Oasis fans able to ‘get the look' at a pop-up barber shop
The pop-up salon, in the Manchester Piccadilly Premier Inn, allowed fans to get the Gallagher brothers' iconic mod cut before heading to the show at the city's Heaton Park.
A professional barber was on hand - fully trained in providing the feathered and shaggy look, complete with long sideburns and a straight fringe.
And before-and-after pictures show a delighted music lover going straight back to the 90s, via their hair at least, alongside a Liam lookalike.
Tracey Bishop, Premier Inn regional manager Greater Manchester, which is welcoming thousands of Oasis fans to its hotels nationwide this summer, said: "From music tours to football tournaments, events always create a massive buzz in our hotels.
"Spirits are sky high in Manchester, and we are excited to be a part of it.
"The team are loving welcoming Oasis fans – the bucket hats are a bit of a giveaway at check-in.
'When you think of Oasis, first you think of the massive tunes, but from hats to parkas second on the list is always going to be their incredible style.
'The hair is as much a part of that as anything, so while we can't make people rock 'n' roll stars – we can at least make them look like one and have a comfy bed waiting at the end of the gig.'
Levon Gill, the barber added: 'It was so much fun giving these fans such an iconic look.
'The mod style is so synonymous with Manchester, it's great to see we are still keeping it alive.
"In our shop we've seen a real resurgence of Oasis style haircuts.
"There have been lot of tourists come in to get one, but they wait until they get to Manchester to make sure to get the real deal.'
The Gallagher brothers shot to fame in the mid-1990s after two colossally successful Oasis albums, Definitely Maybe in 1994 and (What's the Story) Morning Glory? in 1995.
With both Liam and Noel sharing vocal duties, the fractious pair were as famous for their off-stage antics as their music.
Thanks to their working-class attitude, the duo were immediate style sensations, with shaggy hair and parkas defining the look of the era.
The band went through spats and breakups, finally calling things off for good in 2009 after a blazing row between the two brothers following a Paris gig.
In 2024, they announced a reunion tour that sold out in minutes, with fans from around the globe clamouring for tickets.
Tracey added: 'Oasis aren't just a band - they're part of people's life stories.
'Their music and style defined a generation, soundtracked major moments and gave fans a voice when they needed it most.
'These songs have always had the power to unite strangers, whether at a gig, a festival or singing in the street after a night out.
'Bringing people together for something this iconic is electric, and we are so proud to be playing our part in it – it's more than a concert, it's a cultural moment that will never be forgotten.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Spectator
3 hours ago
- Spectator
Why has the world turned on the Waltz King?
On 17 June 1872, Johann Strauss II conducted the biggest concert of his life. The city was Boston, USA, and the promoters provided Strauss with an orchestra and a chorus numbering more than 20,000. One hundred assistant conductors were placed at his disposal, and a cannon shot cued The Blue Danube – the only way of silencing the expectant crowds. Estimates vary, but the audience was reckoned to number between 50,000 and 100,000; in all, there must have been a minimum of 70,000 people present. This month's Oasis reunion only played to 80,000. The result, in an age before modern amplification, was much as you might expect. 'A fearful racket that I shall never forget as long as I live,' was Strauss's own description. Still, the point stands. Johann Strauss II was famous; very famous. A Europe-wide newspaper poll, conducted in 1890, named Strauss as the third most popular individual in Europe – pipped to the top slot only by Queen Victoria and (in second place) Otto von Bismarck. Strauss died in 1899, before the era of recorded music, but within his lifetime sheet music for The Blue Danube sold upwards of one million copies. That's platinum disc territory, and in the 21st century, the phenomenon endures. The perma-tanned Dutch violinist André Rieu, whose classical pops orchestra is named after Strauss, has picked up some 500 platinum discs while his live shows – built around Strauss's music – play across the world to stadium-size audiences. His 2018 tour outgrossed Elton John, globally. Again, this is old news. I'm not here to tell you that Johann Strauss's waltzes, polkas and operetta hits were the pop music of their day: that people loved them, and continue to love them, is a matter of record. So why – in 2025, the 200th anniversary of his birth – is there a Strauss-shaped hole in the programmes of our major orchestras and opera companies? Classical music is obsessed with anniversaries and Strauss is proven box office, so where are the festivals, the rediscoveries, the operetta revivals? The Proms has a single Saturday morning concert; the Grange Festival staged Die Fledermaus – and in the UK, that's basically it. In Britain, at least, it seems that the people who decide what classical music we should hear have rather fallen out of love with this most accessible of 19th-century masters. If that's the case, they're swimming against the tide of history and the judgment of genius. The deepest divide in late 19th- century European music – a culture war of generation-defining bitterness – was between the devotees of Wagner and Brahms. Yet both composers revered Strauss. For Wagner, Strauss was 'the most musical man in Europe'. He hired a private orchestra so that he could conduct Strauss waltzes as a birthday treat, and licensed the Strauss orchestra to première excerpts from Tristan und Isolde in Vienna at a time when the city's ultra-conservative musical establishment refused all contact with Wagner's 'music of the future'. Brahms, meanwhile, was practically a fanboy, comparing Strauss to Mozart. When Strauss's stepdaughter asked him for an autograph, Brahms scribbled the opening of The Blue Danube and wrote 'Unfortunately not by Johannes Brahms'. For several generations afterwards, to be a progressive force in European music was to admire Johann Strauss. Gustav Mahler put Die Fledermaus on the stage of the Vienna Court Opera, and there's hardly a Mahler symphony that doesn't, at some point, swing into waltz time, or pause to squeeze the sadness and sweetness of life out of the succulent close harmonies – the yearning, Italianate thirds and sixths – that were Strauss's hallmark. Mahler's disciples, the arch-modernists Schoenberg, Berg and Webern, made exquisite pared-down arrangements of the Emperor Waltz, the Treasure Waltz and Wine, Women and Song. It wasn't just a German thing, either. In Paris, Ravel's La Valse portrayed the 19th century dancing to its doom, but Ravel had only love for the composer he called 'the great Strauss, not Richard, the other one – Johann'. A distinction needed to be made. The Bavarian Richard Strauss was no relation to Johann but in 1911 he'd woven a garland of waltzes into the score of Der Rosenkavalier. The opera was set in the 18th century, but that didn't matter. Like Stanley Kubrick (five decades later, in 2001: A Space Odyssey), Richard perceived that Johann's music embodied an entire civilisation. I could say more: of the eminent conductors (from Henry Wood to Christian Thielemann) who've adored Strauss; of his legacy in popular music, from the Gershwins' admiring tribute 'By Strauss' ('It laughs, it sings! The world is in rhyme/ Swinging in three-quarter time') to the way the long, poetic introductions and codas of Strauss's greatest waltzes anticipate contemporary DJ sets – building and shaping a collective mood, as well as providing a beat for dancing. Most startling of all is the knowledge that, having outlawed the works of Mendelssohn and Mahler, Goebbels suppressed evidence of Strauss's Jewish ancestry. Cancelling Johann Strauss was a step too far even for the Third Reich. Still, here we are, in a Strauss-deprived classical music world. Why? Perhaps the televising of the Vienna Philharmonic's annual New Year's Day concert has normalised the idea that Strauss is a purely seasonal treat. Most British orchestras programme a solitary Viennese evening in early January – typically under-rehearsed and delegated to a novice conductor, though artists who shortchange this music pass sentence on themselves. As with Mozart or Haydn, the superficial simplicity of Strauss's inspiration is a mirror that reveals a conductor's soul. Furtwängler's Emperor Waltz has a monumental inner logic; Karajan's Blue Danube shimmers with sensuous richness. Carlos Kleiber made the Thousand and One Nights waltz sound like a long, warm smile. The original score of Johann Strauss II's The Blue Danube (1867). ART IMAGES / GETTY IMAGES And then there's our old friend snobbery. Rieu may be a factor there; likewise the high-kitsch framing of the annual New Year broadcast from Vienna. Euro-camp dance routines and crowds of Belgian retirees are just not cool. The tastemakers of the classical world say they want diverse audiences – but not that kind of diversity, and classical music social media foams with disdain on the morning of New Year's Day. It's embarrassing to witness. True, any creator as prolific as Strauss will have off days and arid patches (even Bach was no exception). But any truly musical listener should be able to discern the fundamental artistic quality of Strauss's finest work. Brahms heard it; Wagner heard it. It shouldn't be this hard. We live in an aesthetic climate that favours the arduous over the graceful, and privileges the grim over the joyous (though no one with ears to hear can miss the ever-present melancholy that offsets Strauss's sweetness). In the meantime, it's hard not to feel that we're missing out on something life-enhancing – and god knows, we could use it. Strauss can (and does) flourish even without elite orchestras and big-name maestros, but the pleasure that comes from hearing genius exploring its own lighter side shouldn't be confined to the first of January. Until the 1980s, Viennese nights used to be a regular (and best-selling) feature of the Proms, and there is a vast untapped repertoire to explore. Imagine an inventively programmed evening of Strauss rarities and favourites performed by, say, Ivan Fischer and the Budapest Festival Orchestra (who played an exquisite sequence of Strauss waltzes in the 2014 Proms), or John Wilson and the Sinfonia of London (who delivered an exhilarating Fledermaus overture as recently as 2021). Preconceptions and prejudices would evaporate like mist on the Prater. Hope springs eternal. There's another Strauss anniversary in 2029: a second chance to celebrate some of the most perfect popular music ever created. And to join Brahms, Wagner, Mahler, Schoenberg, Webern, Ravel, Gershwin, Richard Strauss, Furtwängler, Karajan, Kleiber and (yes) André Rieu – plus millions of music-lovers across continents and centuries – in grateful homage to the Waltz King.
Daily Mirror
5 hours ago
- Daily Mirror
Liam Payne's sister's heartbreaking tribute on 15th anniversary of One Direction
Singer Liam Payne's grieving sister has shared a heartbreaking tribute as she marked 15 years since One Direction were formed on the X Factor Liam Payne's sister posted a heartbreaking tribute to the late singer as she marked 15 years since One Direction formed. The singer tragically died in October aged 31 after falling from the third floor of a hotel in Argentina. He found fame on the X Factor, where he was put together with Harry Styles, Zayn Malik, Louis Tomlinson and Niall Horan to form One Direction. Liam's sister Ruth shared a photo of Liam with his siblings and parents in the same place, years apart. They posed for a family snap with a teenage Liam, as well as when he was much younger. Alongside the touching photos, Ruth shared: "Liam this one's for you "15 years of the 'I'm in a boyband' text, where Dad ran downstairs to tell us all, absolutely gutted at the time that you'd been sent home again, that you'd been put in a boyband. "Your love of 1D never stopped, you were so proud of what you'd achieved and part of the love remaining, guiding us through this darkness is the love of your fans who have loved and supported you for 15years, they are always so proud of you, I hope you can see it. "Your love and support for the other boys never stopped, you were first to congratulate about their successes after the band, you always sang their songs and spoke of them and your memories, they were the brothers you'd always wanted. "I have my favourite memories of your band, and going through my 20s watching your success with such pride. One of my favourite memories is when we were at an after party and Souts was telling us about the 'story of my life' video idea, and you said 'ask him what photo of us we're using he told us and I turned to you and said but nicola's got a mullet and Ive got black hair in it?!' And you laughed and said 'I know' absolutely howling that youd got us to agree to reenact one of our worst photos "We had the best time filming that video with you. Everyday in your company was always tonic for my soul, no matter where in the world we were. From our dance shows, to small theatres, arenas to stadiums, incredible memories. "Another memory Ive thought about today, was when we flew to lA to watch your show and due to customs missed the first night we were meant to be at the show, when you walked into my hotel room on the nighttime, you woke me up to say hi and have a quick catch up and as you were leaving said well Ru, you've missed David Beckham tonight' picked up your gfs bags and left the room, leaving 22 year old me processing the heartbreak of missing David Beckham! "1D time will always have such a fond place in my heart, you worked your arse off for the band, consistently showing how incredible you are. This year, today, isn't how it used to be, I have so many fan tributes to show you and I know you'd be blown away by the love 15years on. "But as I light my Wednesday candle, and speak to you with heart, I hope you're somewhere sat comfy, laptop on, listening to your bands music from start to finish, smiling. Love always Liam, Once in a lifetime, you were mine."
Glasgow Times
8 hours ago
- Glasgow Times
Oasis in Edinburgh 2025: Times, road closures and setlist
The Britpop group, which rose to prominence in the 1990s, is best known for hit songs like Don't Look Back in Anger, Wonderwall and Live Forever. If you're going to see the band live and in the flesh, here is everything you need to know about their tour dates in Scotland. When are Oasis playing at Edinburgh's Murrayfield Stadium? Oasis will play at Edinburgh's Murrayfield Stadium for three gigs on Friday, August 8, Saturday, August 9 and Tuesday, August 12. Doors for all three events will open at 5pm, according to Ticketmaster. Are there still tickets for Oasis at Edinburgh's Murrayfield Stadium? Sadly, there are no tickets available for those wanting to see Oasis in Edinburgh, with these selling out very quickly. Who is supporting Oasis at their Edinburgh gigs? Richard Ashcroft and Cast will both support Oasis for their UK and Ireland tour dates. Richard Ashcroft is an English singer and songwriter who is best known for being the frontman for the legendary rock band, The Verve. Hailing from Liverpool, Cast is a band founded by John Power and Peter Wilkinson after leaving their respective groups, The La's and Shack. See the Oasis setlist for Edinburgh The band has used the same setlist for all of its UK shows so far, according to Time Out magazine. Here is the predicted setlist for their Scottish shows: Hello Acquiesce Morning Glory Some Might Say Bring It On Down Cigarettes & Alcohol Fade Away Supersonic Roll With It Talk Tonight Half the World Away Little by Little D'You Know What I Mean? Stand by Me Cast No Shadow Slide Away Whatever Live Forever Rock 'n' Roll Star The Masterplan Don't Look Back in Anger Wonderwall Champagne Supernova How to get to Murrayfield Stadium from Edinburgh's city centre Bus According to the Scottish Rugby website, there are a number of bus routes that take passengers to Murrayfield. Lothian Bus services 1, 22 and 30 take riders to Westfield Road, Services 3, 25 and 33 stop at Gorgie Road, while services 12, 26 and 31 take passengers to Corstorphine Road. First Bus also operates services, including the 23, 24 and 38. There is also the 900 Service from Glasgow to Edinburgh. Tram and train Fast and frequent tram services travel to and from the entrance of Murrayfield Stadium. The Edinburgh Gateway, Edinburgh Park Station, Haymarket Station and St Andrew Square tram stops are a short walk from Waverley Station. What are the age restrictions in place for the Oasis shows at Edinburgh's Murrayfield Stadium? Age restrictions for the concerts state that no persons under the age of 14 are permitted onto the pitch (standing area), with those aged 14 and 15 needing to be accompanied by an adult over the age of 18. In the seating zone, no persons under the age of eight are permitted, with those aged eight to 15 needing to be accompanied by an adult aged 18 or over at all times. See all the banned items for Murrayfield Stadium Customers will not be permitted to bring the following items into the Scottish venue: Bags larger than A4 size (unless required for medical or childcare purposes) Alcohol of any kind (customers must dispose of this at bins provided at the entry points) Cans, opened bottles and any kind of glass or metal container Sealed plastic soft drinks or water bottles larger than 500ml Fireworks, flares, smoke bombs and any kind of Pyrotechnic items (possession of these may constitute a criminal offence, with those found with these being referred to police) Knives, weapons and other hazardous items Banners or flags with slogans which are offensive, abusive, racist, homophobic or of a discriminatory nature Animals (except for guide dogs) Golf or large umbrellas Cameras that do not fit comfortably into pockets or handbags Tripods, selfie sticks and iPads Other items deemed to pose a risk of injury and annoyance It should be noted that Murrayfield does NOT have bag drop-off facilities, so customers will be required to take their offending items and deposit them in a safe place before entering the stadium. Recommended Reading: What road closures and restrictions will be in place around Murrayfield for the Oasis gigs? According to Edinburgh City Council, there will be road closures before and after the events. These closures will affect the roads around the Roseburn, Murrayfield and Haymarket areas, with West Approach Road also closing. This is usually the case when there is a major artist playing at the stadium. Drivers and pedestrians passing through should be aware that these delays will be in place for all three concert dates (August 8, August 9 and August 12).
