Template:Short description Template:Distinguish Template:Use dmy dates Template:Use British English {{#invoke:Infobox|infobox}}Template:Template other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox music genre with unknown parameter "_VALUE_"|ignoreblank=y| alt | caption | cultural_origins | current_year | current_year_override | current_year_title | derivatives | etymology | footnotes | fusiongenres | image | image_size | instruments | local_scenes | name | native_name | native_name_lang | other_names | other_topics | regional_scenes | stylistic_origins | subgenrelist | subgenres |showblankpositional=1}} Britpop was a mid-1990s British-based music culture movement that emphasised Britishness. Musically, Britpop produced bright, catchy alternative rock, with significant influences from British guitar pop of the 1960s and 1970s. Britpop was considered a musical reaction to the darker lyrical themes and soundscapes of the American-led grunge music of the time, and Britain's own shoegaze music scene. The movement brought British alternative rock into the mainstream and formed the larger British popular cultural movement, Cool Britannia, which evoked the Swinging Sixties and the British guitar pop of that decade.
Britpop was a phenomenon that highlighted bands emerging from the independent music scene of the early 1990s. Although often seen as a cultural moment rather than a distinct musical genre, its associated bands typically drew inspiration from the British pop music of the 1960s, the glam rock and punk rock of the 1970s, and the indie pop of the 1980s.
The most successful bands linked with Britpop were Oasis, Blur, Suede, and Pulp, known as the "big four" of the movement. The timespan of Britpop's popularity is generally considered to be 1993–1997, and its peak years to be 1995–1996. A chart battle between Blur and Oasis (dubbed "The Battle of Britpop") brought the movement to the forefront of the British press in 1995. While music was the main focus, fashion, art and politics also got involved, with Tony Blair and New Labour aligning themselves with the movement.
During the late 1990s, many Britpop acts began to falter commercially or break up, or otherwise moved towards new genres or styles. Commercially, Britpop lost out to teen pop, while artistically it segued into a post-Britpop indie movement, associated with bands such as Travis and Coldplay.
Style, roots and influencesEdit
Though Britpop has sometimes been viewed as a marketing tool and more of a cultural moment than a distinct musical genre,<ref name=Till/><ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> there are musical conventions and influences the bands grouped under the Britpop term have in common. Britpop bands show elements from the British pop music of the 1960s, glam rock and punk rock of the 1970s, and indie pop of the 1980s in their music, attitude, and clothing. Specific influences vary: Blur drew from the Kinks and early Pink Floyd, Oasis took inspiration from the Beatles, and Elastica had a fondness for arty punk rock, notably Wire and both incarnations of Adam and the Ants.<ref>Template:Cite news</ref><ref>Elastica interview, The Face February 1995.</ref> Regardless, Britpop artists project a sense of reverence for British pop sounds of the past.<ref>Template:Cite book</ref> The Kinks' Ray Davies and XTC's Andy Partridge are sometimes advanced as the "godfathers" or "grandfathers" of Britpop,<ref name="ray">Template:Cite book</ref> though Davies disputes it.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Others similarly labelled include Paul Weller<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Adam Ant.<ref>Adam Ant and Marco Pirroni interview NME February 11, 1995</ref>
Alternative rock acts from the indie scene of the 1980s and early 1990s were the direct ancestors of the Britpop movement. The influence of the Smiths is common to the majority of Britpop artists.<ref name="Harris, pg. 385">Harris, pg. 385.</ref> The Madchester scene, fronted by the Stone Roses, Happy Mondays and Inspiral Carpets (for whom Oasis's Noel Gallagher had worked as a roadie during the Madchester years), was an immediate root of Britpop since its emphasis on good times and catchy songs provided an alternative to the British-based shoegazing and American based grunge styles of music.<ref name=allmusic>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Pre-dating Britpop by four years, Liverpool-based group the La's hit single "There She Goes" was described by Rolling Stone as a "founding piece of Britpop's foundation".<ref>Template:Cite magazine</ref> Naming it his favourite song from the 1990s ("There She Goes" was originally released in 1988), Noel Gallagher once declared that "Oasis want to finish what The La's started".<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Local identity and regional British accents are common to Britpop groups, as well as references to British places and culture in lyrics and image.<ref name=Till>Template:Cite book</ref> Stylistically, Britpop bands use catchy hooks and lyrics that were relevant to young British people of their own generation.<ref name=allmusic /> Britpop bands conversely denounced grunge as irrelevant and having nothing to say about their lives. In contrast to the dourness of grunge, Britpop was defined by "youthful exuberance and desire for recognition".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Damon Albarn of Blur summed up the attitude in 1993 when after being asked if Blur were an "anti-grunge band" he said, "Well, that's good. If punk was about getting rid of hippies, then I'm getting rid of grunge."<ref name=shite>Template:Cite journal</ref>
In spite of the professed disdain for the genres, some elements of both crept into the more enduring facets of Britpop. Noel Gallagher has since championed Ride and once stated that Nirvana's Kurt Cobain was the only songwriter he had respect for in the last ten years, and that he felt their music was similar enough that Cobain could have written "Wonderwall".<ref>Template:Cite journal</ref> By 1996, Oasis's prominence was such that NME termed a number of Britpop bands (including The Boo Radleys, Ocean Colour Scene and Cast) "Noelrock", citing Gallagher's influence on their music.<ref>Kessler, Ted. "Noelrock!" NME. 8 June 1996.</ref> Journalist John Harris described these bands, and Gallagher, as sharing "a dewy-eyed love of the 1960s, a spurning of much beyond rock's most basic ingredients, and a belief in the supremacy of 'real music'".<ref>Harris, pg. 296.</ref>
The imagery associated with Britpop was equally British and working class. A rise in unabashed maleness, exemplified by Loaded magazine, binge drinking and lad culture in general, would be very much part of the Britpop era. The Union Jack became a prominent symbol of the movement (as it had a generation earlier with mod bands such as the Who) and its use as a symbol of pride and nationalism contrasted deeply with the controversy that erupted just a few years before when former Smiths singer Morrissey performed draped in it.<ref>Harris, pg. 295.</ref> The emphasis on British reference points made it difficult for the genre to achieve success in the US.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Origins and first yearsEdit
John Harris has suggested that Britpop began when Blur's fourth single "Popscene" and Suede's "The Drowners" were released around the same time in the spring of 1992. He stated, "[I]f Britpop started anywhere, it was the deluge of acclaim that greeted Suede's first records: all of them audacious, successful and very, very British."<ref>The Last Party: Britpop, Blair and the Demise of English Rock; John Harris; Harper Perennial; 2003.</ref> Suede were the first of the new crop of guitar-orientated bands to be embraced by the UK music media as Britain's answer to Seattle's grunge sound. Their debut album Suede became the fastest-selling debut album in the history of the UK.<ref name="British alt-rock">Erlewine, Stephen Thomas. "British Alternative Rock". AllMusic. Retrieved on 21 January 2011. Archived from the original on 9 December 2010.</ref> In April 1993, Select magazine featured Suede's lead singer Brett Anderson on the cover with a Union Flag in the background and the headline "Yanks go home!" The issue included features on Suede, the Auteurs, Denim, Saint Etienne and Pulp and helped start the idea of an emerging movement.<ref name=Birth>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=liveforever />
Blur were involved in a vibrant social scene in London (dubbed "The Scene That Celebrates Itself" by Melody Maker) that focused on a weekly club called Syndrome in Oxford Street; the bands that met up were a mix of music styles, some would be labelled shoegazing, while others would go on to be part of Britpop.<ref>Harris, pg. 57.</ref> The dominant musical force of the period was the grunge invasion from the United States, which filled the void left in the indie scene by the Stone Roses' inactivity.<ref name=liveforever>Live Forever: The Rise and Fall of Brit Pop. Passion Pictures. 2004.</ref> Blur, however, took on an Anglocentric aesthetic with their second album Modern Life Is Rubbish (1993).
Blur's new approach was inspired by a tour of the United States in the spring of 1992. During the tour, frontman Damon Albarn began to resent American culture and found the need to comment on that culture's influence seeping into Britain.<ref name="liveforever" /> Justine Frischmann, formerly of Suede and leader of Elastica (and at the time in a relationship with Albarn) explained, "Damon and I felt like we were in the thick of it at that pointTemplate:Nbsp... it occurred to us that Nirvana were out there, and people were very interested in American music, and there should be some sort of manifesto for the return of Britishness."<ref>Harris, pg. 79.</ref> John Harris wrote in an NME article just before the release of Modern Life is Rubbish: "[Blur's] timing has been fortuitously perfect. Why? Because, as with baggies and shoegazers, loud, long-haired Americans have just found themselves condemned to the ignominious corner labelled 'yesterday's thing'."<ref name=shite /> The music press also fixated on what the NME had dubbed the New Wave of New Wave, a term applied to the more punk-derivative acts such as Elastica, S*M*A*S*H and These Animal Men.
While Modern Life Is Rubbish was a moderate success, Blur's third album, Parklife, made them arguably the most popular band in the UK in 1994.<ref name="British alt-rock" /> Parklife continued the fiercely British nature of its predecessor, and coupled with the death of Nirvana's Kurt Cobain in April of that year British alternative rock became the dominant rock genre in the country. That same year Oasis released their debut album Definitely Maybe, which broke Suede's record for fastest-selling debut album; it went on to be certified 7× Platinum (2.1 million sales) by the BPI.<ref name="British alt-rock" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Harris, pg. 178.</ref> Blur won four awards at the 1995 Brit Awards, including Best British Album for Parklife (ahead of Definitely Maybe).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1995, Pulp released the album Different Class which reached number one, and included the single "Common People". The album sold over 1.3 million copies in the UK.<ref name="UK sales">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The term "Britpop" arose when the media were drawing on the success of British designers and films, the Young British Artists (sometimes termed "Britart") such as Damien Hirst, and on the mood of optimism with the decline of John Major's government, and the rise of the youthful Tony Blair as leader of the Labour Party.<ref name = britart>Template:Cite book</ref> After terms such as "the New Mod" and "Lion Pop"<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> were used in the press around 1992, journalist (and now BBC Radio 6 Music DJ) Stuart Maconie used the term Britpop in 1993 (though recounting the event in a BBC Radio 2 programme from 2020, he believed it may have been used in the 1960s, around the time of the British Invasion).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> However, journalist and musician John Robb states he had used the term in the late 1980s in Sounds magazine to refer to bands such as the La's, the Stone Roses and Inspiral Carpets.<ref>Template:Cite news</ref>
It was not until 1994 that Britpop started to be used by the UK media in relation to contemporary music and events.<ref>Harris, pg. 201.</ref> Bands emerged aligned with the new movement. At the start of 1995, bands including Sleeper, Supergrass and Menswear scored pop hits.<ref>Harris, pg. 203–04.</ref> Elastica released their debut album Elastica that March; its first week sales surpassed the record set by Definitely Maybe the previous year.<ref>Harris, pg. 210–11.</ref> The music press viewed the scene around Camden Town as a musical centre; frequented by groups like Blur, Elastica, and Menswear; Melody Maker declared "Camden is to 1995 what Seattle was to 1992, what Manchester was to 1989, and what Mr Blobby was to 1993."<ref>Parkes, Taylor. "It's An NW1-derful Life". Melody Maker. 17 June 1995.</ref>
"The Battle of Britpop"Template:AnchorEdit
A chart battle between Blur and Oasis, dubbed "The Battle of Britpop", brought Britpop to the forefront of the British press in 1995. The bands had initially praised each other but over the course of the year antagonisms between the two increased.<ref>Richardson, Andy. "The Battle of Britpop". NME. 12 August 1995.</ref> Spurred on by the media, they became engaged in what the NME dubbed on the cover of its 12 August issue the "British Heavyweight Championship" with the pending release of Blur's single "Country House" and Oasis' "Roll with It" on the same day. The battle pitted the two bands against each other, with the conflict as much about British class and regional divisions as it was about music.<ref>Harris, pg. 230.</ref> Oasis were taken as representing the North of England, while Blur represented the South.<ref name="liveforever" /> The event caught the public's imagination and gained mass media attention in national newspapers, tabloids and television news. NME wrote about the phenomenon:
<templatestyles src="Template:Blockquote/styles.css" />
Yes, in a week where news leaked that Saddam Hussein was preparing nuclear weapons, everyday folks were still getting slaughtered in Bosnia and Mike Tyson was making his comeback, tabloids and broadsheets alike went Britpop crazy.<ref>"Roll with the presses". NME. 26 August 1995.</ref>{{#if:|{{#if:|}}
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Billed as the greatest pop rivalry since the Beatles and the Rolling Stones,<ref>Template:Cite news</ref> it was spurred on by jibes thrown back and forth between the two groups, with Oasis dismissing Blur as "Chas & Dave chimney sweep music", while Blur referred to their opponents as the "Oasis Quo" in a deriding of their alleged unoriginality and inability to change.<ref name="Manning"/> In what was the best week for UK singles sales in a decade, on 20 August, Blur's "Country House" sold 274,000 copies against "Roll with It" by Oasis which sold 216,000, the songs charting at number one and number two, respectively.<ref name="Chart Battle">Template:Cite news</ref><ref>Harris, pg. 235.</ref> Blur performed their chart topping single on the BBC's Top of the Pops, with the band's bassist Alex James wearing an 'Oasis' t-shirt.<ref>Template:Cite news</ref> However, in the long run Oasis became more commercially successful than Blur, at home and abroad.<ref name="Manning">Template:Cite book</ref> In a 2019 interview, Oasis bandleader Noel Gallagher reflected on the chart battle between the two songs, both of which he saw as "shit", and suggested that a chart race between Oasis' "Cigarettes & Alcohol" and Blur's "Girls & Boys" would have had greater merit. He also noted that he and Blur frontman Damon Albarn – with whom Gallagher had enjoyed multiple musical collaborations during the 2010s<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> – were now friends.<ref name="Reel">Template:Cite episode</ref> Both men have noted that they do not discuss their 1990s rivalry,<ref name="Reel"/><ref name="Reilly">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> with Albarn adding, "I value my friendship with Noel because he is one of the only people who went through what I did in the Nineties."<ref name="Reilly"/> Noel Gallagher has also described Blur guitarist Graham Coxon as "one of the most talented guitarists of his generation."<ref name="dvd">Live Forever: The Rise and Fall of Brit Pop. Bonus interviews.</ref>
Peak and declineEdit
In the months following the chart battle, NME states, "Britpop became a major cultural phenomenon".<ref name="Chart Battle"/> Oasis's second album, (What's the Story) Morning Glory?, sold over four million copies in the UK – becoming the fifth best-selling album in UK chart history.<ref>"The UK's biggest studio albums of all time". OfficialCharts.com. 13 October 2018. Retrieved on 7 December 2018.</ref> Blur's third album in their 'Life' trilogy, The Great Escape, sold over one million copies.<ref>BPI Certified Awards Search Template:Webarchive British Phonographic Industry. Note: reader must define "Search" parameter as "Blur".</ref> At the 1996 Brit Awards, both albums were nominated for Best British Album (as was Pulp's Different Class), with Oasis winning the award.<ref name="BRITs">Template:Cite news</ref> All three bands were also nominated for Best British Group and Best Video, which were won by Oasis.<ref name="BRITs"/> While accepting Best Video (for "Wonderwall"), Oasis taunted Blur by singing the chorus of the latter's "Parklife" and changing the lyrics to "shite life".<ref name="Manning"/>
Oasis' third album Be Here Now (1997) was highly anticipated. Despite initially attracting positive reviews and selling strongly, the record was soon subjected to strong criticism from music critics, record-buyers and even Noel Gallagher himself for its overproduced and bloated sound. Music critic Jon Savage pinpointed Be Here Now as the moment where Britpop ended; Savage said that while the album "isn't the great disaster that everybody says", he commented that "[i]t was supposed to be the big, big triumphal record" of the period.<ref name="liveforever" /> At the same time, Blur sought to distance themselves from Britpop with their self-titled fifth album,<ref>Harris, pg. 321–22.</ref> assimilating American lo-fi influences such as Pavement. Albarn explained to the NME in January 1997 that "We created a movement: as far as the lineage of British bands goes, there'll always be a place for usTemplate:Nbsp... We genuinely started to see that world in a slightly different way."<ref>Mulvey, John. "We created a movementTemplate:Nbsp... there'll always be a place for us". NME. 11 January 1997.</ref>
As Britpop slowed, many acts began to falter and broke up.<ref name="Harris, p. 354">Harris, pg. 354.</ref> The sudden popularity of the pop group the Spice Girls has been seen as having "snatched the spirit of the age from those responsible for Britpop".<ref name="Harris, p. 347–48">Harris, p. 347–48.</ref> While established acts struggled, attention began to turn to the likes of Radiohead and the Verve, who had been previously overlooked by the British media. These two bands – in particular Radiohead – showed considerably more esoteric influences from the 1960s and 1970s that were uncommon among earlier Britpop acts. In 1997, Radiohead and the Verve released their respective albums OK Computer and Urban Hymns, both widely acclaimed.<ref name="Harris, p. 354"/> Post-Britpop bands such as Travis, Stereophonics and Coldplay, influenced by Britpop acts, particularly Oasis, with more introspective lyrics, were some of the most successful rock acts of the late 1990s and early 2000s.<ref>Harris, pg. 369–70.</ref>
AftermathEdit
LegacyEdit
Retrospective documentaries on the movement include The Britpop Story, a BBC programme presented by John Harris on BBC Four in August 2005 as part of Britpop Night, ten years after Blur and Oasis went head-to-head in the charts,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> and Live Forever: The Rise and Fall of Brit Pop, a 2003 documentary film written and directed by John Dower. Both documentaries include mention of Tony Blair and New Labour's efforts to align themselves with the distinctly British cultural resurgence that was underway, as well Britpop artists such as Damien Hirst.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Successors and revivalsEdit
Post-BritpopEdit
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After Britpop the media focused on bands that may have been established acts, but had been overlooked due to focus on the Britpop movement. Bands such as Radiohead and the Verve, and new acts such as Travis, Stereophonics, Feeder and particularly Coldplay, achieved wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.<ref name=Harris2004/><ref name=Dowling2005/><ref>S. Birke, "Label Profile: Independiente" Template:Webarchive, Independent on Sunday, 11 April 2008, retrieved 2 January 2010.</ref><ref name=Goodden2002/> These bands avoided the Britpop label while still producing music derived from it.<ref name=Harris2004>J. Harris, Britpop!: Cool Britannia and the Spectacular Demise of English Rock (Da Capo Press, 2004), Template:ISBN, pp. 369–70.</ref><ref name="Borhwick&Moy2004">S. Borthwick and R. Moy, Popular Music Genres: an Introduction (Edinburgh: Edinburgh University Press, 2004), Template:ISBN, p. 188.</ref> Bands that had enjoyed some success during the mid-1990s, but were not really part of the Britpop scene, included the Verve and Radiohead.<ref name=Harris2004/> The music of most bands was guitar based,<ref name=ErlewineAM/><ref name="indie">Template:Cite book</ref> often mixing elements of British traditional rock (or British trad rock),<ref>[{{#ifeq: yes | yes | https://www.allmusic.com/explore/style/d4360{{
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}} "British Trad Rock"], AllMusic, retrieved 3 January 2010.</ref> particularly the Beatles, the Rolling Stones and Small Faces<ref name=Patridis2004>A. Petridis, "Roll over BritpopTemplate:Nbsp... it's the rebirth of art rock", The Guardian, 14 February 2004, retrieved 2 January 2010.</ref> with American influences. Post-Britpop bands also used elements from 1970s British rock and pop music.<ref name="indie"/> Drawn from across the UK, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height.<ref name=indie/><ref>M. Cloonan, Popular Music and the State in the UK: Culture, Trade or Industry? (Aldershot: Ashgate, 2007), Template:ISBN, p. 21.</ref><ref>A. Begrand, "Travis: The boy with no name", Pop matters, retrieved 2 January 2010.</ref><ref>"Whatever happened to our Rock and Roll" Template:Webarchive, Stylus Magazine, 2002-12-23, retrieved 6 January 2010.</ref> This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success.<ref name=Dowling2005>S. Dowling, "Are we in Britpop's second wave?" BBC News, 19 August 2005, retrieved 2 January 2010.</ref> They have been seen as presenting the image of the rock star as an ordinary person, or "boy-next-door"<ref name=ErlewineAM>S. T. Erlewine, "Travis: The Boy With No Name", AllMusic, retrieved, 17 December 2011.</ref> and their increasingly melodic music was criticised for being bland or derivative.<ref>A. Petridis, "And the bland played on", The Guardian, 26 February 2004, retrieved 2 January 2010.</ref>
The cultural and musical scene in Scotland, dubbed "Cool Caledonia" by some elements of the press,<ref name=Hill2007/> produced a number of successful alternative acts, including the Supernaturals from Glasgow.<ref>D. Pride, "Global music pulse", Billboard, 22 Aug 1998, 110 (34), p. 41.</ref> Travis, also from Glasgow, were one of the first major rock bands to emerge in the post-Britpop era,<ref name=Harris2004/><ref name=Bogdanov2002Travis>V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), Template:ISBN, p. 1157.</ref> and have been credited with a major role in disseminating and even creating the subgenre of post-Britpop.<ref>M. Collar, "Travis: Singles", AllMusic, retrieved 17 December 2011.</ref><ref>S. Ross, "Britpop: rock aint what it used to be"Template:Dead link, McNeil Tribune, 20 January 2003, retrieved 3 December 2010.</ref> From Edinburgh Idlewild, more influenced by post-grunge, produced three top 20 albums, peaking with The Remote Part (2002).<ref>J. Ankeny, [{{#ifeq: yes | yes | https://www.allmusic.com/artist/p380736{{
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}} "Idlewild"], AllMusic, retrieved 7 January 2010.</ref> The first major band to break through from the post-Britpop Welsh rock scene, dubbed "Cool Cymru",<ref name=Hill2007>S. Hill, Blerwytirhwng?: the Place of Welsh Pop Music (Aldershot: Ashgate, 2007), Template:ISBN, p. 190.</ref> were Catatonia, whose single "Mulder and Scully" (1998) reached the top ten in the UK, and whose album International Velvet (1998) reached number one, but they were unable to make much impact in the US and, after personal problems, broke up at the end of the century.<ref name=Goodden2002>J. Goodden, "Catatonia – Greatest Hits", BBC Wales, 2 September 2002, retrieved 3 January 2010.</ref><ref>[{{#ifeq: yes | yes | https://www.allmusic.com/artist/p203323/biography{{
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}} "Catatonia"], AllMusic, retrieved 3 January 2010.</ref> Other Welsh bands included Stereophonics<ref name=Bogdanov2002Stereophonics>V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Backbeat Books, 3rd edn., 2002), Template:ISBN, p. 1076.</ref><ref name=AllMusicStereophonics>[{{#ifeq: yes | yes | https://www.allmusic.com/artist/p225008{{
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}} "Stereophonics"], AllMusic, retrieved 3 January 2010.</ref> and Feeder.<ref>[{{#ifeq: yes | yes | https://www.allmusic.com/artist/p224868{{
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}} "Feeder"], AllMusic, retrieved 3 December 2010.</ref><ref>[{{#ifeq: yes | yes | https://www.allmusic.com/album/r640675{{
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}} "Feeder: Comfort in Sound"], AllMusic, retrieved 3 December 2010.</ref>
These acts were followed by a number of bands who shared aspects of their music, including Snow Patrol from Northern Ireland and Elbow, Embrace, Starsailor, Doves, Electric Pyramid and Keane from England.<ref name=Harris2004/><ref>P. Buckley, The Rough Guide to Rock (London: Rough Guides, 3rd end., 2003), Template:ISBN, pp. 310, 333, 337 and 1003-4.</ref> The most commercially successful band in the milieu were Coldplay, whose debut album Parachutes (2000) went multi-platinum and helped make them one of the most popular acts in the world by the time of their second album A Rush of Blood to the Head (2002).<ref name=AllMusicColdplay>[{{#ifeq: yes | yes | https://www.allmusic.com/artist/coldplay-p435023{{
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}} "Coldplay"], AllMusic, retrieved 3 December 2010.</ref><ref>Template:Citation.</ref> Snow Patrol's "Chasing Cars" (from their 2006 album Eyes Open) is the most widely played song of the 21st century on UK radio.<ref name="Chasing Cars">Template:Cite news</ref>
Post-punk/garage rock revivalEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Bands like Coldplay, Starsailor and Elbow, with introspective lyrics and even tempos, began to be criticised at the beginning of the new millennium as bland and sterile<ref>M. Roach, This Is It-: the First Biography of the Strokes (London: Omnibus Press, 2003), Template:ISBN, pp. 42 and 45.</ref> and the wave of garage rock or post-punk revival bands, like the Hives, the Vines, the Strokes, the Black Keys and the White Stripes, that sprang up in that period were welcomed by the musical press as "the saviours of rock and roll".<ref>C. Smith, 101 Albums That Changed Popular Music (Oxford: Oxford University Press, 2009), Template:ISBN, p. 240.</ref> British groups in this vein, including the Libertines, Razorlight, Kaiser Chiefs, Arctic Monkeys and Bloc Party,<ref name=Collinson2010>I. Collinson, "Devopop: pop Englishness and post-Britpop guitar bands", in A. Bennett and J. Stratton, eds, Britpop and the English Music Tradition (Aldershot: Ashgate, 2010), Template:ISBN, pp. 163–178.</ref> were viewed by some as a "second wave" of Britpop".<ref name=Dowling2005/> These bands have been seen as looking less to music of the 1960s and more to 1970s–1980s punk, new wave,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and post-punk, while still being influenced by Britpop.<ref name=Collinson2010/> Despite these developments, artists such as Travis, Stereophonics and Coldplay continued to record and enjoy commercial success into the late 2000s.<ref name=AllMusicColdplay/><ref name=AllMusicStereophonics/><ref name=AllMusicTravis>[{{#ifeq: yes | yes | https://www.allmusic.com/artist/p132643/biography{{
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}} "Travis"], AllMusic, retrieved 3 January 2010.</ref>
2010s–2020s Britpop revivalEdit
At the beginning of the 2010s, a wave of new bands emerged that combined indie rock with the Britpop of the 1990s. Viva Brother launched an update on Britpop, dubbed “Gritpop,”<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> with their debut album Famous First Words, although they did not receive significant support from the music press. In 2012, All the Young released their debut album, Welcome Home. Later, bands such as Superfood<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and the Australian band DMA's<ref>Template:Cite news</ref> joined the revival, with DMA's debut album receiving favorable reviews.<ref>Template:Citation</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In the mid-2020s, a new group of artists began drawing inspiration from the energy and iconography of mid-1990s Britain. Notable examples include Nia Archives, whose debut album Silence Is Loud features a Union Jack on its cover, and Dua Lipa, who explored Britpop influences in her album Radical Optimism. AG Cook’s triple album Britpop reimagines the genre’s aesthetic, featuring Charli XCX and a warped Union Jack cover. Rachel Chinouriri’s album What a Devastating Turn of Events notably incorporates Britpop influences, aiming to recreate the visual and sonic aesthetics of the Britpop movement. Chinouriri cited bands like Oasis and The Libertines as key inspirations.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> In 2024, Britpop group Oasis announced they were reuniting for the Oasis Live '25 Tour.<ref name="BBC cvgekk78n9zt">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
TerminologyEdit
Artists of the genre have dismissed the "Britpop" term. Oasis bandleader Noel Gallagher denied that the band were associated with the term: "We're not Britpop, we're universal rock. The media can take the Britpop and stick it as far up the back entry of the country houses as they can take it."<ref>"Noël Gallagher on other genres". YouTube, Retrieved 27 March 2020</ref> Blur guitarist Graham Coxon stated in the 2009 documentary Blur – No Distance Left to Run that he "didn't like being called Britpop, or pop, or PopBrit, or however you want to put it."<ref>"Blur – No Distance Left to Run" (2009 documentary). YouTube. Retrieved 27 March 2020</ref> Pulp frontman Jarvis Cocker also expressed his dislike for the term in an interview with Stephen Merchant on BBC Radio 4's Chain Reaction in 2010, describing it as a "horrible, bitty, sharp sound."<ref>"Stephen Merchant interviews Jarvis Cocker". BBC. Retrieved 27 March 2020</ref>
In 2020, with attention turning to "landfill indie" acts of the 2000s, Mark Beaumont of the NME argued that the term Britpop had been devalued, ignoring all the cultural aspects that had made the scene so important, with the term becoming a "catch-all" for "any band that played guitars in the 1990s."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
See alsoEdit
ReferencesEdit
- Sources
- Harris, John. Britpop!: Cool Britannia and the Spectacular Demise of English Rock. Da Capo Press, 2004. Template:ISBN.
- Harris, John. "Modern Life is Brilliant!" NME. 7 January 1995.
- Live Forever: The Rise and Fall of Brit Pop. Passion Pictures, 2004.
- Till, Rupert. "In my beautiful neighbourhood: local cults of popular music". Pop Cult. London: Continuum, 2010.
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