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Metal detectors at Salle Wilfrid Pelletier. Finally, dragging the old dowager of a concert hall down to our level.

It was just Place des Arts’s way of telling rock’n’Noel fans, “Can’t take you anywhere.” For here were the remnants of Oasis nation gathered for a sold-out Noel Gallagher’s High Flying Birds closing out the Montreal International Jazz Festival, and a summit meeting with the halcyon ’90s. Back when that talk was of Britpop, not Brexit. When everyone had money in both pockets and rock’n’roll still lived on the airwaves and in record stores – all things now gone.

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And as the musical embodiment of “if it ain’t broke,” Gallagher would remind everyone of the oomph of a decent melody and slab-chord guitar. In truth, he would work harder vocally than brother Liam ever did in a satisfying 20-song overview of the two careers – global smash and solo aftermath.

Everybody’s on the Run opened with that unmistakable sense of familiarity that comes with a (every) Noel Gallagher composition. There used to be an edge of mockery to that comment. Now it’s more like laddish gratitude. Lock All the Doors was charging and weighty, and in Riverman, you thought – hey, he’s a bit of a hippie.