Britpop was a British music and cultural movement that emerged in the 1990s. Musically, it produced bright, catchy alternative rock that drew heavily on the traditions of 1960s guitar-based British pop, with lyrics that emphasised national identity and offered commentary on British culture and society. The movement was seen as a reaction against the darker lyrical themes and soundscapes of the American-led grunge and the more introspective shoegaze scene in Britain. It helped bring British alternative rock into the mainstream and became a key part of the broader Cool Britannia phenomenon, which echoed the spirit of the Swinging Sixties.
Britpop also marked the rise of bands emerging from the independent music scene of the early-mid 1990s. Although often described as a cultural moment rather than a strictly defined musical genre, its leading bands shared influences from 1960s British pop, 1970s glam and punk rock, and 1980s indie pop. Manchester's indie scene — including groups such as the Smiths, the Stone Roses, and Happy Mondays — is often cited as an important precursor to Britpop's musical development.
The acts most frequently labelled by the UK music press as Britpop's "big four" were Oasis, Blur, Suede, and Pulp. The period of Britpop's popularity is generally considered to have lasted from 1993 to 1997, with its peak years between 1995 and 1996. A chart rivalry between Blur and Oasis in August 1995, dubbed "The Battle of Britpop", brought the movement to the forefront of the British press. Oasis's (What's the Story) Morning Glory? is among the UK's all-time best-selling albums, illustrating the movement's mainstream reach. While primarily a music-based phenomenon, Britpop also influenced fashion, art, and politics, with Prime Minister Tony Blair and New Labour aligning themselves with the movement.
During the late 1990s, many Britpop acts began to decline commercially, disband, or shift towards new musical styles. As a commercial force, Britpop was soon eclipsed by the rise of teen pop, while artistically it evolved into the post-Britpop indie movement, associated with bands such as Travis and Coldplay.
Style, roots and influences
Though Britpop has sometimes been viewed as a marketing tool and more of a cultural moment than a distinct musical genre, 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.Elastica interview, The Face February 1995. Regardless, Britpop artists project a sense of reverence for British pop sounds of the past. The Kinks' Ray Davies and XTC's Andy Partridge are sometimes advanced as the "godfathers" or "grandfathers" of Britpop, though Davies disputes it. Others similarly labelled include Paul Weller and Adam Ant.Adam Ant and Marco Pirroni interview NME, 11 February 1995
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. The Madchester scene, fronted by the Stone Roses, Happy Mondays, James 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. In 1991, James's song "Sit Down" reached number two in the UK charts, with Flavorwire writing the song "predates the Britpop label, but it presaged the quintessentially British sound that would explode in the '90s. Entire festival crowds used to sit down during the chorus of this song". 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". 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".
Local identity and regional British accents are common to Britpop groups, as well as references to British places and culture in lyrics and image. Stylistically, Britpop bands use catchy hooks and lyrics that were relevant to young British people of their own generation. 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". 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."
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". 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.Kessler, Ted. "Noelrock!" NME. 8 June 1996. 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.
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. The emphasis on British reference points made it difficult for the genre to achieve success in the US.
Origins and first years
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."The Last Party: Britpop, Blair and the Demise of English Rock; John Harris; Harper Perennial; 2003. 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.Erlewine, Stephen Thomas. "British Alternative Rock". AllMusic. Retrieved on 21 January 2011. Archived from the original on 9 December 2010. 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.
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. 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.Live Forever: The Rise and Fall of Brit Pop. Passion Pictures. 2004. Blur, however, took on an Anglocentric aesthetic with their second album Modern Life Is Rubbish (1993).Cavanagh, David. "A hard day's night". Mojo. November 2000.
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. 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... 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." 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'." 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.Childs, Peter & Storry, Mike (1999) Encyclopaedia of Contemporary British Culture, Routledge, , p. 365.
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. 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. Blur won four awards at the 1995 Brit Awards, including Best British Album for Parklife (ahead of Definitely Maybe). 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.
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. After terms such as "the New Mod" and "Lion Pop" 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). 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.
It was not until 1994 that Britpop started to be used by the UK media in relation to contemporary music and events. Bands emerged aligned with the new movement. At the start of 1995, bands including Sleeper, Supergrass and Menswear scored pop hits. Elastica released their debut album Elastica that March; its first week sales surpassed the record set by Definitely Maybe the previous year. 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."Parkes, Taylor. "It's An NW1-derful Life". Melody Maker. 17 June 1995.
"The Battle of Britpop"