The Oasis Thread

Weston1283

Anyone else still not get a confirmation email for the pre-sale?

mrk2

Just got mine, about 15 minutes ago. Signed up yesterday as soon as it opened.

Weston1283

Also - are tickets going on sale on Ticketmaster UK or this gigsandtours.com page?  Seems to be listed on both and not sure which one to register for

tino_11

Weston1283 said:

Also - are tickets going on sale on Ticketmaster UK or this gigsandtours.com page?  Seems to be listed on both and not sure which one to register for

I'd register for both and open them on different tabs when tickets go on sale for the best chance of getting them.

Spiritual_Chaos

I hate this life. Why aren't you waiitng for the gothenburg show in 2026. Am i doing something wrong. Please help

Weston1283

At least these guys are transparent.  Cool of them to flat out end the speculation now.  

mcgruff10

how much are tickets going for?

mrk2

Only info so far about ticket prices is from Dublin  "Tickets priced from €86.50 " according to promoter website at
https://mcd.ie/artists/oasis

pjl44

mcgruff10 said:

how much are tickets going for?

Oi bout hunnit quid

goldrush

Definitely Maybe was released on August 29th, 1994.

Oasis split up in Paris on August 28th, 2009,
14 years, 11 months, 30 days later.

The time between the split and the Live 25 announcement on August 27th, 2024…
14 years, 11 months, 30 days

   

lastexitlondon

Cheaper than pj 

mrk2

Extra dates announced already:

Due to unprecedented demand, three new UK dates will be added to Oasis Live ‘25 
Heaton Park - July 16th 
Wembley - July 30th
Edinburgh - August 12th
Tickets on go on sale this Saturday, 31st August at 9am BST: https://OasisMusic.lnk.to/oasisinet

Muffin The Mule

Weston1283

Shocked at those prices.  I would pay 300 in a heartbeat for a guaranteed standing Wembley ticket

Zod

Weston1283 said:

Shocked at those prices.  I would pay 300 in a heartbeat for a guaranteed standing Wembley ticket

From how I understand it, Euro fans aren't as tolerant of high ticket prices as North American fans.  Euro tickets are often considerably cheaper because they won't sell if they aren't.    It's pretty crazy.   It's also creating music tourism where sometimes it's cheaper to fly to Europe to see a show because the hotels and tickets are cheaper, than it is to see a show in North America where ticket prices and hotel prices are insane.

tino_11

Yeah, reaction in the UK is that those are high prices. Will still sell out almost instantly though, demand here is crazy!

lastexitlondon

We tried to explain this to Americans when pj came to Europe but they couldn't grasp it . 
Tickets are not the same price as USA here

mcgruff10

lastexitlondon said:

We tried to explain this to Americans when pj came to Europe but they couldn't grasp it . 
Tickets are not the same price as USA here

Are premiere league games inexpensive like music tix?

HughFreakingDillon

goldrush said:

Definitely Maybe was released on August 29th, 1994.

Oasis split up in Paris on August 28th, 2009,
14 years, 11 months, 30 days later.

The time between the split and the Live 25 announcement on August 27th, 2024…
14 years, 11 months, 30 days

   

that's just....wow

brianlux

I never criticize people for liking bands I don't care for, but I draw the line at homophobic haters.  Fans might consider the following issues:

https://www.theguardian.com/commentisfree/article/2024/aug/28/stop-the-celebrations-oasis-are-the-most-damaging-pop-cultural-force-in-recent-british-history?CMP=share_btn_url&fbclid=IwY2xjawE9uGtleHRuA2FlbQIxMQABHVF_V20qxTpHMoa4XL34Agt6A2v_I1BGdmQxEefNsMwjZUTKWwtcvheb0A_aem_JgdJ24ifYQwCV6PxIUiBgw

Stop the celebrations – Oasis are the most damaging pop-cultural force in recent British history

Simon Price

So 15 years of Punch-and-Judy bickering between Liam and Noel Gallagher has ended with the inevitable: Oasis reforming for a UK and Ireland tour – and a giant payday (money talks, especially when Noel has a reported £20m divorce settlement to cover). Cue wild celebrations from the section of the British public who are still nostalgic for the simpler times of Euro 96 and the first Blair administration. Britpop’s coming home.

I’m not among them, and here’s why. I genuinely believe Oasis are the most damaging pop-cultural force in recent British history. It’s easy to attack them for being musically regressive: after all, they didn’t just Stop The Clocks, to quote the title of their 2006 best-of, but rewound them by 30 years. But the real problem is that they set social attitudes back even further.

I’ll never forget being present at the Q Awards in 2000, when Liam Gallagher repeatedly heckled Robbie Williams with “Queer!” and Kylie Minogue with “Lesbian!” as the assembled music business and media tittered nervously, reluctant to kill the goose that laid the golden egg. It’s one of the ugliest scenes I’ve ever witnessed. This wasn’t a one-off either. In 2016, on Twitter, he called Russian football hooligans “batty boys”, and in 2018 used another homophobic slur, “bum chums”, against Noel, Johnny Marr and Paul Weller.

Noel, too, has repeatedly expressed prehistoric views, complaining about a hip-hop artist, Jay-Z, headlining Glastonbury in 2008 (though he’d softened his stance by the time Stormzy headlined in 2019), and describing the then Labour leader, Ed Miliband – yes, Ed Miliband – as a “fucking communist” in 2015 and later Jeremy Corbyn in similar terms.

In 2021, he appeared on the front page of the Sun calling Prince Harry an “effin’ woke snowflake”, and in 2024 complained about Glastonbury becoming too “woke”. (Hint: when anyone uses the word “woke” as an insult, they’re immediately emblazoning another word across their own forehead, which also begins with a “w”.) It’s no coincidence that Oasis are the band of choice for flag-shaggers and Reform voters – it’s remarkable how often their fans have the butcher’s apron on their Twitter bios, just as Noel had it painted on his guitar.

Oasis apologists in the media will always brush over this stuff, calling Noel a “legend” who “gives good copy”, and chuckling at Liam’s “banter”, arguing that Oasis are “the people’s band” or “the voice of a generation”, and that the Gallaghers are expressing the views of the masses in the vernacular of the masses. When you dare to challenge that, you’re invariably accused of “snobbery” against a band who have been dubiously anointed as the sole authentic musical mouthpiece of the proletariat.

But the Gallaghers can’t outflank me on class. At the risk of writing a Glamorgan version of the Four Yorkshiremen sketch, the basic facts of my upbringing are these: single parent family; permanently skint; never had a car; never had a telephone; the TV kept getting repossessed; and I lived in seven different flats and houses before I left home. I’ve seen leafy Burnage and the house Liam and Noel grew up in, and we never lived anywhere as big as that. Nor can they outflank me on age: I’m slightly younger than Noel and guitarist Paul “Bonehead” Arthurs, a bit older than Liam and the others. I’m from their class, and their generation. But the inconvenient truth is that no class is a homogenous mass, and nor is any generation.

Oasis have been presented as the true voice of the council estates from the very start of their career. But what of their less stereotypical, but equally working class, 1990s contemporaries? Don’t they count? No band was more aware of class politics than Sheffield’s Pulp, for example, but Pulp were arty and sang about outsiderdom and dressed like Oxfam dandies instead of Arndale Centre townies, so they’re considered somehow less “real” than their Mancunian peers. Meanwhile, the Manic Street Preachers are as working class as they come, but refused to conform to lads-lads-lads cliches, played with androgyny and homoeroticism, and wore their (state) education on their leopard print sleeves.

The Gallaghers’ knuckle-dragging ideas on sexuality and politics arguably shouldn’t matter. We’re all familiar with the concept of separating the art from the artist, though everyone’s mileage varies on where to set the line in the sand. But the art needs to at least be good. Oasis, memorably described by the late great Neil Kulkarni as the “English Rock Defence League”, offer nothing but a sludgy, trudgy, brontosaurus-bottomed waddle, perfect for that adult nappy gait so beloved of their singer and fans.

Lyrically, too, they’re dismal: the promisingly mischievous Elsa/Alka-Seltzer rhyme of debut single Supersonic soon gave way to dull platitudes that might as well have been written by AI. But the problem is the music. Oasis don’t do fast songs. Noel plays his guitar as if he’s scared it will break, and Oasis’s funkless, sexless plod is always carefully pitched below the velocity at which fluid dynamics dictate that you might spill your lager. Is there anything more useless than a rock band that doesn’t rock?

eeriepadave

goldrush said:

Definitely Maybe was released on August 29th, 1994.

Oasis split up in Paris on August 28th, 2009,
14 years, 11 months, 30 days later.

The time between the split and the Live 25 announcement on August 27th, 2024…
14 years, 11 months, 30 days

   

Happy 30th!

pjl44

brianlux said:

I never criticize people for liking bands I don't care for, but I draw the line at homophobic haters.  Fans might consider the following issues:

https://www.theguardian.com/commentisfree/article/2024/aug/28/stop-the-celebrations-oasis-are-the-most-damaging-pop-cultural-force-in-recent-british-history?CMP=share_btn_url&fbclid=IwY2xjawE9uGtleHRuA2FlbQIxMQABHVF_V20qxTpHMoa4XL34Agt6A2v_I1BGdmQxEefNsMwjZUTKWwtcvheb0A_aem_JgdJ24ifYQwCV6PxIUiBgw

Stop the celebrations – Oasis are the most damaging pop-cultural force in recent British history

Simon Price

So 15 years of Punch-and-Judy bickering between Liam and Noel Gallagher has ended with the inevitable: Oasis reforming for a UK and Ireland tour – and a giant payday (money talks, especially when Noel has a reported £20m divorce settlement to cover). Cue wild celebrations from the section of the British public who are still nostalgic for the simpler times of Euro 96 and the first Blair administration. Britpop’s coming home.

I’m not among them, and here’s why. I genuinely believe Oasis are the most damaging pop-cultural force in recent British history. It’s easy to attack them for being musically regressive: after all, they didn’t just Stop The Clocks, to quote the title of their 2006 best-of, but rewound them by 30 years. But the real problem is that they set social attitudes back even further.

I’ll never forget being present at the Q Awards in 2000, when Liam Gallagher repeatedly heckled Robbie Williams with “Queer!” and Kylie Minogue with “Lesbian!” as the assembled music business and media tittered nervously, reluctant to kill the goose that laid the golden egg. It’s one of the ugliest scenes I’ve ever witnessed. This wasn’t a one-off either. In 2016, on Twitter, he called Russian football hooligans “batty boys”, and in 2018 used another homophobic slur, “bum chums”, against Noel, Johnny Marr and Paul Weller.

Noel, too, has repeatedly expressed prehistoric views, complaining about a hip-hop artist, Jay-Z, headlining Glastonbury in 2008 (though he’d softened his stance by the time Stormzy headlined in 2019), and describing the then Labour leader, Ed Miliband – yes, Ed Miliband – as a “fucking communist” in 2015 and later Jeremy Corbyn in similar terms.

In 2021, he appeared on the front page of the Sun calling Prince Harry an “effin’ woke snowflake”, and in 2024 complained about Glastonbury becoming too “woke”. (Hint: when anyone uses the word “woke” as an insult, they’re immediately emblazoning another word across their own forehead, which also begins with a “w”.) It’s no coincidence that Oasis are the band of choice for flag-shaggers and Reform voters – it’s remarkable how often their fans have the butcher’s apron on their Twitter bios, just as Noel had it painted on his guitar.

Oasis apologists in the media will always brush over this stuff, calling Noel a “legend” who “gives good copy”, and chuckling at Liam’s “banter”, arguing that Oasis are “the people’s band” or “the voice of a generation”, and that the Gallaghers are expressing the views of the masses in the vernacular of the masses. When you dare to challenge that, you’re invariably accused of “snobbery” against a band who have been dubiously anointed as the sole authentic musical mouthpiece of the proletariat.

But the Gallaghers can’t outflank me on class. At the risk of writing a Glamorgan version of the Four Yorkshiremen sketch, the basic facts of my upbringing are these: single parent family; permanently skint; never had a car; never had a telephone; the TV kept getting repossessed; and I lived in seven different flats and houses before I left home. I’ve seen leafy Burnage and the house Liam and Noel grew up in, and we never lived anywhere as big as that. Nor can they outflank me on age: I’m slightly younger than Noel and guitarist Paul “Bonehead” Arthurs, a bit older than Liam and the others. I’m from their class, and their generation. But the inconvenient truth is that no class is a homogenous mass, and nor is any generation.

Oasis have been presented as the true voice of the council estates from the very start of their career. But what of their less stereotypical, but equally working class, 1990s contemporaries? Don’t they count? No band was more aware of class politics than Sheffield’s Pulp, for example, but Pulp were arty and sang about outsiderdom and dressed like Oxfam dandies instead of Arndale Centre townies, so they’re considered somehow less “real” than their Mancunian peers. Meanwhile, the Manic Street Preachers are as working class as they come, but refused to conform to lads-lads-lads cliches, played with androgyny and homoeroticism, and wore their (state) education on their leopard print sleeves.

The Gallaghers’ knuckle-dragging ideas on sexuality and politics arguably shouldn’t matter. We’re all familiar with the concept of separating the art from the artist, though everyone’s mileage varies on where to set the line in the sand. But the art needs to at least be good. Oasis, memorably described by the late great Neil Kulkarni as the “English Rock Defence League”, offer nothing but a sludgy, trudgy, brontosaurus-bottomed waddle, perfect for that adult nappy gait so beloved of their singer and fans.

Lyrically, too, they’re dismal: the promisingly mischievous Elsa/Alka-Seltzer rhyme of debut single Supersonic soon gave way to dull platitudes that might as well have been written by AI. But the problem is the music. Oasis don’t do fast songs. Noel plays his guitar as if he’s scared it will break, and Oasis’s funkless, sexless plod is always carefully pitched below the velocity at which fluid dynamics dictate that you might spill your lager. Is there anything more useless than a rock band that doesn’t rock?

Is calling Jeremy Corbyn a communist prehistoric? How would Corbyn describe it lol?

lastexitlondon

mcgruff10 said:

lastexitlondon said:

We tried to explain this to Americans when pj came to Europe but they couldn't grasp it . 
Tickets are not the same price as USA here

Are premiere league games inexpensive like music tix?

Yes definitely can get tickets at a reasonable price 

brianlux

pjl44 said:

brianlux said:

I never criticize people for liking bands I don't care for, but I draw the line at homophobic haters.  Fans might consider the following issues:

https://www.theguardian.com/commentisfree/article/2024/aug/28/stop-the-celebrations-oasis-are-the-most-damaging-pop-cultural-force-in-recent-british-history?CMP=share_btn_url&fbclid=IwY2xjawE9uGtleHRuA2FlbQIxMQABHVF_V20qxTpHMoa4XL34Agt6A2v_I1BGdmQxEefNsMwjZUTKWwtcvheb0A_aem_JgdJ24ifYQwCV6PxIUiBgw

Stop the celebrations – Oasis are the most damaging pop-cultural force in recent British history

Simon Price

So 15 years of Punch-and-Judy bickering between Liam and Noel Gallagher has ended with the inevitable: Oasis reforming for a UK and Ireland tour – and a giant payday (money talks, especially when Noel has a reported £20m divorce settlement to cover). Cue wild celebrations from the section of the British public who are still nostalgic for the simpler times of Euro 96 and the first Blair administration. Britpop’s coming home.

I’m not among them, and here’s why. I genuinely believe Oasis are the most damaging pop-cultural force in recent British history. It’s easy to attack them for being musically regressive: after all, they didn’t just Stop The Clocks, to quote the title of their 2006 best-of, but rewound them by 30 years. But the real problem is that they set social attitudes back even further.

I’ll never forget being present at the Q Awards in 2000, when Liam Gallagher repeatedly heckled Robbie Williams with “Queer!” and Kylie Minogue with “Lesbian!” as the assembled music business and media tittered nervously, reluctant to kill the goose that laid the golden egg. It’s one of the ugliest scenes I’ve ever witnessed. This wasn’t a one-off either. In 2016, on Twitter, he called Russian football hooligans “batty boys”, and in 2018 used another homophobic slur, “bum chums”, against Noel, Johnny Marr and Paul Weller.

Noel, too, has repeatedly expressed prehistoric views, complaining about a hip-hop artist, Jay-Z, headlining Glastonbury in 2008 (though he’d softened his stance by the time Stormzy headlined in 2019), and describing the then Labour leader, Ed Miliband – yes, Ed Miliband – as a “fucking communist” in 2015 and later Jeremy Corbyn in similar terms.

In 2021, he appeared on the front page of the Sun calling Prince Harry an “effin’ woke snowflake”, and in 2024 complained about Glastonbury becoming too “woke”. (Hint: when anyone uses the word “woke” as an insult, they’re immediately emblazoning another word across their own forehead, which also begins with a “w”.) It’s no coincidence that Oasis are the band of choice for flag-shaggers and Reform voters – it’s remarkable how often their fans have the butcher’s apron on their Twitter bios, just as Noel had it painted on his guitar.

Oasis apologists in the media will always brush over this stuff, calling Noel a “legend” who “gives good copy”, and chuckling at Liam’s “banter”, arguing that Oasis are “the people’s band” or “the voice of a generation”, and that the Gallaghers are expressing the views of the masses in the vernacular of the masses. When you dare to challenge that, you’re invariably accused of “snobbery” against a band who have been dubiously anointed as the sole authentic musical mouthpiece of the proletariat.

But the Gallaghers can’t outflank me on class. At the risk of writing a Glamorgan version of the Four Yorkshiremen sketch, the basic facts of my upbringing are these: single parent family; permanently skint; never had a car; never had a telephone; the TV kept getting repossessed; and I lived in seven different flats and houses before I left home. I’ve seen leafy Burnage and the house Liam and Noel grew up in, and we never lived anywhere as big as that. Nor can they outflank me on age: I’m slightly younger than Noel and guitarist Paul “Bonehead” Arthurs, a bit older than Liam and the others. I’m from their class, and their generation. But the inconvenient truth is that no class is a homogenous mass, and nor is any generation.

Oasis have been presented as the true voice of the council estates from the very start of their career. But what of their less stereotypical, but equally working class, 1990s contemporaries? Don’t they count? No band was more aware of class politics than Sheffield’s Pulp, for example, but Pulp were arty and sang about outsiderdom and dressed like Oxfam dandies instead of Arndale Centre townies, so they’re considered somehow less “real” than their Mancunian peers. Meanwhile, the Manic Street Preachers are as working class as they come, but refused to conform to lads-lads-lads cliches, played with androgyny and homoeroticism, and wore their (state) education on their leopard print sleeves.

The Gallaghers’ knuckle-dragging ideas on sexuality and politics arguably shouldn’t matter. We’re all familiar with the concept of separating the art from the artist, though everyone’s mileage varies on where to set the line in the sand. But the art needs to at least be good. Oasis, memorably described by the late great Neil Kulkarni as the “English Rock Defence League”, offer nothing but a sludgy, trudgy, brontosaurus-bottomed waddle, perfect for that adult nappy gait so beloved of their singer and fans.

Lyrically, too, they’re dismal: the promisingly mischievous Elsa/Alka-Seltzer rhyme of debut single Supersonic soon gave way to dull platitudes that might as well have been written by AI. But the problem is the music. Oasis don’t do fast songs. Noel plays his guitar as if he’s scared it will break, and Oasis’s funkless, sexless plod is always carefully pitched below the velocity at which fluid dynamics dictate that you might spill your lager. Is there anything more useless than a rock band that doesn’t rock?

Is calling Jeremy Corbyn a communist prehistoric? How would Corbyn describe it lol?

Ha, good question.  But to be honest, I probably would have done well to not post here, mainly because there are good folks here who like Oasis, and although I have issue with the Gallaghers and their band, nevertheless I care more about the people here than about Oasis and their music. 
Sorry folks.  Enjoy what you enjoy!

tino_11

lastexitlondon said:

mcgruff10 said:

lastexitlondon said:

We tried to explain this to Americans when pj came to Europe but they couldn't grasp it . 
Tickets are not the same price as USA here

Are premiere league games inexpensive like music tix?

Yes definitely can get tickets at a reasonable price 

It's all perspective. My local team charges minimum £50 per adult ticket. In the US that's seen as really cheap but over here it's viewed as expensive, particularly as prices are rising quickly  There's still way more demand than tickets available so they sell out instantly every game.

Spiritual_Chaos

brianlux said:

Lyrically, too, they’re dismal: the promisingly mischievous Elsa/Alka-Seltzer rhyme of debut single Supersonic soon gave way to dull platitudes that might as well have been written by AI. But the problem is the music. Oasis don’t do fast songs. Noel plays his guitar as if he’s scared it will break, and Oasis’s funkless, sexless plod is always carefully pitched below the velocity at which fluid dynamics dictate that you might spill your lager. Is there anything more useless than a rock band that doesn’t rock?

They do rock though.

Spiritual_Chaos

Zod said:

Weston1283 said:

Shocked at those prices.  I would pay 300 in a heartbeat for a guaranteed standing Wembley ticket

From how I understand it, Euro fans aren't as tolerant of high ticket prices as North American fans.  Euro tickets are often considerably cheaper because they won't sell if they aren't.    It's pretty crazy.   It's also creating music tourism where sometimes it's cheaper to fly to Europe to see a show because the hotels and tickets are cheaper, than it is to see a show in North America where ticket prices and hotel prices are insane.

I think it has more to do (or, also to do) with "tradition" and standards than selling out or not. Acts like Madonna etc always came with crazy prices (up front at least) while I have felt that rock acts always kept prices lower while still playing those size venues (Bruce, Metallica etc). They are quickly going up though and dynamic pricing have started to be used. Just see Pearl Jams shit prices this summer. I get inflation and prices going up. But Pearl Jam still had shit prices.

Weston1283

Did they move the presale on sale time and what time are we expecting codes to go out?

Spiritual_Chaos

Weston1283 said:

Did they move the presale on sale time and what time are we expecting codes to go out?

Ive seen both morning and 17.00 listed by them…

Weston1283

They just said all codes have been sent.  Me and my friend / family circle was 0/8 at getting a code… Saturday is going to be brutal