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Liam Gallagher invaded the stage and a fan killed it on drums during The Killers’ Latitude headline set

Liam was asked to be a special guest during The Killers’ set, but claimed “I don’t know the words to nish, man”

Liam Gallagher interrupted The Killers while they were inviting a fan to play drums with them onstage at Latitude 2018 last night (July 14) to apologise for not singing on their cover of Oasis’ ‘Acquiesce’ because he didn’t know the words to “nish”.

As The Killers were preparing to play ‘For Reasons Unknown’, singer Brandon Flowers spotted two signs in the crowd asking to play drums on the song. “Which one do you want?” Flowers asked drummer Ronnie Vannucci Jr, and Ronnie picked “the one with the moustache.”

Liam then appeared onstage, knelt before Brandon and told the crowd “Unlike some people, proper rock’n’roll stars do their job and get wankered. I don’t know the words to nish, man, but thank the Lord he does, so I’m just gonna say hello and leave Brandon to do his thing”.

The Killers then played ‘For Reasons Unknown’ with fan Henry from Cambridge storming it on drums and Ronnie playing guitar, before Brandon announced “we’re gonna play a cover now, it’s the greatest B-side of all time.” The Killers piled into a cover of ‘Acquiesce’, minus Liam.

Liam had previously appeared onstage with The Killers at the Lollapalooza festival in Brazil, during the finale of ‘All These Things That I’ve Done’.

Earlier in the day, Liam had played a surprise set in the BBC Music tent, announced via a picture of the ‘Welcome To Suffolk’ sign on his Twitter feed and including Oasis classics such as ‘Whatever’, ‘Supersonic’, ‘Wonderwall’ and ‘Live Forever’. The Vaccines played a ferocious early evening set on the main stage despite singer Justin Young battling voice issues. Allowing the crowd to sing many choruses, the band fired through ‘Post Break-Up Sex’, ‘Wetsuit’, ‘Teenage Icon’ and ‘Handsome’ amongst a plethora of speed-rock hits, and closed with latest single ‘I Can’t Quit’ from this year’s ‘Combat Sports’ album.

Mark Beaumont – NME.com