Editing Britpop (section)

===Successors and revivals===
====Post-Britpop====
{{Main|Post-Britpop}}
[[File:Coldplay Glasto24 290624 (26) (53836754632) (cropped).jpg|thumb|[[Coldplay]], the most commercially successful post-Britpop band, on stage in 2024.<ref name=AllMusicColdplay/> Their first three albums – ''[[Parachutes (Coldplay album)|Parachutes]]'' (2000), ''[[A Rush of Blood to the Head]]'' (2002) and ''[[X&Y]]'' (2005) – are among the [[List of best-selling albums in the United Kingdom|best-selling albums in UK chart history]].<ref>{{cite web|url=http://www.officialcharts.com/chart-news/the-uks-60-official-biggest-selling-albums-of-all-time-revealed__15551/|title=The UK's 60 official biggest selling albums of all time revealed|last=Copsey|first=Rob|date=4 July 2016|publisher=[[Official Charts Company]]|archive-url=https://web.archive.org/web/20160709012251/http://www.officialcharts.com/chart-news/the-uks-60-official-biggest-selling-albums-of-all-time-revealed__15551/|archive-date=9 July 2016|url-status=live|access-date=12 May 2018}}</ref> ]]
After Britpop the media focused on bands that may have been established acts, but had been overlooked due to focus on the Britpop movement. Bands such as [[Radiohead]] and [[the Verve]], and new acts such as [[Travis (band)|Travis]], [[Stereophonics]], [[Feeder (band)|Feeder]] and particularly [[Coldplay]], achieved wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.<ref name=Harris2004/><ref name=Dowling2005/><ref>S. Birke, [https://www.independent.co.uk/arts-entertainment/music/music-magazine/music-magazine-features/label-profile/label-profile-independiente-807331.html "Label Profile: Independiente"] {{Webarchive|url=https://web.archive.org/web/20170914215459/http://www.independent.co.uk/arts-entertainment/music/music-magazine/music-magazine-features/label-profile/label-profile-independiente-807331.html |date=14 September 2017 }}, ''Independent on Sunday'', 11 April 2008, retrieved 2 January 2010.</ref><ref name=Goodden2002/> These bands avoided the Britpop label while still producing music derived from it.<ref name=Harris2004>J. Harris, ''Britpop!: Cool Britannia and the Spectacular Demise of English Rock'' (Da Capo Press, 2004), {{ISBN|0-306-81367-X}}, pp. 369–70.</ref><ref name="Borhwick&Moy2004">S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, p. 188.</ref> Bands that had enjoyed some success during the mid-1990s, but were not really part of the Britpop scene, included the Verve and Radiohead.<ref name=Harris2004/> The music of most bands was guitar based,<ref name=ErlewineAM/><ref name="indie">{{cite book | title=Britpop and the English Music Tradition | publisher=[[Ashgate Publishing]] | author=Bennett, Andy and Jon Stratton | year=2010 | pages=164, 166, 173 | isbn=978-0754668053}}</ref> often mixing elements of British traditional rock (or British trad rock),<ref>[{{AllMusic|class=explore|id=style/d4360|pure_url=yes}} "British Trad Rock"], ''AllMusic'', retrieved 3 January 2010.</ref> particularly [[the Beatles]], [[the Rolling Stones]] and [[Small Faces]]<ref name=Patridis2004>A. Petridis, [https://www.theguardian.com/uk/2004/feb/14/rock.pop "Roll over Britpop{{nbsp}}... it's the rebirth of art rock"], ''The Guardian'', 14 February 2004, retrieved 2 January 2010.</ref> with American influences. Post-Britpop bands also used elements from 1970s British rock and pop music.<ref name="indie"/> Drawn from across the UK, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height.<ref name=indie/><ref>M. Cloonan, ''Popular Music and the State in the UK: Culture, Trade or Industry?'' (Aldershot: Ashgate, 2007), {{ISBN|0-7546-5373-0}}, p. 21.</ref><ref>A. Begrand, [https://www.popmatters.com/pm/review/travis-the-boy-with-no-name/ "Travis: The boy with no name"], ''Pop matters'', retrieved 2 January 2010.</ref><ref>[http://www.stylusmagazine.com/articles/weekly_article/whatever-happened-to-our-rock-and-roll.htm "Whatever happened to our Rock and Roll"] {{Webarchive|url=https://web.archive.org/web/20190511000833/http://www.stylusmagazine.com/articles/weekly_article/whatever-happened-to-our-rock-and-roll.htm |date=11 May 2019 }}, ''Stylus Magazine'', 2002-12-23, retrieved 6 January 2010.</ref> This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success.<ref name=Dowling2005>S. Dowling, [http://news.bbc.co.uk/1/hi/entertainment/4745137.stm "Are we in Britpop's second wave?"] ''BBC News'', 19 August 2005, retrieved 2 January 2010.</ref> They have been seen as presenting the image of the rock star as an ordinary person, or "boy-next-door"<ref name=ErlewineAM>S. T. Erlewine, [https://www.allmusic.com/album/the-boy-with-no-name-r1040900 "Travis: The Boy With No Name"], ''AllMusic'', retrieved, 17 December 2011.</ref> and their increasingly melodic music was criticised for being bland or derivative.<ref>A. Petridis, [https://www.theguardian.com/music/2004/feb/26/popandrock3 "And the bland played on"], ''The Guardian'', 26 February 2004, retrieved 2 January 2010.</ref>

The cultural and musical scene in Scotland, dubbed "Cool Caledonia" by some elements of the press,<ref name=Hill2007/> produced a number of successful alternative acts, including [[the Supernaturals]] from Glasgow.<ref>D. Pride, "Global music pulse", ''Billboard'', 22 Aug 1998, 110 (34), p. 41.</ref> [[Travis (band)|Travis]], also from Glasgow, were one of the first major rock bands to emerge in the post-Britpop era,<ref name=Harris2004/><ref name=Bogdanov2002Travis>V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, p. 1157.</ref> and have been credited with a major role in disseminating and even creating the subgenre of post-Britpop.<ref>M. Collar, [https://www.allmusic.com/album/singles-r713633/review "Travis: Singles"], ''AllMusic'', retrieved 17 December 2011.</ref><ref>S. Ross, [http://media.www.mcgilltribune.com/media/storage/paper234/news/2003/01/28/AE/Britpop.Rock.Aint.What.It.Used.To.Be-353089.shtml "Britpop: rock aint what it used to be"]{{dead link|date=November 2016 |bot=InternetArchiveBot |fix-attempted=yes }}, ''McNeil Tribune'', 20 January 2003, retrieved 3 December 2010.</ref> From Edinburgh [[Idlewild (band)|Idlewild]], more influenced by [[post-grunge]], produced three top 20 albums, peaking with ''[[The Remote Part]]'' (2002).<ref>J. Ankeny, [{{AllMusic|class=artist|id=p380736|pure_url=yes}} "Idlewild"], ''AllMusic'', retrieved 7 January 2010.</ref> The first major band to break through from the post-Britpop Welsh rock scene, dubbed "[[Cool Cymru]]",<ref name=Hill2007>S. Hill, ''Blerwytirhwng?: the Place of Welsh Pop Music'' (Aldershot: Ashgate, 2007), {{ISBN|0-7546-5898-8}}, p. 190.</ref> were [[Catatonia (band)|Catatonia]], whose single "[[Mulder and Scully (song)|Mulder and Scully]]" (1998) reached the top ten in the UK, and whose album ''[[International Velvet (album)|International Velvet]]'' (1998) reached number one, but they were unable to make much impact in the US and, after personal problems, broke up at the end of the century.<ref name=Goodden2002>J. Goodden, [http://www.bbc.co.uk/wales/music/sites/catatonia/pages/greatest_hits.shtml "Catatonia – Greatest Hits"], ''BBC Wales'', 2 September 2002, retrieved 3 January 2010.</ref><ref>[{{AllMusic|class=artist|id=p203323/biography|pure_url=yes}} "Catatonia"], ''AllMusic'', retrieved 3 January 2010.</ref> Other Welsh bands included [[Stereophonics]]<ref name=Bogdanov2002Stereophonics>V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, p. 1076.</ref><ref name=AllMusicStereophonics>[{{AllMusic|class=artist|id=p225008|pure_url=yes}} "Stereophonics"], ''AllMusic'', retrieved 3 January 2010.</ref> and [[Feeder (band)|Feeder]].<ref>[{{AllMusic|class=artist|id=p224868|pure_url=yes}} "Feeder"], ''AllMusic'', retrieved 3 December 2010.</ref><ref>[{{AllMusic|class=album|id=r640675|pure_url=yes}} "Feeder: Comfort in Sound"], ''AllMusic'', retrieved 3 December 2010.</ref>

[[File:Snow Patrol at Sheffield Arena 2009.jpg|thumb|left|[[Snow Patrol]] performing in 2009. Their 2006 single "[[Chasing Cars]]" is the most widely played song on UK radio in the 21st century.<ref name="Chasing Cars"/>]]
These acts were followed by a number of bands who shared aspects of their music, including [[Snow Patrol]] from Northern Ireland and [[Elbow (band)|Elbow]], [[Embrace (English band)|Embrace]], [[Starsailor (band)|Starsailor]], [[Doves (band)|Doves]], Electric Pyramid and [[Keane (band)|Keane]] from England.<ref name=Harris2004/><ref>P. Buckley, ''The Rough Guide to Rock'' (London: Rough Guides, 3rd end., 2003), {{ISBN|1-84353-105-4}}, pp. 310, 333, 337 and 1003-4.</ref> The most commercially successful band in the milieu were [[Coldplay]], whose debut album ''[[Parachutes (Coldplay album)|Parachutes]]'' (2000) went [[Music recording sales certification|multi-platinum]] and helped make them one of the most popular acts in the world by the time of their second album ''[[A Rush of Blood to the Head]]'' (2002).<ref name=AllMusicColdplay>[{{AllMusic|class=artist|id=coldplay-p435023|pure_url=yes}} "Coldplay"], ''AllMusic'', retrieved 3 December 2010.</ref><ref>{{Citation |author=Stephen M. Deusner |date=1 June 2009  |title=Coldplay LeftRightLeftRightLeft |journal=Pitchfork |url=https://pitchfork.com/reviews/albums/13074-leftrightleftrightleft/ |access-date=25 July 2011 }}.</ref> Snow Patrol's "[[Chasing Cars]]" (from their 2006 album ''[[Eyes Open (Snow Patrol album)|Eyes Open]]'') is the most widely played song of the 21st century on UK radio.<ref name="Chasing Cars">{{cite news |url=https://www.bbc.co.uk/news/entertainment-arts-49008689|title=And the most-played song on UK radio is{{nbsp}}... Chasing Cars by Snow Patrol |work=[[BBC News]]|date=17 July 2019|access-date=17 July 2019}}</ref>

====Post-punk/garage rock revival====
{{Main|Post-punk revival}}
Bands like [[Coldplay]], Starsailor and Elbow, with introspective lyrics and even tempos, began to be criticised at the beginning of the new millennium as bland and sterile<ref>M. Roach, ''This Is It-: the First Biography of the Strokes'' (London: Omnibus Press, 2003), {{ISBN|0-7119-9601-6}}, pp. 42 and 45.</ref> and the wave of [[garage rock]] or [[post-punk revival]] bands, like [[the Hives]], [[The Vines (band)|the Vines]], [[the Strokes]], [[the Black Keys]] and [[the White Stripes]], that sprang up in that period were welcomed by the musical press as "the saviours of rock and roll".<ref>C. Smith, ''101 Albums That Changed Popular Music'' (Oxford: Oxford University Press, 2009), {{ISBN|0-19-537371-5}}, p. 240.</ref> British groups in this vein, including [[the Libertines]], [[Razorlight]], [[Kaiser Chiefs]], [[Arctic Monkeys]] and [[Bloc Party]],<ref name=Collinson2010>I. Collinson, "Devopop: pop Englishness and post-Britpop guitar bands", in A. Bennett and J. Stratton, eds, ''Britpop and the English Music Tradition'' (Aldershot: Ashgate, 2010), {{ISBN|0-7546-6805-3}}, pp. 163–178.</ref> were viewed by some as a "second wave" of Britpop".<ref name=Dowling2005/> These bands have been seen as looking less to music of the 1960s and more to 1970s–1980s punk, new wave,<ref>{{Cite web |title=New Wave/Post-Punk Revival Music Style Overview |url=https://www.allmusic.com/style/new-wave-post-punk-revival-ma0000012020 |access-date=2023-12-05 |website=AllMusic |language=en}}</ref> and post-punk, while still being influenced by Britpop.<ref name=Collinson2010/> Despite these developments, artists such as [[Travis (band)|Travis]], Stereophonics and [[Coldplay]] continued to record and enjoy commercial success into the late 2000s.<ref name=AllMusicColdplay/><ref name=AllMusicStereophonics/><ref name=AllMusicTravis>[{{AllMusic|class=artist|id=p132643/biography|pure_url=yes}} "Travis"], ''AllMusic'', retrieved 3 January 2010.</ref>

====2010s–2020s Britpop revival====
[[File:Dmas-live-at-leeds-2017-1-copy.jpg|thumb|DMA's live at Leeds]]
At the beginning of the 2010s, a wave of new bands emerged that combined indie rock with the Britpop of the 1990s. [[Viva Brother]] launched an update on Britpop, dubbed “Gritpop,”<ref>{{Cite web |date=2011-06-13 |title=Breaking Out: Viva Brother |url=https://www.spin.com/2011/06/breaking-out-viva-brother/ |access-date=2019-01-09 |website=Spin}}</ref><ref>{{Cite web |date=2012-04-04 |title=Britpop revivalists Viva Brother quietly announce their demise |url=https://www.independent.co.uk/arts-entertainment/music/news/britpop-revivalists-viva-brother-quietly-announce-their-demise-7618705.html |url-status=dead |archive-url=https://web.archive.org/web/20190110193405/https://www.independent.co.uk/arts-entertainment/music/news/britpop-revivalists-viva-brother-quietly-announce-their-demise-7618705.html |archive-date=10 January 2019 |access-date=2019-01-09 |website=The Independent |language=en}}</ref> with their debut album ''[[Famous First Words (Viva Brother album)|Famous First Words]]'', although they did not receive significant support from the music press. In 2012, [[All the Young]] released their debut album, Welcome Home. Later, bands such as Superfood<ref>{{Cite web |last=Daly |first=Rhian |title=Superfood – 'Don't Say That' |url=https://www.nme.com/reviews/album/reviews-superfood-15745 |access-date=2019-01-09 |website=NME |language=en-US}}</ref> and the Australian band [[DMA's]]<ref>{{Cite news |last=Beaumont |first=Mark |date=2015-08-27 |title=DMA's review – Britpop revivalists evoke 90s euphoria |url=https://www.theguardian.com/music/2015/aug/27/dmas-review-100-club-london-britpop-revivalists-evoke-90s-euphoria |access-date=2019-01-09 |newspaper=[[The Guardian]] |language=en-GB |issn=0261-3077}}</ref> joined the revival, with DMA's debut album receiving favorable reviews.<ref>{{Citation |title=Hills End by DMA's |url=https://www.metacritic.com/music/hills-end/dmas |access-date=2019-01-09 |language=en}}</ref><ref>{{Cite web |date=2018-05-08 |title=Did DMA's Have to Grow Up So Fast? |url=https://www.popmatters.com/dmas-for-now-review-2565673115.html |access-date=2019-01-09 |website=Popmatters.com}}</ref>

In the mid-2020s, a new group of artists began drawing inspiration from the energy and iconography of mid-1990s Britain. Notable examples include [[Nia Archives]], whose debut album ''[[Silence Is Loud]]'' features a Union Jack on its cover, and [[Dua Lipa]], who explored Britpop influences in her album ''[[Radical Optimism]]''. [[A. G. Cook|AG Cook]]’s triple album [[Britpop (album)|''Britpop'']] reimagines the genre’s aesthetic, featuring [[Charli XCX]] and a warped Union Jack cover. [[Rachel Chinouriri]]’s album ''[[What a Devastating Turn of Events]]'' notably incorporates Britpop influences, aiming to recreate the visual and sonic aesthetics of the Britpop movement. Chinouriri cited bands like Oasis and [[The Libertines]] as key inspirations.<ref>{{Cite web |last=Mitchell |first=Sarah |date=2024-04-26 |title=Mad fer it! The young musicians flying the flag for Britpop |url=https://cellardoorproject.com/music/mad-fer-it-the-young-musicians-flying-the-flag-for-britpop/ |access-date=2024-07-31 |website=GlobalNewsHub |language=en-US}}</ref><ref>{{Cite news |last=Butchard |first=Skye |date=2024-04-26 |title=Mad fer it! The young musicians flying the flag for Britpop |url=https://www.theguardian.com/music/2024/apr/26/mad-fer-it-the-young-musicians-flying-the-flag-for-britpop |access-date=2024-07-31 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> In 2024, Britpop group Oasis announced they were reuniting for the [[Oasis Live '25 Tour]].<ref name="BBC cvgekk78n9zt">{{cite web|first=Jamie|last=Whitehead|url=https://www.bbc.co.uk/news/live/cvgekk78n9zt|title=Oasis confirm reunion with 2025 world tour announced|work=[[BBC]]|date=27 August 2024|access-date=27 August 2024}}</ref>