
Oasis, Pulp & Suede are all playing huge tours – we can ride the Britpop wave too
They had three top five albums and a legendary run of nine successive top 20 singles
RETRO SCENE Oasis, Pulp & Suede are all playing huge tours – we can ride the Britpop wave too
Click to share on X/Twitter (Opens in new window)
Click to share on Facebook (Opens in new window)
OCEAN Colour Scene hope to ride a BritPop wave spurred on by this summer's Oasis reunion.
The 90s rockers shot to fame with huge anthems such as The Riverboat Song and Traveller's Tune in their heyday.
3
Ocean Colour Scene will play in Glasgow later this month
3
The group in their 90s heyday
3
They supported Oasis at Knebworth
They famously supported Liam and Noel at their massive Loch Lomond and Knebworth shows nearly 30 years ago.
Although this time they won't be warming up for the warring brothers' comeback - as they have their own headline gig at Glasgow's Queens Park later this month.
Guitarist Steve Cradock, 55, said: 'We're from a generation that grew up listening to records. That era is still well-loved and it was a great time where amazing music came from our shores.
'People get nostalgic about it because it was such a good time.'
The group, which also includes frontman Simon Fowler, drummer Oscar Harrison and bass player Raymond Meade, will also perform two big dates at Dundee's Slessor Gardens in July.
With three top five albums and a legendary run of nine successive top 20 singles, the band have plenty of material to keep such large crowds happy.
But Steve believes it's extra important to impress their Scottish fans - as they are the main reason the band hit the big time.
Steve, who also plays guitar for Paul Weller's band, said: 'Scotland feels like our home ground and I think it goes back to around 1996 when we put out our Moseley Shoals album.
'We just released the Riverboat Song, we were on Top of the Pops, and we had eight Scottish gigs and our promoter thought we wouldn't do them.
'But we never cancelled them. That established Scotland as our base and then we had a Stirling Castle date in 1998.
Noel Gallagher looks stony-faced as he makes lonely Tube journey to Oasis rehearsals – but Liam's entrance is chaotic
'It's like our hometown. Why that is I don't know. Most bands will say that to you about Scotland.
'But there's something exceptional in the Scottish DNA.'
Even after 35 years, Steve reckons the band is still improving.
They completed a huge UK tour in April and had so much fun they immediately added many more dates for the summer.
As they've got older, the guitarist reckons they've also got smarter. He said: 'We've all got our s*** together so it's been a joy.
'Every show was a dream. The audiences were fantastic and that just keeps happening. The songs keep growing and the crowds keep growing.
'We keep finding new fans. It's a strange one. If you're in a household and your parents are playing our tunes, it'll seep through.
'It's the same with my children and it gets passed down. We've seen the next generation arrive at our shows and that's fantastic.'
He added: 'We've got our act together and we're a good band at the moment.
'Raymond, who's from Glasgow, has been our bass player for ten years and my lad is playing piano and guitar and Oscar's son Leon is playing percussion.
'Simon has calmed down too. I spent a week at my home in Devon before this tour and we got together with the band for a couple of days.
'And it comes together really quickly because we're so old now.'
The focus now turns to Queens Park later this month as the group continue their love affair here.
Although sunshine can't be guaranteed, Steve reckons the future is bright as they get to play the sort of outdoor gig they love most.
He said: 'We played Kelvingrove Bandstand last year and that was one of best nights we've had in Glasgow. It was like being in a miniature Hollywood Bowl.
'I love outdoor gigs. Maybe that's because I'm coming off the back of tour indoors.
'But music flows differently playing outdoor gigs. It makes for a different vibration.
'It's just a nice atmosphere, especially when the weather is nice.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Spectator
an hour ago
- Spectator
Style, wit and pace: Netflix's Dept. Q reviewed
Can you imagine how dull a TV detective series set in a realistic Scottish police station would be? Inspector Salma Rasheed would have her work cut out that's for sure: the wicked gamekeeper on the grisly toff's estate who murdered a hen harrier and then blamed its decapitation on an innocent wind turbine; the haggis butcher who misgendered his vegetarian assistant; the Englishman who made a joke on Twitter about a Scotsman going to the chippy and ordering a deep-fried can of Coke… It would get lots of awards, obviously, but I doubt it would do that well in the ratings. But you needn't worry about Dept. Q (Netflix). Though it is set in a police station in Edinburgh it bears about as much relation to contemporary Scotland, Scottish policing or indeed Edinburgh as, say, Midsomer Murders does to real-life English villages. Perhaps this is because – based on a novel by Danish author Jussi Adler-Olsen and originally set in Copenhagen – it derives from the Scandi-noir genre where every other person in the bleak, washed-out countryside and pullulatingly corrupt modern metropolis is either a bent City bigwig, an occultic serial killer – who wears antlers on his head while drawing runic symbols in blood – or the disturbed victim of some Terrible Family Secret that will only be unravelled after a series of long car and ferry journeys to remote islands where no one wants to answer questions. Our hero is DCI Carl Morck (Matthew Goode), whose statutory unique quirks are that he's stupidly clever, incredibly grumpy and deeply traumatised having been shot in the head by the same masked gunman who crippled his colleague (and only friend) DCI James Hardy (Jamie Sives). Everyone hates him; he hates everyone in return; but you'd definitely want him solving your case, even if it's impossible, such as the one he's investigating here. I feel bad about describing it because it might give away the game about the rather ingenious temporal device that furnishes the first episode with its satisfying final twist. (Skip to the next paragraph if you don't want it spoiled.) Essentially, a woman barrister (Chloe Pirrie) has gone missing on a ferry and her case has been closed because there were no leads or witnesses and she is presumed dead. In actual fact though – oh, the horror! – she has spent the last four years imprisoned in what looks like the metal hull of a ship, where she is psychologically and physically tortured by a vicious old woman and her sidekick who bear her some-as-yet-undisclosed grudge. See what I mean about our being in Scandi-noir territory? This is the sort of crime almost no one ever commits in real life because even if they had the motive the logistics would be just too complicated. That's why, having hit you with this bizarre and deeply implausible scenario, the rest of the book/TV adaptation has to work so frantically hard to provide you with the convoluted psychological and organisational rationale necessary to persuade you that this hasn't all been a huge waste of your time and credulity. Not that I'm really complaining by the way. Just like with Slow Horses – whose set up this resembles quite a lot – Dept. Qisn't really about the tortured MacGuffin of a plotline but about enjoying the company of loveable misfits. Besides Goode's adorably hateful antihero detective, these include: Akram Salim (Alexej Manvelov), a deceptively gentle soul who used to be in the Syrian secret police; DCI Hardy (now bedbound but at least if he can still help solve crimes it might suppress his urge to kill himself); DC Rose Dickson (Leah Byrne), with her big red hair, bright red lipstick and mental-health issues. They work together in a dingy basement, forgotten since the 1970s, and, handily, have a decent budget because the cabinet secretary has apparently decided that it's good for optics if there's a dedicated department for solving cold cases. All the other characters are, of course, similarly messed up. The missing woman's brother William (Tom Bulpett) has mental-health issues on account of having had his head stoven in by a mysterious hammer attacker; Kelly Macdonald's Dr Rachel Irving – aka meet-cute love interest – has been off men ever since jilting her bigamist husband at the altar; Morck's teenage stepson wears a mask and plays death metal at full volume while playing video games, etc. Yes, the crime bits are bit warped, morbid and voyeuristic (for my tastes anyway), but the cast are great, and it's adapted and directed with such verve, style, wit and pace by Scott Frank, you can hardly not enjoy it – nor wish they'd get a move on with Season Two.


Spectator
an hour ago
- Spectator
Jarvis Cocker still has the voice
For bands of a certain vintage, the art of keeping the show on the road involves a tightly choreographed dance between past and present, old and new, then and now. It's not a one-way transaction: there should be some recognition that the people you are playing to have also evolved since the glory years of the indie disco and student union. Halfway through the first date of Pulp's UK tour following the release of More, their first album in 24 years, I started thinking about Withnail & I. Watching the film repeatedly as a young man, the booze-soaked antics of the dissipated 'resting actor' and his addled supporting cast seemed like great larks, albeit in extremis. The last time I watched it, approaching 50, sober as a judge, it played as the bleak tragedy it had surely always been. To steal the title of a Pulp song: something changed. The music of Pulp has always been scored through with melancholy and painful longing, but its emotional heft and essentially good heart is more evident these days. Singer Jarvis Cocker no longer hides behind so many layers of ironic distance. As he half-joked before 'Help The Aged', at 61 he now requires audience assistance to reach the high notes. More is Cocker's delayed, reluctant reckoning with adulthood. As he put it on 'Grown Ups', 'We're hoping that we don't get shown up/ 'Cos everybody's got to grow up.' Love was once a source of shame and embarrassment, he told us, but he has finally reached a gentlemanly accommodation with it. The shift was evident on new songs such as 'Slow Jam', 'Got To Have Love' and 'Farmer's Market' – a terrific orchestral ballad – but also in the low-key sense of gratitude that emanated from the stage. Cocker came across as a warmer, less wary figure, tossing out grapes and sweeties to the front rows. There were more obvious signs that we weren't in 1995 anymore. The group's core four – Cocker, Nick Banks, Candida Doyle and Mark Webber – nowadays resemble members of the history department of a Russell Group university who have decided to enliven the pre-retirement years by forming a band. They were joined by a string ensemble, a percussionist and several superb multi-instrumentalists, enabling Pulp2025 to shift seamlessly from the vast, corrupted Bond theme drama of 'This Is Hardcore' to a pared-down acoustic version of 'Something Changed'. In the midst of all that evolution, the trick was that it was all still very recognisably Pulp. Framed by purple velvet drapes, the set was a Sheffield bingo hall transported to an aircraft hangar, while an air of slightly shambolic indie-ism survived the transition to a slick arena show. Cocker still has the voice and, perhaps more importantly, the moves. His hands pirouetted like a good actor playing a bad magician. He corkscrewed into the air when excitement got the better of him, such as the moment when 'Common People' exploded into life. The song, which should by now feel glossy with overfamiliarity, was instead a juggernaut of propulsive energy. By then, they had played most of More. 'Tina' might be a classic Pulp title destined to be for ever waiting in vain to become a classic Pulp song, but much of the new material held its own among the gold-standard highlights: 'Sorted For E's & Whizz', an exhilarating 'Disco 2000', 'Mis-Shapes', 'Do You Remember The First Time?' and 'Babies', as well as outliers such as 'The Fear' and 'O.U. (Gone, Gone)'. Nothing on More could possibly have the impact of those songs, a point the audience instinctively understood. That was then, this is now. Both band and fans simply seemed appreciative of the opportunity for 'one last sunset, one final blaze of glory.' The Waterboys are also touring a new album, Life, Death and Dennis Hopper, a gonzo, genre-hopping 25-track sprawl that maps the life of the maverick US actor to the shifting currents of the postwar counterculture. They played around half of it in Edinburgh, in a single suite that unspooled against a Hopper-heavy backdrop of black and white stills and saturated Super-8 video footage. It felt fresh, colourful, eccentric and ultimately celebratory. On either side, they crunched out setlist staples such as 'Be My Enemy' and 'A Girl Called Johnny', which delivered power and punch without much in the way of surprises. The gig was at its best when the interplay between the musicians had space to stretch out. A reworked 'This Is The Sea' gathered an elemental power, and there was a nod to the recently departed Sly Stone during the still effervescent 'The Whole Of The Moon'. Like Pulp, the Waterboys have seen over 40 years' of active service, yet they are still evolving.


Scottish Sun
4 hours ago
- Scottish Sun
Awkward moment darts hero Peter Wright left stunned as James Wade FARTS in front of him leading match to be stopped
It isn't the first time Wade's been involved in such an incident DARTS FARTGATE Awkward moment darts hero Peter Wright left stunned as James Wade FARTS in front of him leading match to be stopped Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) SCOTTISH darts star Peter Wright was left stunned after James Wade appeared to break wind right in front of him during a match. Wade was involved in yet another dart 'fartgate' incident in Players Championship 17. Sign up for Scottish Sun newsletter Sign up 4 James Wade caused a stink during his match with Peter Wright Credit: X @viaplaysportnl 4 The Scottish legend wasn't impressed Credit: X @viaplaysportnl 4 He soon broke out in a smile Credit: X @viaplaysportnl 4 Wade didn't appear to be aware the match was being streamed LIVE Credit: X @viaplaysportnl The World No.10 kicked up a stink in a clash with fellow veteran star Wright in Leicester. Wade let rip during his 6-5 win over 'Snakebite' to reach the quarter-finals on Tuesday afternoon. Wright stepped back and laughed uncomfortably - but Wade's joke quickly backfired when the match caller told him the clash was being televised LIVE. Referee Owen Binks then informed the players: 'Oh boy, okay then… This is a streamed match guys.' Wade claimed: 'It slipped out.' And then added: 'Give it a second.' Wright thought it needed more than a second though, and Wade tried to prompt him back onto the oche, saying: 'Go ahead. Do you want nine more arrows?' It's not the first time the 42-year-old has passed wind during a darts match. He did the same less than a year ago in September 2024, also at the Players Championship. On that occasion he claimed it was his SHOES that made the noise. 'Stupid' - Josh Rock hits out at 'disrespectful' World Cup of Darts rival's on-stage antics He wrote on social media: 'I feel I must address a situation following my run to the semi-finals of PC22 today. 'Footage has emerged of me doing what appears to be a 'shart' at the end of one of my matches. 'It was actually the Velcro on my new trainers. I now consider this matter put to bed as don't wish to talk about it again.' Keep up to date with ALL the latest news and transfers at the Scottish Sun football page