Ex-Oasis member Paul ‘Bonehead’ Arthurs – who left the band in 2000 – was in the crowd, and said he was excited to see Liam play again.
He said: “I wasn’t going to miss this one, Beady Eye’s first gig, in Glasgow. I’m looking forward to seeing him.
“He invited me up. It’s always the same with Liam. I’ve got no problems about seeing him.”
A momentous roar greeted the band's arrival. It certainly pleased Gallagher, the frontman declaring, "You're giving me a fucking hard on," before launching into opener 'Four Letter Word.'
Liam Gallagher rolled into town last night to play the first ever show with Beady Eye, his new Noel-free band - and he had a point to prove.
"Right, it's time to get off the fence, Barrowlands 'cos I think a few of you have been sitting on it, yeah?" was the only reference he made to his brother, preferring instead to let the music do the talking.
Playing a fairly brief but enthralling set, they hammered through almost every track rom debut album Different Gear, Still Speeding, much to the delight of the crowd, who sang along with every word.
Gallagher seemed revitalised , attacking each track with an attitude not seen since the early years of Oasis.
He strode onstage to a hero's welcome and with a curt: "This is our new fuckin album" the band launched into the pounding thrash of Four Letter Word.
It was a riot of wailing guitars and crashing synths that set the stage for the most triumphant of comebacks.
Chants of "Liam! Liam!" filled every quiet moment and each new anthem was greeted like an old classic.
Quite a feat for an album that's been out for less than a week real feeling that this was a new band in their own right.
While Liam is the undoubted star, his bandmates were each given their chance to shine, with Andy Bell's blistering solo over The Rocker and Gem Archer's regular sixstring fireworks being particularly impressive.
The powerful melody of Three Ring Circus was the most Oasis-like, but it was given a sharper edge and drove the crowd even wilder.
After a rousing take on The Beat Goes On, Liam announced that: "This is our last song. We're sorry, but it's all we've got."
Fortunately it was a belter in the shape of The Morning Son, a massive psychedelic epic that ended with Gallagher standing like a king as his band build to a huge crescendo.
They returned for an awesome cover of World Of Twist's Sons Of The Stage before Liam promised to be back next year with new songs. His parting words were: "Thanks, it means a lot."
Noel, the ball's in your court!
Liam Gallagher is ruling Glasgow before he has even come on: 2,000 voices roar his name, mixing this with a booze-sozzled chant that carries on throughout the gig: "Beady! Beady! Beady fuckin' aye!"
Oasis may be no more, but if this lot are missing Noel Gallagher, it doesn't show. Still, it's hard to pinpoint exactly what Liam does that has made him the sort of idol who comes along once a generation. He wears a motorcycle jacket buttoned up (helpful for dodging the traditional Glasgow welcome of hurled beer). He edges a hand towards his private regions (not quite a Michael Jackson crotch grab, more like an scratching an itch). He stands motionless and casts, yes, a beady eye over the crowd. Yet somehow his presence in this medium-sized hall (as opposed to an Oasis-sized arena) is formidable.
It also helps that the frontman is certainly singing – and projecting his voice – better than he was doing as Oasis reached the end of the line, when they sounded like a band ready for retirement. Measuring roughly twice the volume of the band's wall-of-guitar noise, that trademark Lennon-Lydon sneer combines with the atmosphere to produce a proper, wild rock'n'roll concert. The raucous Bring the Light, hammered out over a Jerry Lee Lewis-style piano, provides the some of the most electrifying minutes of Liam's career, and leads one fan – a drunk veteran of 17 Oasis gigs – to proclaim Beady Eye are "pissing on them".
In truth, while they have undoubtedly got the energy back, you can't always say the same about the songs. Millionaire is mellifluous, Standing on the Edge of the Noise is pure swagger, Kill for a Dream oozes poignancy and The Beat Goes On gets arms swaying in the air. But The Roller and Beatles & Stones owe too much to the Beatles and the Who, respectively; meanwhile, mid-set, there are one or two clunkers that are saved only by the atmosphere. Still, the Liam-penned, slightly psychedelic The Morning Son hints at new emotional depth and seemingly addresses you-know-who: "He's in my soul, he's even in my rock'n'roll."
Noel's next move will be fascinating. In the meantime, the chant of "Beady! Beady! Beady fuckin' aye!" remains so infuriatingly catchy that Liam should turn it into song.
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