CONCORD, Calif. — It was “Garbage” written at the top of the marquee, but Tuesday’s concert at Concord Pavilion may as well have been a double bill as Shirley Manson’s band shared nearly equal stage time with former Oasis cofounder Noel Gallagher and his High Flying Birds. The latter had just released a new album days earlier, as it was just the third show of the tour, Gallagher’s Bay Area fans were getting among the first taste of the new material.

He didn’t make people wait long, opening with five straight tunes from Council Skies.

Gallagher came out with 10 backing musicians, including three vocalists, and the High Flying Birds kicked right into the driving “Pretty Boy.” Gallagher held and elongated the final vowel on most lines. The title track came next and was paired with a video of an industrialized skyline and a flock of birds that formed shapes with their masses. The song droned on at the end over a few notes.

And on Noel Gallagher went, as if prompting—like one concertgoer said—the audience to eat its vegetables before it could have dessert. “Easy Now” was a midtempo tune that kicked off with an organ and had a signature Oasis-like flow. “We’re Gonna Get There in the End” was uptempo, with a kick drum and tambourine beat reminiscent of the Beatles on “Yellow Submarine,” swelling keys and just enough electric guitar to call it rock.

“So this is all stuff from the new album,” Gallagher said, finally addressing the crowd. “For the rest of you, sorry, but that’s why we’re here.”

For the final new tune, he switched from an acoustic guitar to a sunburst Gibson electric for “Open the Door, See What You Find,” which offered a Manchester sound that’s so many have tried to replicate over the years.

The next batch of songs were also “vegetables”—older High Flying Birds. The band followed bittersweet-sounding “We’re on Our Way Now” with “In the Heat of the Moment,” which Gallagher had added to the set at the previous show in the Pacific Northwest. On the straightforward anthemic rocker, he stretched out his pipes by holding and emphasizing the long notes. Driving rocker “AKA… What a Life!” the final song of this triptych, was lost in the mix with muffled vocals and buried sound.

And then it was time for dessert, which included a handful of Oasis tunes and a surprise (unless you follow Liam Gallagher in the media).

“The Masterplan” got a noticeable ovation as Gallagher introduced it, with the song’s strings replaced either with a synth or backing track.

“Does anybody remember a little song called ‘Going Nowhere?’ he asked, either growing more confident or simply because he had more to say. He got more talkative during the final portion of his set. The song came with a backing video of ’50s or ’60s roadtrip footage, including crossing the Brooklyn Bridge, passing by Dodger Stadium, going through the toll gate on the Golden Gate Bridge and more.

“Was that all right?” Gallagher asked afterward. The following “Little by Little” definitely went over well.

He’s saved the biggest treats for the very end, starting with “Live Forever,” which he began by himself on an acoustic guitar before the keyboardist, guitarist and backup singers slowly joined in. The song went over like a lullaby.

“Are there any Mancunians here?” he asked as an introduction to a cover of Joy Division’s biggest song, “Love Will Tear Us Apart.” Now, Liam Gallagher is known for spouting off about this and that, seemingly in an attempt to keep the feud with his brother going, but he had a point about Noel’s cover, which replaced the original’s hectic nature and desperation with a wall of sound.

But Noel quickly righted the ship with “Don’t Look Back in Anger,” which got the loudest ovation of the set.

Garbage followed with a fun performance of their own, but it was a different type of entertainment. Where Gallagher was mostly stood around and focused on his musicianship, Shirley Manson radiated joy as she worked the stage and made her way between her bandmates. She was talkative, and her smile was contagious.

The band is still touring its 2021 album, No Gods No Masters, and mixed numerous newer songs in between well-worn fan favorites like “I Think I’m Paranoid,” “#1 Crush” and “Stupid Girl.” The biggest difference between Tuesday’s show and their performance at the Concord Pavilion in 2021 was the presence of drummer and band cofounder Butch Vig, who’s missed time for health reasons. It was easier to see him as he was also without his signature drum kit screen, and he seemed energized on Tuesday, especially on the newer songs, wailing away at he kit.

Garbage opened with noisy garage rock tune “Supervixen,” from the band’s self-titled album before moving straight into the sinewy bass playing and sinister guitar lines of “#1 Crush.” Wearing black pants with white horizontal lines, a ringleader jacket and her blonde hair tightly pulled back, Manson stalked the stage. The song included an animated video of some fairly explicit sexual acts morphing in and out behind the band.

Newer songs “The Men Who Rule the World” and “Wolves” had jagged, slashing guitar parts and sounded generally post-punk. Some older material like “Run Baby Run” and “Special” provided a major chord counterpoint. They were happier and provided more breathing room with less tension. The first ballad of the night was “Beloved Freak,” from Not Your Kind of People. Manson stood at the microphone and kneaded her hands. The song was bass-heavy with crunchy guitar lines, and Manson threw in a verse of “This Little Light of Mine” into the ending.

She then introduced “Bleed Like Me” by saying she wants people to get the message that while we’re all different, we need to find similarities for our own well being.

“It speaks to the times we’re living in more than our other songs,” she said.

The latter half of Garbage’s set included an industrial-sounding cover of Siouxsie and the Banshees’ “Cities in Dust,” as well as the band’s biggest hits like “Only Happy When It Rains.” Manson strutted around with her hands on her hips during “I Think I’m Paranoid,” while the band cranked it up several notches for “Stupid Girl,” during which Manson hopped around and swung a microphone in her extended arm as if she were Pete Townshend.

Toronto indie rock band Metric opened the show with a 40-minute set of their own, including hits and fan favorites like “Help I’m Alive” and “Gold Guns Girls,” with songs from 2022 album Formentera. Of the newer songs, “All Comes Crashing” was the best; a certified jam with some dynamic guitar noodling by Jimmy Shaw. Emily Haines performed with a hushed, molasses-sweet spoken-word delivery on “False Dichotomy.” The band threw in older tunes like “Dark Saturday,” with Haines singing between jagged guitar lines, and set closer “Breathing Underwater,” which felt a bit sped up from the version on 2012’s Synthetica.

Haines’ only real misstep was addressing the Concord crowd as “hey Oakland.”

Follow editor Roman Gokhman at Twitter.com/RomiTheWriter. Follow photographer Nathan McKinley at Instagram.com/memories.by.mckinley.