At first glance, Usher Hall seems a strange venue for a Noel Gallagher set. Its quaint nature and theatrical touches make it seem more suitable for a visit of the RSC, than an artist who has sold 55 million records, and sold out stadium after stadium for 20 years. On reflection, however, it is a master stroke. Gallagher and his adoring fans are closer now than they have ever been, and the atmosphere this creates is both electric and intoxicating. If Beady Eye was the dreaded hangover after the glorious night before - a needless travesty on a par with Rocky VI and the fourth Indiana Jones, - Noel Gallagher’s High Flying Birds is the renaissance fans could barely have dreamt of.

Despite a fairly slow start, not helped by a warm up act, who attempt, somewhat excruciatingly, to fire up the Scottish crowd by announcing their love of The Proclaimers, Gallagher ignites the crowd with a track from his new album, “Everybody's on the Run”. Despite the album having being released for a mere seven days, every word of every track is roared back at him, testament to the idol status he has earned amongst his fans.

Gallagher plays a few more new tracks to the delight of those gathered in the hall, before playing his trump card half way through the set. Although there was never any doubt as to who was centre stage previously, the rest of the High Flying Birds leave the stage, allowing the spotlight to descend (literally) on Gallagher. An acoustic version of “Wonderwall” sparks the usual routine of reducing grown men to the verge of tears; before the set reaches another level with an acoustic “Supersonic”, Oasis’s first ever single. This arrangement, a real pearl, brings Mrs Gallagher to her feet, but it is difficult to know who adores Noel more – his wife, or the drunken man to her right, unashamedly screaming: “I Love You Noel” over the edge of the grand circle. In a small but splendid arena such as this, the love for Gallagher seems stronger than ever, and as “Supersonic” reaches its conclusion, it really feels like it could be 1994 again. In the same way it felt so fresh then, Gallagher’s rearrangement leads you to think something is starting again.

The rest of the set adds to this growing impression that Gallagher is reigniting the passion amongst himself and his fans with his new work. New tracks “What a Life”, and “Broken Arrow” sound more anthemic than anything that preceded his solo album, and are intertwined expertly with the calmer, but no less exquisite Oasis tracks, “Talk Tonight” and “Half The World Away”.

The encore is a throwback to the previous era: “Don’t Look Back in Anger”, “The Importance of Being Idle”, and finally, “Little By Little”, produce a sing-along of proportions Usher Hall has probably rarely witnessed in its long and proud history. Cue the predictable but delightful cocktail of tears and hugging amongst complete strangers all over the room.

Gallagher himself is a long way from the fiery and outspoken off stage character people have grown to love and hate. Calm and collected, his longest speech is to dedicate the immensely popular new track, “If I Had a Gun”, to his “lovely wife”. Humorous chants of “Who The Fuck are Beady Eye?” from sections of the crowd are batted away with a diplomatic reply of “Come on boys, behave yourself”. Nevertheless, it is worth noting he allows the chants to ring around for a good minute or so, and isn’t exactly hasty in preventing his brother from becoming the pantomime villain of the piece.

All in all, it is difficult, rather impossible, not to be swept away by the atmosphere inside Usher Hall, even for those (including myself) who have never professed themselves to be fans of Oasis. The tracks from the new album, Noel Gallagher’s High Flying Birds are met with just as much glee as the old classics, and one thing is perfectly clear through this immensely entertaining gig – the soul of Oasis has been refreshed, and very much lives on.