Editing Britpop

{{short description|1990s UK pop culture movement}}
{{distinguish|Bitpop|British pop music|British popular music|Britpop (A. G. Cook album)|Britpop (Robbie Williams album)}}
{{Use dmy dates|date=November 2020}}
{{Use British English|date=April 2014}}
{{Infobox music genre
| name              = Britpop
| stylistic_origins = * [[Alternative rock]]
* [[British Invasion]]
* [[Madchester]]
* [[baggy]]
* [[glam rock]]
* [[mod revival]]
* [[punk rock]]
* [[indie pop]]
* [[New wave music|new wave]]
| cultural_origins  = Mid 1990s, United Kingdom
| derivatives       = * [[Post-Britpop]]
* [[post-punk revival]]
| subgenres         = [[New wave of new wave]]
| other_topics      = * [[List of Britpop musicians]]
* [[British Invasion]]
* [[Cool Britannia]]
* [[Cool Cymru]]
* [[pop-punk]]
* [[power pop]]
* [[romo]]
* [[grunge]]
* [[shoegaze]]
}}
'''Britpop''' was a mid-1990s [[United Kingdom|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 [[Culture of the United Kingdom|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 (band)|Oasis]], [[Blur (band)|Blur]], [[Suede (band)|Suede]], and [[Pulp (band)|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 rock|indie]] movement, associated with bands such as [[Travis (band)|Travis]] and [[Coldplay]].

==Style, roots and influences==
{{multiple image 
| footer = [[Andy Partridge]] (left) and [[Ray Davies]] (right) are sometimes cited as the "godfathers of Britpop".
| image1 = Andy Partridge.jpg
| width1 = 168
| alt1 = Andy Partridge performing
| image2 = Kinks.jpg
| width2 = 140
| alt2 = Ray Davies performing
| align = left}}

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>{{cite news|url=http://www.theage.com.au/articles/2003/07/25/1058853189807.html|title=The great Britpop swindle|author=Michael Dwyer|newspaper=[[The Age]]|date=25 July 2003}}</ref><ref>{{cite web|url=https://www.independent.co.uk/arts-entertainment/music/features/the-summer-of-britpop-5347330.html|title=The summer of Britpop|author=Nick Hasted|website=Independent.co.uk|date=18 August 2005|access-date=25 August 2017|archive-date=25 August 2017|archive-url=https://web.archive.org/web/20170825214856/http://www.independent.co.uk/arts-entertainment/music/features/the-summer-of-britpop-5347330.html|url-status=dead}}</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 (band)|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 (band)|Wire]] and both incarnations of [[Adam and the Ants]].<ref>{{cite news |title=Elastica's anxiety of influence|url=https://www.independent.co.uk/arts-entertainment/music/elastica-s-anxiety-of-influence-1613582.html |access-date=20 May 2025 |work=The Independent}}</ref><ref>Elastica interview, ''[[The Face (magazine)|The Face]]'' February 1995.</ref> Regardless, Britpop artists project a sense of reverence for British pop sounds of the past.<ref>{{cite book|author=John Harris|title=Britpop!: Cool Britannia and the Spectacular Demise of English Rock|publisher=Da Capo Press|date=2004|page=202|isbn=030681367X}}</ref> The Kinks' [[Ray Davies]] and [[XTC]]'s [[Andy Partridge]] are sometimes advanced as the "godfathers" or "grandfathers" of Britpop,<ref name="ray">{{cite book|last1=Bennett|first1=Professor Andy|last2=Stratton|first2=Professor Jon|title=Britpop and the English Music Tradition|url=https://books.google.com/books?id=Ts-hAgAAQBAJ&pg=PA49|date=2013|publisher=Ashgate Publishing, Ltd.|isbn=978-1-4094-9407-2}}</ref> though Davies disputes it.<ref>{{Cite web|url=https://www.theguardian.com/music/2015/jul/16/ray-davies-kinks-not-godfather-of-britpop-concerned-uncle|title = Ray Davies: 'I'm not the godfather of Britpop … more a concerned uncle'| website=[[TheGuardian.com]] |date = 16 July 2015}}</ref>  Others similarly labelled include [[Paul Weller]]<ref>{{cite web | url= https://www.npr.org/templates/story/story.php?storyId=7387641&t=1598698211008 | title= Paul Weller: A Britpop Titan Lives On | work=[[NPR]] | first=David | last=Dye | date=13 February 2007 | access-date=29 August 2020}}</ref> and [[Adam Ant]].<ref>[[Adam Ant]] and [[Marco Pirroni]] interview NME February 11, 1995</ref>

Alternative rock acts from the [[Independent music|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>{{cite web|url=https://www.allmusic.com/style/britpop-ma0000002480|title= Explore: Britpop|website=[[AllMusic]]|date=January 2011}}</ref> Pre-dating Britpop by four years, Liverpool-based group [[the La's]] hit single "[[There She Goes (The La's song)|There She Goes]]" was described by ''[[Rolling Stone]]'' as a "founding piece of Britpop's foundation".<ref>{{cite magazine|title=40 Greatest One-Album Wonders: 13. The La's, 'The La's' (1990)|url=https://www.rollingstone.com/music/pictures/30-greatest-one-album-wonders-20160714/13-the-las-the-las-1990|magazine=[[Rolling Stone]]|date=10 May 2018|access-date=11 May 2018|archive-date=30 June 2018|archive-url=https://web.archive.org/web/20180630185917/https://www.rollingstone.com/music/pictures/30-greatest-one-album-wonders-20160714/13-the-las-the-las-1990|url-status=dead}}</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>{{cite news |title=The mystery of 'lost' rock genius Lee Mavers |url=https://www.bbc.co.uk/culture/article/20210315-the-mystery-of-lost-rock-genius-lee-mavers |access-date=20 May 2025 |publisher=BBC}}</ref><ref>{{Cite web |date=15 December 2021 |title=Noel Gallagher's favourite song from the 1990s |url=https://faroutmagazine.co.uk/noel-gallagher-favourite-song-1990s/ |work=Far Out magazine|access-date=20 May 2025}}</ref>

[[File:Nirvana around 1992.jpg|thumb|upright|Britpop was partly a reaction to the popularity of Nirvana and the dourness of [[grunge]] music]]

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>{{cite book|chapter-url=https://books.google.com/books?id=gC0JA6is7REC&pg=PA90|author=Rupert Till|page=90|title=Pop Cult|chapter=In my beautiful neighbourhood: local cults of popular music|publisher=A&C Black|date=2010|isbn=9780826432360}}</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>{{cite web |url=https://www.allmusic.com/style/britpop-ma0000002480 |title=Britpop |website=[[AllMusic]]| access-date=19 August 2012}}</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>{{cite journal|author=John Harris|title=A shite sports car and a punk reincarnation|journal=[[NME]]|date=10 April 1993}}</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 (band)|Ride]] and once stated that [[Nirvana (band)|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 (song)|Wonderwall]]".<ref>{{cite journal|author=Matthew Caws|title= Top of the Pops|journal=Guitar World|date=May 1996}}</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 (band)|Cast]]) "Noelrock", citing Gallagher's influence on their music.<ref>Kessler, Ted. "Noelrock!" ''NME''. 8 June 1996.</ref> Journalist [[John Harris (critic)|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)|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 (subculture)|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>{{cite web|author=Simon Reynolds|url=https://query.nytimes.com/gst/fullpage.html?res=940CE0D81139F931A15753C1A963958260&scp=31&sq=Britpop&st=nyt|title= RECORDINGS VIEW; Battle of the Bands: Old Turf, New Combatants|newspaper=[[The New York Times]]|date=22 October 1995}}</ref>

==Origins and first years==
[[File:Select BritPop cover April 1993.jpg|thumb|''[[Select (magazine)|Select]]'' magazine's April 1993 issue – with Suede's [[Brett Anderson]] on the cover in front of a [[Union Flag]] – emphasised "Great British pop"]]

John Harris has suggested that Britpop began when [[Blur (band)|Blur]]'s fourth single "[[Popscene]]" and [[Suede (band)|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 (album)|Suede]]'' became the fastest-selling debut album in the history of the UK.<ref name="British alt-rock">Erlewine, Stephen Thomas. [https://web.archive.org/web/20101209194628/http://allmusic.com/explore/essay/british-alternative-rock-t579 "British Alternative Rock"]. ''[[AllMusic]]''. Retrieved on 21 January 2011. Archived from [https://www.allmusic.com/explore/essay/british-alternative-rock-t579 the original] on 9 December 2010.</ref> In April 1993, ''[[Select (magazine)|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 (band)|Denim]], [[Saint Etienne (band)|Saint Etienne]] and [[Pulp (band)|Pulp]] and helped start the idea of an emerging movement.<ref name=Birth>{{cite web|url=http://news.bbc.co.uk/1/hi/entertainment/4144458.stm|website=Bbc.co.uk|title=Looking back at the birth of Britpop |author=Ian Youngs |date=15 August 2005}}</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 [[The Stone Roses|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 point{{nbsp}}... it occurred to us that [[Nirvana (band)|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 (band)|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&nbsp;million sales) by the [[British Phonographic Industry|BPI]].<ref name="British alt-rock" /><ref>{{cite web|url=http://www.bpi.co.uk/certifiedawards/Search.aspx |publisher=[[British Phonographic Industry]] |title=Certified Awards Search |access-date=9 April 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110604040853/http://www.bpi.co.uk/certifiedawards/search.aspx |archive-date=4 June 2011}}</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>{{cite web |url=http://www.brits.co.uk/history/shows/1995 |title=The BRITs 1995 |publisher=The BRIT Awards |access-date=4 December 2011 |archive-date=12 November 2011 |archive-url=https://web.archive.org/web/20111112052136/http://www.brits.co.uk/history/shows/1995 |url-status=dead }}</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">{{cite web |first=Rob |last=Copsey |title=The biggest selling Mercury Prize-winning albums revealed |url=http://www.officialcharts.com/chart-news/the-biggest-selling-mercury-prize-winning-albums-revealed__20414/ |publisher=[[Official Charts Company]] |date=17 September 2018 |access-date=17 September 2018}}</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 (UK)|Labour Party]].<ref name = britart>{{cite book|url=https://books.google.com/books?id=30NDj3_0wmMC&pg=PA53|page=53|title=The British Pop Dandy: Masculinity, Popular Music and Culture|author=Stan Hawkins|publisher=Ashgate Publishing, Ltd.|date= 2009|isbn=9780754658580}}</ref> After terms such as "the New Mod" and "Lion Pop"<ref>{{cite web|url=https://www.bbc.co.uk/programmes/m000m8w0|title=The Battle of Britpop : 25 Years On|website=Bbc.co.uk|access-date=3 September 2020}}</ref><ref>{{Cite web|url=https://www.shiiineon.com/blog/interview-cud/|title=INTERVIEW: Cud|website=Shiiineon.com|date=16 January 2018|access-date=3 September 2020}}</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>{{cite web|url=https://www.bbc.co.uk/programmes/m000m447|title=The Britpop Top 50 with Jo Whiley|website=Bbc.co.uk|access-date=3 September 2020}}</ref> However, journalist and musician [[John Robb (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>{{cite news |title='I had no idea they would be so big' – John Robb on Manchester music, Britpop, and being the first to interview Nirvana |url=https://inews.co.uk/inews-lifestyle/people/i-no-idea-big-john-robb-manchester-music-britpop-first-interview-nirvana/ |access-date=23 June 2019 |website=Inews.co.uk}}</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 (band)|Sleeper]], [[Supergrass]] and [[Menswear (band)|Menswear]] scored pop hits.<ref>Harris, pg. 203–04.</ref> Elastica released their debut album ''[[Elastica (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"{{anchor|Battle of Britpop|The battle of Britpop}}==
[[File:Nme blur oasis.jpg|thumb|left|The UK media extensively covered the chart battle between [[Blur (band)|Blur]] and [[Oasis (band)|Oasis]]. The anticipation over who would be number one in the week leading up to the chart being announced saw Albarn (left) appear on the ''[[ITV News at Ten]]''.]]

A chart battle between Blur and [[Oasis (band)|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 (song)|Country House]]" and Oasis' "[[Roll with It (Oasis song)|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, [[Tabloid (newspaper format)|tabloids]] and television news. ''NME'' wrote about the phenomenon:

{{blockquote|Yes, in a week where news leaked that [[Saddam Hussein]] was [[Iraq and weapons of mass destruction|preparing nuclear weapons]], everyday folks were [[Bosnian genocide|still getting slaughtered]] in [[Republic of Bosnia and Herzegovina|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>}}

Billed as the greatest pop rivalry since [[the Beatles]] and [[the Rolling Stones]],<ref>{{cite news |title=When Blur beat Oasis in the battle of Britpop |url=https://www.telegraph.co.uk/only-in-britain/blur-beat-oasis-in-chart-battle/ |access-date=14 June 2019 |newspaper=[[The Daily Telegraph]]}}</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 [[Status Quo (band)|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">{{cite news |title=Blur and Oasis' big Britpop chart battle – the definitive story of what really happened |url=https://www.nme.com/features/blur-and-oasis-big-britpop-chart-battle-the-definitive-story-of-what-really-happened-757277#egzloKzdAR3RZ0IM.99 |access-date=18 September 2019 |website=Nme.com}}</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>{{cite news |title=The best of Blur at the BBC |url=https://www.bbc.co.uk/music/articles/699d6808-8536-4dfc-b158-bde06c9281f7 |access-date=19 September 2019 |agency=BBC}}</ref> However, in the long run Oasis became more commercially successful than Blur, at home and abroad.<ref name="Manning">{{cite book |last1=Manning |first1=Sean |title=Rock and Roll Cage Match: Music's Greatest Rivalries, Decided |date=2008 |publisher=Crown/Archetype |page=102}}</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 (Blur song)|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>{{cite news |date=23 March 2013 |title=Noel Gallagher and Damon Albarn make history, performing together in London |url=https://www.nme.com/news/music/noel-gallagher-231-1259218 |access-date=18 September 2019 |website=Nme.com}}</ref><ref>{{cite web|author=Luke Morgan Britton |url=https://www.nme.com/news/music/damon-albarn-noel-gallagher-gorillaz-we-got-the-power-2026536 |title=Damon Albarn talks working with Noel Gallagher on new Gorillaz track 'We Got The Power' |website=Nme.com |date=23 March 2017 |access-date=26 July 2017}}</ref> – were now friends.<ref name="Reel">{{cite episode|title=Noel Gallagher|series=Reel Stories|network=[[BBC Two]]|station=[[BBC|British Broadcasting Corporation]]|date=23 June 2019|minutes=9–10}}</ref> Both men have noted that they do not discuss their 1990s rivalry,<ref name="Reel"/><ref name="Reilly">{{cite web|url=https://www.nme.com/news/music/dont-talk-past-damon-albarn-opens-close-friendship-noel-gallagher-2365108|title='We don't talk about our past': Damon Albarn opens up on close friendship with Noel Gallagher|last=Reilly|first=Nick|date=10 August 2018|website=NME|access-date=19 January 2021}}</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>
{{clear}}

==Peak and decline==
[[File:Liamg.jpg|thumb|right|Oasis playing live. ''[[NME]]'' states, "as ''(What's the Story) Morning Glory?'' emerged to colossal sales, it became clear that while Blur had won the battle, Oasis were winning the war."<ref name="Chart Battle"/>]]

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 [[List of best-selling albums in the United Kingdom|fifth best-selling album]] in UK chart history.<ref>[https://www.officialcharts.com/chart-news/the-uks-biggest-studio-albums-of-all-time__24431/ "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 (Blur album)|The Great Escape]]'', sold over one million copies.<ref>[http://www.bpi.co.uk/certifiedawards/search.aspx BPI Certified Awards Search] {{webarchive|url=https://web.archive.org/web/20090924015932/http://www.bpi.co.uk/certifiedawards/search.aspx |date=24 September 2009 }} [[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">{{cite news |title=1996 Brit Awards: winners |url=https://www.brits.co.uk/history/shows/1996 |access-date=19 September 2019 |website=Brits.co.uk |archive-date=21 October 2012 |archive-url=https://web.archive.org/web/20121021165008/http://www.brits.co.uk/history/shows/1996 |url-status=dead }}</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 (song)|Parklife]]" and changing the lyrics to "shite life".<ref name="Manning"/>

Oasis' third album ''[[Be Here Now (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 [[Blur (Blur album)|self-titled fifth album]],<ref>Harris, pg. 321–22.</ref> assimilating American [[Lo-fi music|lo-fi]] influences such as [[Pavement (band)|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 us{{nbsp}}... We genuinely started to see that world in a slightly different way."<ref>Mulvey, John. "We created a movement{{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 (band)|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>

==Aftermath==
===Legacy===
Retrospective documentaries on the movement include ''The Britpop Story'', a [[BBC]] programme presented by [[John Harris (critic)|John Harris]] on [[BBC Four]] in August 2005 as part of Britpop Night, ten years after Blur and [[Oasis (band)|Oasis]] went head-to-head in the charts,<ref>{{cite web|title=Britpop Night on BBC Four - Tuesday 16 August |url=http://www.bbc.co.uk/pressoffice/pressreleases/stories/2005/07_july/18/britpop.shtml|publisher=[[BBC]] Press Office|access-date=8 November 2010|date=18 July 2005}}</ref><ref>{{cite news|last=Chater|first=David|title=Viewing guide|url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article555509.ece|archive-url=https://web.archive.org/web/20110615183633/http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article555509.ece|url-status=dead|archive-date=15 June 2011|access-date=8 November 2010|newspaper=[[The Times]]|date=16 August 2005}}</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>{{cite web|url=http://news.bbc.co.uk/1/hi/entertainment/2813937.stm|website=News.bbc.co.uk|title=Britpop movie holds première|date=3 March 2003}}</ref>

===Successors and revivals===
====Post-Britpop====
{{Main|Post-Britpop}}
[[File:Coldplay Glasto24 290624 (26) (53836754632) (cropped).jpg|thumb|[[Coldplay]], the most commercially successful post-Britpop band, on stage in 2024.<ref name=AllMusicColdplay/> Their first three albums – ''[[Parachutes (Coldplay album)|Parachutes]]'' (2000), ''[[A Rush of Blood to the Head]]'' (2002) and ''[[X&Y]]'' (2005) – are among the [[List of best-selling albums in the United Kingdom|best-selling albums in UK chart history]].<ref>{{cite web|url=http://www.officialcharts.com/chart-news/the-uks-60-official-biggest-selling-albums-of-all-time-revealed__15551/|title=The UK's 60 official biggest selling albums of all time revealed|last=Copsey|first=Rob|date=4 July 2016|publisher=[[Official Charts Company]]|archive-url=https://web.archive.org/web/20160709012251/http://www.officialcharts.com/chart-news/the-uks-60-official-biggest-selling-albums-of-all-time-revealed__15551/|archive-date=9 July 2016|url-status=live|access-date=12 May 2018}}</ref> ]]
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 (band)|Travis]], [[Stereophonics]], [[Feeder (band)|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, [https://www.independent.co.uk/arts-entertainment/music/music-magazine/music-magazine-features/label-profile/label-profile-independiente-807331.html "Label Profile: Independiente"] {{Webarchive|url=https://web.archive.org/web/20170914215459/http://www.independent.co.uk/arts-entertainment/music/music-magazine/music-magazine-features/label-profile/label-profile-independiente-807331.html |date=14 September 2017 }}, ''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), {{ISBN|0-306-81367-X}}, pp. 369–70.</ref><ref name="Borhwick&Moy2004">S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, 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">{{cite book | title=Britpop and the English Music Tradition | publisher=[[Ashgate Publishing]] | author=Bennett, Andy and Jon Stratton | year=2010 | pages=164, 166, 173 | isbn=978-0754668053}}</ref> often mixing elements of British traditional rock (or British trad rock),<ref>[{{AllMusic|class=explore|id=style/d4360|pure_url=yes}} "British Trad Rock"], ''AllMusic'', retrieved 3 January 2010.</ref> particularly [[the Beatles]], [[the Rolling Stones]] and [[Small Faces]]<ref name=Patridis2004>A. Petridis, [https://www.theguardian.com/uk/2004/feb/14/rock.pop "Roll over Britpop{{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), {{ISBN|0-7546-5373-0}}, p. 21.</ref><ref>A. Begrand, [https://www.popmatters.com/pm/review/travis-the-boy-with-no-name/ "Travis: The boy with no name"], ''Pop matters'', retrieved 2 January 2010.</ref><ref>[http://www.stylusmagazine.com/articles/weekly_article/whatever-happened-to-our-rock-and-roll.htm "Whatever happened to our Rock and Roll"] {{Webarchive|url=https://web.archive.org/web/20190511000833/http://www.stylusmagazine.com/articles/weekly_article/whatever-happened-to-our-rock-and-roll.htm |date=11 May 2019 }}, ''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, [http://news.bbc.co.uk/1/hi/entertainment/4745137.stm "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, [https://www.allmusic.com/album/the-boy-with-no-name-r1040900 "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, [https://www.theguardian.com/music/2004/feb/26/popandrock3 "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 (band)|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), {{ISBN|0-87930-653-X}}, p. 1157.</ref> and have been credited with a major role in disseminating and even creating the subgenre of post-Britpop.<ref>M. Collar, [https://www.allmusic.com/album/singles-r713633/review "Travis: Singles"], ''AllMusic'', retrieved 17 December 2011.</ref><ref>S. Ross, [http://media.www.mcgilltribune.com/media/storage/paper234/news/2003/01/28/AE/Britpop.Rock.Aint.What.It.Used.To.Be-353089.shtml "Britpop: rock aint what it used to be"]{{dead link|date=November 2016 |bot=InternetArchiveBot |fix-attempted=yes }}, ''McNeil Tribune'', 20 January 2003, retrieved 3 December 2010.</ref> From Edinburgh [[Idlewild (band)|Idlewild]], more influenced by [[post-grunge]], produced three top 20 albums, peaking with ''[[The Remote Part]]'' (2002).<ref>J. Ankeny, [{{AllMusic|class=artist|id=p380736|pure_url=yes}} "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), {{ISBN|0-7546-5898-8}}, p. 190.</ref> were [[Catatonia (band)|Catatonia]], whose single "[[Mulder and Scully (song)|Mulder and Scully]]" (1998) reached the top ten in the UK, and whose album ''[[International Velvet (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, [http://www.bbc.co.uk/wales/music/sites/catatonia/pages/greatest_hits.shtml "Catatonia – Greatest Hits"], ''BBC Wales'', 2 September 2002, retrieved 3 January 2010.</ref><ref>[{{AllMusic|class=artist|id=p203323/biography|pure_url=yes}} "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), {{ISBN|0-87930-653-X}}, p. 1076.</ref><ref name=AllMusicStereophonics>[{{AllMusic|class=artist|id=p225008|pure_url=yes}} "Stereophonics"], ''AllMusic'', retrieved 3 January 2010.</ref> and [[Feeder (band)|Feeder]].<ref>[{{AllMusic|class=artist|id=p224868|pure_url=yes}} "Feeder"], ''AllMusic'', retrieved 3 December 2010.</ref><ref>[{{AllMusic|class=album|id=r640675|pure_url=yes}} "Feeder: Comfort in Sound"], ''AllMusic'', retrieved 3 December 2010.</ref>

[[File:Snow Patrol at Sheffield Arena 2009.jpg|thumb|left|[[Snow Patrol]] performing in 2009. Their 2006 single "[[Chasing Cars]]" is the most widely played song on UK radio in the 21st century.<ref name="Chasing Cars"/>]]
These acts were followed by a number of bands who shared aspects of their music, including [[Snow Patrol]] from Northern Ireland and [[Elbow (band)|Elbow]], [[Embrace (English band)|Embrace]], [[Starsailor (band)|Starsailor]], [[Doves (band)|Doves]], Electric Pyramid and [[Keane (band)|Keane]] from England.<ref name=Harris2004/><ref>P. Buckley, ''The Rough Guide to Rock'' (London: Rough Guides, 3rd end., 2003), {{ISBN|1-84353-105-4}}, pp. 310, 333, 337 and 1003-4.</ref> The most commercially successful band in the milieu were Coldplay, whose debut album ''[[Parachutes (Coldplay album)|Parachutes]]'' (2000) went [[Music recording sales certification|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>[{{AllMusic|class=artist|id=coldplay-p435023|pure_url=yes}} "Coldplay"], ''AllMusic'', retrieved 3 December 2010.</ref><ref>{{Citation |author=Stephen M. Deusner |date=1 June 2009  |title=Coldplay LeftRightLeftRightLeft |journal=Pitchfork |url=https://pitchfork.com/reviews/albums/13074-leftrightleftrightleft/ |access-date=25 July 2011 }}.</ref> Snow Patrol's "[[Chasing Cars]]" (from their 2006 album ''[[Eyes Open (Snow Patrol album)|Eyes Open]]'') is the most widely played song of the 21st century on UK radio.<ref name="Chasing Cars">{{cite news |url=https://www.bbc.co.uk/news/entertainment-arts-49008689|title=And the most-played song on UK radio is{{nbsp}}... Chasing Cars by Snow Patrol |work=[[BBC News]]|date=17 July 2019|access-date=17 July 2019}}</ref>

====Post-punk/garage rock revival====
{{Main|Post-punk revival}}
Bands like Coldplay, Starsailor and [[Elbow (band)|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), {{ISBN|0-7119-9601-6}}, pp. 42 and 45.</ref> and the wave of [[garage rock]] or [[post-punk revival]] bands, like [[the Hives]], [[The Vines (band)|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), {{ISBN|0-19-537371-5}}, 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), {{ISBN|0-7546-6805-3}}, 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>{{Cite web |title=New Wave/Post-Punk Revival Music Style Overview |url=https://www.allmusic.com/style/new-wave-post-punk-revival-ma0000012020 |access-date=2023-12-05 |website=AllMusic |language=en}}</ref> and post-punk, while still being influenced by Britpop.<ref name=Collinson2010/> Despite these developments, artists such as [[Travis (band)|Travis]], Stereophonics and Coldplay continued to record and enjoy commercial success into the late 2000s.<ref name=AllMusicColdplay/><ref name=AllMusicStereophonics/><ref name=AllMusicTravis>[{{AllMusic|class=artist|id=p132643/biography|pure_url=yes}} "Travis"], ''AllMusic'', retrieved 3 January 2010.</ref>

====2010s–2020s Britpop revival====
[[File:Dmas-live-at-leeds-2017-1-copy.jpg|thumb|DMA's live at Leeds]]
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>{{Cite web |date=2011-06-13 |title=Breaking Out: Viva Brother |url=https://www.spin.com/2011/06/breaking-out-viva-brother/ |access-date=2019-01-09 |website=Spin}}</ref><ref>{{Cite web |date=2012-04-04 |title=Britpop revivalists Viva Brother quietly announce their demise |url=https://www.independent.co.uk/arts-entertainment/music/news/britpop-revivalists-viva-brother-quietly-announce-their-demise-7618705.html |url-status=dead |archive-url=https://web.archive.org/web/20190110193405/https://www.independent.co.uk/arts-entertainment/music/news/britpop-revivalists-viva-brother-quietly-announce-their-demise-7618705.html |archive-date=10 January 2019 |access-date=2019-01-09 |website=The Independent |language=en}}</ref> with their debut album ''[[Famous First Words (Viva Brother 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>{{Cite web |last=Daly |first=Rhian |title=Superfood – 'Don't Say That' |url=https://www.nme.com/reviews/album/reviews-superfood-15745 |access-date=2019-01-09 |website=NME |language=en-US}}</ref> and the Australian band [[DMA's]]<ref>{{Cite news |last=Beaumont |first=Mark |date=2015-08-27 |title=DMA's review – Britpop revivalists evoke 90s euphoria |url=https://www.theguardian.com/music/2015/aug/27/dmas-review-100-club-london-britpop-revivalists-evoke-90s-euphoria |access-date=2019-01-09 |newspaper=[[The Guardian]] |language=en-GB |issn=0261-3077}}</ref> joined the revival, with DMA's debut album receiving favorable reviews.<ref>{{Citation |title=Hills End by DMA's |url=https://www.metacritic.com/music/hills-end/dmas |access-date=2019-01-09 |language=en}}</ref><ref>{{Cite web |date=2018-05-08 |title=Did DMA's Have to Grow Up So Fast? |url=https://www.popmatters.com/dmas-for-now-review-2565673115.html |access-date=2019-01-09 |website=Popmatters.com}}</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]]''. [[A. G. Cook|AG Cook]]’s triple album [[Britpop (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>{{Cite web |last=Mitchell |first=Sarah |date=2024-04-26 |title=Mad fer it! The young musicians flying the flag for Britpop |url=https://cellardoorproject.com/music/mad-fer-it-the-young-musicians-flying-the-flag-for-britpop/ |access-date=2024-07-31 |website=GlobalNewsHub |language=en-US}}</ref><ref>{{Cite news |last=Butchard |first=Skye |date=2024-04-26 |title=Mad fer it! The young musicians flying the flag for Britpop |url=https://www.theguardian.com/music/2024/apr/26/mad-fer-it-the-young-musicians-flying-the-flag-for-britpop |access-date=2024-07-31 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> In 2024, Britpop group Oasis announced they were reuniting for the [[Oasis Live '25 Tour]].<ref name="BBC cvgekk78n9zt">{{cite web|first=Jamie|last=Whitehead|url=https://www.bbc.co.uk/news/live/cvgekk78n9zt|title=Oasis confirm reunion with 2025 world tour announced|work=[[BBC]]|date=27 August 2024|access-date=27 August 2024}}</ref>

==Terminology==
Artists of the genre have dismissed the "Britpop" term. [[Oasis (band)|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>[https://www.youtube.com/watch?v=5T08PBRT7Fc "Noël Gallagher on other genres"]. YouTube, Retrieved 27 March 2020</ref> [[Blur (band)|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>[https://www.youtube.com/watch?v=VLT4PPAtNZ8&t=5355s "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 (radio programme)|Chain Reaction]]'' in 2010, describing it as a "horrible, bitty, sharp sound."<ref>[https://www.bbc.co.uk/programmes/b00tq1vw "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>{{Cite web|url=https://www.vice.com/en/article/the-top-50-greatest-landfill-indie-songs-of-all-time/|title=The Top 50 Greatest Landfill Indie Songs of All Time|website=Vice.com|date=27 August 2020 |access-date=7 January 2021}}</ref><ref>{{Cite web|url=https://www.nme.com/features/landfill-indie-snobbery-2741199|title=The term 'landfill indie' is nothing but musical snobbery|website=Nme.com|date=1 September 2020|access-date=7 January 2021}}</ref>

==See also==
*[[Music of the United Kingdom (1990s)|1990s music in the United Kingdom]]
*[[Music of the United Kingdom]]
*[[List of Britpop musicians]]
*[[Cool Cymru]]

==References==
{{Reflist}}

;Sources
* Harris, John. ''Britpop!: Cool Britannia and the Spectacular Demise of English Rock''. Da Capo Press, 2004. {{ISBN|0-306-81367-X}}.
* 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.

{{Alternative rock}}
{{Pop rock}}

{{Authority control}}

[[Category:Britpop| ]]
[[Category:Culture of the United Kingdom]]
[[Category:1990s fads and trends]]
[[Category:1990s in music]]
[[Category:1990s in British music]]
[[Category:British popular music]]
[[Category:British styles of music]]
[[Category:Rock music genres]]