolling, almost trance-like energy that feels designed for a festival crowd.
Upon the release, Noel talked about the song, stating that it originally started asan “acoustic shuffle” inspired by the Kinks, but evolved into something altogether different. “One afternoon I was listening to not on purpose I might add, but completely by accident ‘Strings of Life’ by a band called Rhythim is Rhythim. I stopped at the piano at the song’s beginning and thought, ‘Wow. How can something like that fit in my song?’ So I got the guitar out and played the song again and thought, ‘Yeah. This is going to work.’ I recorded a demo in the studio with a bass drum and piano, and thought, ‘This is fucking disco! How am I gonna dance to this?’ But I’m a big fan of dance music, like the acid house movement. Between the years of ’87 and 1990, I was completely into running around Manchester high on ecstasy, just being a fucking nutcase. Those were happy days.”
Despite the electronic elements, Gallagher's unmistakable songwriting remains at the core of the track. His ability to craft soaring, melodic choruses is on full display here. The hook is simple yet incredibly effective, drawing listeners in with a sense of euphoria and release. It’s a track that feels both introspective and celebratory, balancing Gallagher’s knack for emotional depth with an undeniable sense of motion and excitement.
When 'AKA… When ' What a Life!' was released, it marked a significant departure from Gallagher’s past work. His decision to go solo after Oasis’s dramatic split was met with both excitement and scepticism. Would he be able to carry the weight of his legacy on his own? Could he still craft anthems that resonated with a wide audience?
The album Noel Gallagher’s High Flying Birds was, in many ways, a proving ground for Gallagher. Free from the tensions that had plagued Oasis, particularly his famously turbulent relationship with his brother, Liam. Noel was able to create music entirely on his own terms. This newfound creative freedom is evident in 'AKA… What a Life!', which feels more experimental and open-ended than much of his previous work.
The song’s place within the album is also significant. While tracks like 'If I Had a Gun…' and 'The Death of You and Me' leaned into Gallagher’s more traditional songwriting strengths, 'AKA… What a Life' pushed the boundaries, blending rock and electronic elements in a way that felt both fresh and natural. It was a bold statement, one that signalled Gallagher wasn’t content with merely rehashing the past but was eager to explore new sonic landscapes.
Noel's solo career has taken numerous turns throughout the nearly fifteen years since the release of this record. None of those turns would have been possible without this song.
Thank you for reading
Jack