Oasis fans ‘set to spend £1bn on UK reunion tour concerts'
Oasis fans are set to collectively spend more than £1bn attending the band's highly-anticipated reunion concerts in the UK, according to estimates from Barclays.
Across 17 UK concerts, fans attending the Oasis Live '25 Tour are predicted to fork out a total of £1.06bn to see the Gallagher brothers reunite on stage.
Attendees are typically expected to spend around £766, including money for tickets, accommodation, travel costs, clothing, merchandise, and food and drinks.
Spending on the Oasis tour is part of a broader shift towards consumers prioritising memorable experiences over physical items – known as the 'experience economy' – Barclays said.
A survey commissioned by Barclays found that a quarter (24%) of people plan to spend more on experiences and events this summer than the same period last year.
The survey also indicated that a significant portion of ticket-holders are longtime fans, with many saying they have seen the band play before, or that they have seen Noel Gallagher or Liam Gallagher play separately.
Some fans also said they will be embracing the 1990s, by wearing baggy jeans, bucket hats, parkas and sneakers, with some also intending to get a Gallagher brothers-inspired haircut as part of their preparations.
For an even more authentic '90s experience, some attendees also said they will avoid using their phones.
Rich Robinson, head of hospitality and leisure at Barclays, said: 'The experience economy is no longer a trend, it's a fundamental shift in how consumers determine their financial priorities.
'Just as we saw with last year's (Taylor Swift) Eras Tour, fans are willing to go to great lengths when there is an emotional connection.'
Barclays sees nearly 40% of the nation's credit and debit card transactions, giving it insights into UK consumer spending.
– The consumer survey for Barclays was carried out by Opinium Research in April, involving 2,000 people across the UK. It was supplemented by research specifically among around 200 Oasis ticket-holders.
Get all the latest news from around the country Follow STV News
Scan the QR code on your mobile device for all the latest news from around the country
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
6 minutes ago
- Daily Mail
Taylor Swift fans convinced superstar sent them secret message after she bought back the rights to her music
After Taylor Swift announced that she had bought back the rights to her music, fans were convinced the singer sent them a secret 'signal.' As Swifties celebrated by listening to the original versions of her popular hits, some people took to TikTok to claim that their Eras Tour LED wristbands had begun to light up again randomly. Videos of flashing bracelets started to flood the platform with many excited fans hoping it was a secret message from the 35-year-old star. One user shared a video holding their bracelet up to the camera. 'So, did everyone else's Eras Tour bracelets start blinking again today,' they asked, adding in the caption: 'Mother truly is a mastermind.' Other fans in the comments chimed in on what it could mean. 'I'm obsessed with the theory that she sent out the Swiftie bat signal to let us know it was going to be a BIG day,' a user shared. 'It's the colors of all the albums she owns now!' someone else observed. 'The mothership is calling,' someone else wrote. In another video, one fan wrote that they 'woke up to their Eras Tour wristband glowing' in their dark room, while another user shared: 'She sent the Swifty bat signal that she owns her masters,' as they held a glowing purple bracelet. A fourth person held a bracelet blinking white and wrote: 'My bracelet from the Eras Tour is lighting up, she did it!!!!!!!' Though fans were excited about Taylor's 'bat signal,' some people speculated what the blinking bracelets really meant. TikTok user Millennial Mia explained that many fans kept the bracelets active by reinserting the plastic tab which prevents battery damage. 'There is no Swifty bat signal. These Swifties on here looking for views [pulled out the plastic tab to light up their bracelet],' she demonstrated in her video, 'All they did. All they did.' She continued: 'Guys, I know we have a reputation - no pun intended - of being a little delusional and cuckoo, okay, as her fanbase, but that's really next level.' 'Knock it off with this,' she said, as she pulled the tab out of the bracelet again to make it blink purple and blue. Taylor announced her big news with a post on Instagram and a long handwritten note on her website. The Bad Blood crooner said the fact she now owns the rights to all the music she has ever made has brought so much joy to her life she's been bursting into tears. She purchased her catalog of recordings that were first released through Big Machine Records. It has taken her six years to close the deal. Taylor acquired those six albums and associated visuals from their most recent owner, Shamrock Capital, for an undisclosed nine-figure sum. However, sources close to the contract negotiations claim the recent figure touted for the buy-back deal of 'between $600 million to $1 billion' is 'highly inaccurate.' Scooter Braun told 'I am happy for her.'
South Wales Guardian
21 minutes ago
- South Wales Guardian
Oasis' Noel Gallagher's Bentley up for £1.2m on Autotrader
The 1997 Bentley Turbo R was previously owned by the 58-year-old – despite the fact that he can't drive. The four-door saloon car listed on Autotrader has a unique number plate 'OASI6 2' in reference to the Britpop band. Speaking about the sale, Erin Baker, editorial director at Autotrader, said: 'Cars listed by music legends don't come around very often, and Noel Gallagher's Bentley Turbo R is certainly one for the Autotrader history books. Noel Gallaghers Bentley Turbo R comes on the Autotrader for £1.2m not sure if he still owns it or how long he owned it for, interesting to see how this goes! Thoughts? Pls RP 'With over 80 million visits to Autotrader every month, we expect this rock 'n' roll ride to strike a chord with music lovers and car collectors alike.' Gallagher, who will reunite to play a run of gigs this year in the UK and Ireland, once said that he had gave up learning after being mobbed by fans. He told Zoe Ball on the BBC Radio 2 Breakfast Show in 2023: 'I have had one driving lesson in the 90s and I was driving round a housing estate in Slough and she (the instructor) said to me, 'if you just indicate and pull over here' then I pulled over. 🚨'Time Flies… 1994 – 2009', Oasis' complete singles collection, will be re-released ahead of the Oasis Live '25 tour and to celebrate the 15th anniversary of the compilation! Quadruple vinyl deluxe box or double CD ▪️ Remastered audio▪️Vinyl Includes a limited edition print.… 'She got out the car she said, 'I'll be back in a minute', she came out with her mum, she drove me to her house. 'Then the local comprehensive bell went and they all came out. 'This is at the height of Oasis-mania and I was like, 'never, never again'.' Gallagher began his career in the 1990s with Oasis and went on to form the High Flying Birds after Oasis's initial break-up in 2009. Recommended reading: Oasis rules out further UK dates and Knebworth Park return Which? wants Oasis and Ticketmaster to refund fans hit by inflated ticket prices 'To say I'm fuming is an understatement' - Oasis fans slam ballot to extra shows Despite media speculation, Oasis said that they would not be playing Glastonbury 2025 or any other festivals. 'The only way to see the band perform will be on their Oasis Live '25 World Tour,' a statement issued in 2024 read. Back in July, Noel had expressed his opinions on Glastonbury, telling The Sun that the festival got 'a bit woke' for his liking.
The Herald Scotland
an hour ago
- The Herald Scotland
Are Oasis' Edinburgh gigs a boon or a curse? The figures don't add up
Ker-ching. Perhaps we should take that sum with a pinch of salt, though. Here's why: in its Economic Impact Of The Edinburgh Festivals report of June 2023, creative industries consultants BOP Consulting estimated that the Edinburgh Festivals contributed £492 million to the capital's economy. So does that mean that over the course of three days and three concerts, a mere 200,000 Oasis fans will deliver around a quarter of the total sum it would ordinarily takes three weeks, thousands of shows, tens of thousands of performances and four million potential punters to accrue? It seems hard to credit. Then again, maybe it's in the food and drink spend that the answers lie. If previous experience is anything to go by, that sum could indeed be considerable. Here's a flavour of the, er, atmosphere in the city in 2009, the last time Oasis visited Murrayfield. 'There were folk spewing up in the street by the afternoon,' reported Haymarket shop manager Ian Barclay. 'You could just tell there was going to be at least some trouble. I saw one guy passed out on a wall near Morrison Street at about 4pm with a sky blue Oasis T-shirt on.' A local primary school had to close the last time Oasis played Murrayfield (Image: STEWART ATTWOOD) And trouble there was. At least one large fight broke out in the stadium itself – a man was carried out on a stretcher – and overall the event was 'marred by violence', according to one newspaper headline. Meanwhile householders nearby with a square of garden large enough to defecate or urinate in found more than a few surprises of that variety the next morning. It's fair to say Edinburgh wasn't delighted by the 2009 visit of Oasis and there was a very definite gritting of teeth when the three August dates were announced. And that's before you factor in the mooted travel chaos and the general infrastructure deficits which abound across the Central Belt. 'Can Scotland cope with hosting Oasis and the Fringe at the same time?' this paper asked last year. Good question. Pull back a bit and you learn it isn't just in Edinburgh that doubts are raised about revenue-boosting big stadium events. A slew of concerts scheduled for Madrid's iconic Bernabéu stadium, for instance, have been cancelled over constant complaints from locals about noise which exceeds legal levels, fans camping in nearby parks, streets being shut off and – does this one sound familiar? – drunks urinating in doorways. Pull back even further and we can place these issues in a broader movement which is starting to see tourists and tourism – whether cultural or otherwise – as a curse rather than a blessing. With Oasis fans now older and (hopefully) less prone to falling into drunken stupors miles from the stadium, perhaps the upcoming gigs will be less gory. Perhaps the event will fold happily into the hurly-burly of the festival city and be swallowed up by the tumult. Either way lessons will be learned as the capital continues to assess the opportunities, dangers and reputational demands of its place as a pre-eminent cultural destination. Read more Theme park Still with Edinburgh and its festival, the Fringe programme has just launched and, as usual, there's a host of home-grown talent to enjoy besides the blow-ins from virtually every other country on the planet. This year's programme features work from 3,352 shows across 265 venues and the good people at Fringe HQ have helpfully provided a list of the key themes for those who haven't yet had a chance to read the programme. Among these you'll find Rebellious Women, Queer Joy, Rave And Club Culture, The Apocalypse and Nostalgia, which I am going to crunch together into this handy phrase: 'The end of the world is nigh, let's party like it's 1988'. Feel free to come up with your own version. Glibness aside, those themes and others nod to one of the Fringe's great strengths: how, in aggregate, the subjects people choose to make art about offer a snapshot of the world we live in and the issues which assail it. Sure, when the Fringe rolls around you can stick to easy stand-ups and cheap laughs – but if you want serious commentary on the forces shaping our country, it's there for you in spades and you're doing yourself a dis-service if you don't dig in. As Grace Slick sang on White Rabbit: 'Feed your head.' And finally The Herald's music critic Keith Bruce continues his tour of the best the Perth Festival of the Arts has to offer with a review from St Ninian's Cathedral of Puccini's Suor Angelica, performed by Opera Bohemia and the Amicus Orchestra. He was also at the acoustically fine Caird Hall in Dundee for a performance by the RSNO's Artist in Residence Randall Goosby. Elsewhere theatre critic Neil Cooper was at Saria Callas, the latest in Òran Mór's A Play, A Pie And A Pint series. Written by Iran-born singer, artist and theatre director Sara Amini it tells the story of an Iranian girl who just wants to sing – but faces censure if she tries.
