“The Battle of Britpop” — How Oasis Vs. Blur Shaped Music History

The date was August 14th, 1995.

Blur and Oasis, dubbed as two of the biggest bands in the Britpop scene, released a single on the same day, causing the public and press to go crazy over the turn of events that led to the historical battle between two bands: The Battle of Britpop.

Britpop was defined as a movement from British rock bands in the 1990s, typically associated with guitar and ‘Beatles-esque’ music, inspired by none other than The Beatles.¹

It was more than just musical charts and record-breaking music. Their rivalry was a defining moment in British music history. Though it happened 30 years ago, the question remains: “Who really won The Battle of Britpop?”

From being friends to competing for the top position on the charts, The Battle of Britpop left a very significant mark for the public to remember.

How The Rivalry Began For Blur & Oasis — 1995 & The Fight For #1

Contrary to popular belief, Blur and Oasis got along just fine before their feud and the bitter rivalry the bands are known for.

Formed in 1988 in the South of England, consisting of Damon Albarn on vocals, Graham Coxon on guitar, Alex James on bass, and Dave Rowntree on drums –- Blur debuted their first album in 1991, “Leisure.”² The group had a head start in the British music scene before Oasis, making themselves known to the public for their music and eccentric witty image.

The band achieved mainstream attention when they released their 3rd album in 1994, “Parklife.”³ Followed by the success of the 3rd album, Blur became a more well-known band when they released their 4th album in 1995, “The Great Escape” –- known for the hit single “Country House,” which caused their feud with Oasis to unfold.⁴

On the Northern side of England, Oasis was formed by the infamous Gallagher Brothers, Liam as the lead vocalist and Noel as the main guitarist, followed by their friends Paul “Guigsy” McGuigan on bass, Paul “Bonehead” Arthurs on rhythm guitar, and Tony McCaroll on drums but soon replaced by Alan White. Oasis signed with Creation Records, releasing their debut album “Definitely Maybe” in 1994, gaining attraction from the public for the raw elements implemented in their music.⁵

Riding the wave of their previous success, Oasis released their sophomore album, “(What’s The Story) Morning Glory?” in 1995, with the track “Roll with It,” going neck to neck with Blur.⁶

The bands often interacted with each other; Albarn and Noel Gallagher were often seen showing camaraderie and hanging out with each other. On February 20th, 1995, Blur had won Best British Group at the BRIT Awards. The band gave a speech on stage, saying that the award should be shared with Oasis.⁷ At that time, Blur and Oasis were sharing the Britpop scene as rising stars.

‘Chas & Dave chimney sweep music’ was what Liam said to describe Blur, the insult meant Blur’s music was old-fashioned and gimmicky.⁸ Blur, of course, had their own comments — saying that Oasis had the same repetitive rock-band formula when making their music, calling them ‘a bit like Status Quo.’⁹ That comment Damon made showcased the goody relationship the bands had; giving each other public jabs and ribbing was a regular thing for them.

Blur and Oasis releasing their materials marked the beginning of the public’s obsession towards Britpop. Despite the two bands getting along with each other, something shifted when Damon started seeing Oasis as a threat to their popularity.¹⁰ It all began when Damon congratulated Oasis on their win, scoring a #1 spot on the charts. Damon quoted:

“When Oasis got to Number One with ‘Some Might Say’, I went to their celebration party, y’know, just to say ‘Well done’. And Liam came over and, like he is, he goes, ‘Number fookin’ One!’, right in my face. So I thought, ‘OK we’ll see…’”

¹¹

And thus, the intense rivalry began.

The Peak Of Blur & Oasis’ Rivalry

To add fuel to the fire, Blur originally scheduled “Country House” for a different release date, but it was moved to the same day as “Roll with It.”¹² Blur’s record label saw it as a moment to intensify their rivalry, putting the two bands against each other, and Damon was all-in for that idea.¹³

Major newspapers, tabloids, and television news programs covered the rivalry between the bands, often sensationalizing the competition and fueling the public’s obsession with the contrasting personas and backgrounds of the bands. With the demand of the public through the press, Blur and Oasis captured the attention of British television.

Top of the Pops was a huge deal in the British music scene, as the show hosted diverse music performances with acts from around the globe, eventually becoming a cultural zeitgeist for the people in the U.K. and reaching up to 19 million viewers at its peak.¹⁴ In the heat of the moment, during the peak of their rivalry, the two bands performed on the same day. Fans lined up, waiting to see the two Titans of the Britpop genre go against each other.

Oasis performed their song “Roll with It” and Blur performed with “Country House” — an iconic performance with the bassist, Alex James, wearing an Oasis shirt as a nod to their rivalry.

Blur and Oasis were two sides of the same coin; both were pivotal to the British music scene. With Blur coming from the South of England and Oasis coming from the North of England, their backgrounds heavily influenced their music, contributing to their public personas, lyrical themes, and different sounds.

Class & Culture — The North-South Divide In Britpop

Blur and Oasis represent two halves of the same coin. RadioX described the two bands perfectly: Blur as pretentious, university-educated, hipster Southerners and Oasis as rough, working-class, no-nonsense Northerners.¹⁵

As presented by the members of each band, they were opposites of each other; it was noticeable in how they presented themselves to the public.

Blur

The members of Blur all came from middle-class families. Damon Albarn, as the frontman, had an artistic background; his father was an artist, and his mother was a theatrical set designer –- which helped in his interest in music, learning at a very young age.¹⁶ Graham Coxon had an artistic background much like the frontman. The two met and shared their love for music in Stanway Comprehensive School, and rekindled when they both attended Goldsmith’s.¹⁷

Dave Rowntree was born in a music-loving household; his mom was a viola player, and his dad was a sound engineer at the British Broadcasting Corporation (BBC).¹⁸ Much like his bandmates, Alex James also had a musical background, with his family being musicians: a jazz pianist and dancers.¹⁹

Coming from a middle-class background, Blur made sure that the people perceiving their music knew about it. The posh image was showcased throughout their music, lyrics, and public image. Blur took on a very observing route in terms of making music. Their album “Parklife” fully leaned into their middle-class and observational storytelling.

“Parklife” cemented their image as a British band that satirized the common British life, poking fun at middle-class stereotypes. In the title track, “Parklife,” they displayed a satirical take on working professionals with the lyrics:

“I get up when I want, except on Wednesdays when I get rudely awakened by the dustmen.”

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The lyrics might seem like a humorous take on the casual, laid-back, working-class routine. However, Graham Coxon described that the track was not a jab at working-class people, but rather about the park class: dustbin men, pigeons, joggers, and the things the band saw while they were on their way to the studio.²⁰

That quote exhibited Blur as an observer for the working class, rather than experiencing it on their own. The members’ background as art school students enhanced their image as a rather posh and intellectual band, coming in with witty wordplays and rhythm by the band, observing the everyday lives of common British people that they did not experience.

Oasis

On the other side, Oasis prided themselves as working-class people. Born and raised in a working-class household, Liam and Noel Gallagher were the epitome of working-class musicians. The masterminds of the group did not have any proper music education. Noel discovered his love for music on his own, much like his brother, Liam. Their mother worked multiple jobs to support them after leaving their father due to abuse.²¹

After quitting school at 15, Noel worked as a construction worker, writing songs and practicing guitar to fill the time. The soon-to-be hit “Live Forever” became one of the songs he wrote while working.²² Oasis’s music is characterized by raw and straightforward textbook rock inspired by Liam and Noel’s background. The band never failed to stay true to their roots, often reflecting their working-class roots in their works.

Their debut album “Definitely Maybe” definitely exhibited their roots, with the lyrics from the song “Cigarettes & Alcohol:”

“Is it worth the aggravation? To find yourself a job when there’s nothing worth working for?”

²³

As stated by BBC: “Cigarettes & Alcohol” gave the people Oasis’s rawest incarnation, the lyricism seeped with socio-political context.²⁴

The song demonstrated the working-class youth that used cigarettes and alcohol as escapism. Noel pointed out that the album had a very punk way of storytelling, highlighting that the band barely had any equipment, no effects, just attitude to bring on stage –- displaying their true rebellious and working-class Mancunian roots.²⁵

Blur & Oasis’ Cultural Identity

Oasis’s gritty authenticity transcended mere image, echoing Blur’s depth beyond their cerebral roots. In the 1990s, London’s image was shifting. London was undergoing gentrification, economic growth, and urban society. The gentrification of London — going from industrial to artistic — inspired artists, musicians, and fashion enthusiasts.

The Face Magazine played a major role in showcasing what London was like at the time. Established in 1980, the publication summarized the essence of London and its artistry.²⁶ It aligned with what Blur presented to the public. Blur’s earlier image and musical style reflected the polished and intellectual aesthetic projected by The Face. The alignment with the magazine’s identity positioned Blur as poster boys of London’s middle-class society.

Manchester experienced a massive deindustrialization; the socio-economic situation during the late 1980s and early 1990s was devastating to the people living there. Declining neighborhoods and buildings slowly collapsing had people believing that the city had no future.²⁷ Poverty and unemployment crept their way into Manchester’s society.

Despite their decline, a little part of Manchester was roaring with the nightlife, using it as a safe space for young people to unleash their frustration. The Haçienda became the epicenter of the rave and acid house movement, shaping Manchester’s cultural identity as the city itself struggled.

Oasis was a product of Manchester’s decline and the rise of rebels, much like The Haçienda, embodying defiance and escapism of the working class post-Margaret Thatcher. Blur became the golden child of the Southerners, polished with their suits and intellectual social commentary; Oasis became the golden child of the Northerners with their unapologetic behavior and no-nonsense attitude.

It became clear to the public that they were polar opposites, representing the class and culture of the North-South divide in Britpop.

Blur Vs. Oasis — The Aftermath That Decided A Generation

As bassist Alex James once reflected in The Guardian:

“Blur won the battle, Oasis won the war, then Blur went on to win the whole campaign.”

²⁸

The winner of the Battle of Britpop depends on how you define victory. In pure numbers, Blur edged out Oasis in the initial chart showdown — selling 274,000 copies of “Country House” versus Oasis’s 216,000 copies of “Roll With It.”²⁹ Blur took the No. 1 spot, leaving Oasis at No. 2.

But chart battles are only one part of the story. While Blur claimed the first round, Oasis dominated the long game. Their follow-up album, “(What’s the Story) Morning Glory?,” became a cultural juggernaut — outselling the competition and cementing their global influence.

In the end, both bands shaped the identity of Britpop in their own ways. Whether you leaned toward Blur’s art school swagger or Oasis’s working-class bravado, their rivalry defined a generation and left an indelible mark on British music history.

Oasis Vs. Blur — Looking Back At The Britpop Battle Thirty Years Later

Decades after The Battle of Britpop reshaped the British music scene, Blur and Oasis remain two of its most iconic and influential forces.

Blur, well-known for their cheeky and whimsical tunes, transferred their sound into a darker and heavier path. The following albums, “13,” released in 1999, and “Think Tank,” released in 2003, were solid proof that the band had moved on from the Britpop scene.

“Think Tank” became the final album that Graham Coxon contributed to, marking his departure from the band. Blur later took a hiatus and went on their separate ways. Gorillaz became Damon’s main focus after Blur, a virtual band created by Damon Albarn and artist Jamie Hewlett.

Blur reunited in 2009 for a series of highly anticipated concerts across the U.K., setting aside past tensions to reclaim their place on stage. The reunion was met with widespread acclaim, offering fans a long-awaited chance to experience the Britpop legends live once again.

The members agreed that the reunion healed a deep wound for the four of them, reconciling with each other after the hiatus.³⁰ The band released another album in 2015, “The Magic Whip,” marking their revival as Blur together.

Later in 2023, Blur surprised fans with what may be their final record together, “The Ballad of Darren.” The band is still active, despite the members having their own solo careers, and Blur is still entertaining both the older and younger generations with their music.

Oasis stormed the world with their record-breaking albums and sold-out shows. After the release of their two most Britpop albums, “Definitely Maybe” and “(What’s The Story) Morning Glory?,” Oasis took a more experimental route for their third album in 1997, “Be Here Now.”

The experimental album was criticized for its inconsistency of sound; they shifted from Britpop, knowing the decline of the genre.³¹ Oasis kept churning out albums until the inevitable came — the band disbanded in 2009, after the sudden departure of Noel Gallagher.³² That marked the end of the Oasis era.

After the split, Liam Gallagher formed a new band called Beady Eye, which consisted of the members of Oasis under a different name. Noel Gallagher formed his own band called Noel Gallagher’s High Flying Birds, departing himself from his former band members.

Each carved out their own legacy, but the public never stopped hoping for an Oasis reunion. For 14 years, fans clung to swirling rumors and ongoing feuds between the Gallagher brothers — until 2024,³³ when the unthinkable happened. Liam and Noel Gallagher finally announced that Oasis was reuniting and gearing up for a long-awaited tour.³⁴

Just as the Britpop era evolved and eventually faded, so too did the once-bitter rivalry between Blur and Oasis. Over time, the tension gave way to maturity and mutual respect. The bands no longer feuded, and in recent years, members from both sides have openly acknowledged each other’s impact — often exchanging praise when reflecting on their shared history and the iconic clash that defined a generation. Liam Gallagher admitted that he had a soft spot for Blur — setting aside their rivalry to appreciate his rivals’ art was a guilty pleasure of his.³⁵

On the topic of Oasis’s recent reunion, Alex James praised Oasis for their “good manners,” feeling like the reunion was long awaited by the public and fellow musicians.³⁶ Damon and Noel became friends, often performing with each other, even collaborating on one of Gorillaz’s songs, “We Got the Power.”

Even after the beloved musicians made up, if you scour the internet, you will still see forums discussing the question, “Who won The Battle of Britpop?”

The Lasting Legacy Of Britpop In Modern Music

The Battle of Britpop was more than a clash between two bands — it was a media-fueled spectacle that reflected deeper cultural rifts across Britain and laid the foundation for how music rivalries unfold in today’s digital age.

Back in the 1990s, traditional media was the gatekeeper of the narrative. Music tabloids like NME and Melody Maker fanned the flames with bold headlines, chart stats, and exclusive interviews. The press didn’t just report on the rivalry between Blur and Oasis — they shaped it. Without smartphones or social media, fans relied on television, newspapers, and magazines to stay in the loop, with publicists and record labels carefully orchestrating the drama behind the scenes.

At its core, the feud between Blur and Oasis was not just about sound — it was about identity. Blur, hailing from the South of England and rooted in middle-class art school culture, represented a polished, ironic, and intellectual aesthetic tied closely to the shifting creative energy of ‘90s London.

Oasis, in contrast, emerged from Manchester with raw, working-class swagger—a voice for youth disillusioned by the lingering shadows of Thatcherism. Their music embodied Northern grit, working-class pride, and no-nonsense authenticity.

These contrasting images — Blur’s cheeky sophistication vs. Oasis’s unapologetic bravado — mirrored long-standing class and regional divides in England. And yet, both bands became unified symbols of Britpop’s cultural explosion, shaping how a generation dressed, spoke, and understood British identity through sound.

Fast-forward to today, and music rivalries still exist—but they play out very differently. In the age of Twitter, TikTok, and Instagram, the drama is instant, public, and often unfiltered. Artists spar online in real time, while fans join the fray and shape the discourse. The media no longer controls the story; social media does. This evolution is precisely why the Blur vs. Oasis feud remains so iconic — it was one of the last great rivalries sculpted entirely by traditional media, and it set a blueprint for what followed.

From their legendary chart battles to their eventual on-stage reunions, Blur and Oasis left an undeniable mark on music history. Now, three decades later, the echoes of that rivalry still resonate. The South’s polished provocateurs and the North’s fiery rockers defined an era — and yet, one question remains suspended in pop culture history:

Who really won the Battle of Britpop?

Footnotes

1. Silverton, Peter. Britpop Definition. Britannica. 2025, Feb 17. ↩︎
2. Blur. “Leisure.” Parlophone Records, 1991. Spotify. ↩︎
3. Blur. “Parklife.” Parlophone Records, 1994. Spotify. ↩︎
4. Blur. “The Great Escape.” Parlophone Records, 1995. Spotify. ↩︎
5. Oasis. “Definitely Maybe.” Creation Records, 1994. Spotify. ↩︎
6. Oasis. “(What’s The Story) Morning Glory?.” Creation Records, 1995. Spotify. ↩︎
7. Boisvert, Lauren. Blur vs. Oasis: 30 Years Ago the Battle of Britpop Heated Up With Simultaneous Releases. American Songwriter. 2024, Nov 26. ↩︎
8. Stegall, Tim. A history of Britpop, from Pulp to Oasis. Alternative Press. 2022, Apr 19. ↩︎
9. Stegall, Tim. A history of Britpop, from Pulp to Oasis. Alternative Press. 2022, Apr 19. ↩︎
10. Beaumount, Mark. Blur and Oasis’ big Britpop chart battle – the definitive story of what really happened. NME. 2019, Aug 14. ↩︎
11. Beaumount, Mark. Blur and Oasis’ big Britpop chart battle – the definitive story of what really happened. NME. 2019, Aug 14. ↩︎
12. Radio X team. Blur Vs Oasis: The true story of The Battle Of Britpop. Radio X. 2024, Dec 13. ↩︎
13. Radio X team. Blur Vs Oasis: The true story of The Battle Of Britpop. Radio X. 2024, Dec 13. ↩︎
14. Armstrong, Sam. When ‘Top of The Pops’ Was Top Of The World. U Discover Music. 2025, Jan 1. ↩︎
15. Radio X team. Blur Vs Oasis: The true story of The Battle Of Britpop. Radio X. 2024, Dec 13. ↩︎
16. Erlewine, Stephen T. Damon Albarn Biography. All Music. 1997. ↩︎
17. Erlewine, Stephen T. Damon Albarn Biography. All Music. 1997. ↩︎
18. Saavendra, David. Blur drummer Dave Rowntree on Oasis rivalry: ‘We all get along well now’. EL PAÍS. 2023, Apr 26. ↩︎
19. McGrath, Nick. Alex James Interview. The Guardian. 2011, Aug 16. ↩︎
20. Sullivan, Caroline. How we made: Graham Coxon and Stephen Street on Parklife by Blur. The Guardian. 2012, Jul 16. ↩︎
21. Leahey, Andrew. Noel Gallagher Biography. All Music. ↩︎
22. Wikipedia Contributors. Noel Gallagher. Wikipedia. ↩︎
23. Oasis. “Definitely Maybe.” Creation Records, 1994. Spotify.  ↩︎
24. BBC team. Cigarettes and Alcohol: Laddism in song form!. BBC UK. ↩︎
25. Brasil, Sydney. Noel Gallagher Says ‘Definitely Maybe’ Was the ‘Last Great Punk Album”. Exclaim. 2023, Sep 29. ↩︎
26. O’Flaherty, Mark C. National Portrait Gallery’s The Face — a reminder of what fashion magazines once were. Financial Times. 2025, Feb 18. ↩︎
27. Williams, Richard J. Manchester After Engles. Places. 2020, June. ↩︎
28. Wilde, Jon. Blur and Oasis ready to feud again like it’s 1995. The Guardian. 2007, May 8. ↩︎
29. Stegall, Tim. A history of Britpop, from Pulp to Oasis. Alternative Press. 2022, Apr 19. ↩︎
30. BBC Team. Blur reunion ‘healed deep wounds’. 2010, Jun 15. ↩︎
31. Snapes, Laura. Be Here Now Review. Pitchfork. 2016, Oct 8. ↩︎
32. Radio X Team. Why did Oasis break up? The story of Liam and Noel Gallagher’s feud… and reunion. 2024, Sep 6. ↩︎
33. Radio X Team. Why did Oasis break up? The story of Liam and Noel Gallagher’s feud… and reunion. 2024, Sep 6. ↩︎
34. Radio X Team. Why did Oasis break up? The story of Liam and Noel Gallagher’s feud… and reunion. 2024, Sep 6. ↩︎
35. Radio X Team. Liam Gallagher’s guilty pleasure is Blur, but he still thinks they’re overrated. 2019, Sep 27. ↩︎
36. Scott, Danni. Britpop rival praises Oasis’ ‘good manners’ for not ruining their reunion tour. 2024, Dec 2. ↩︎