Noel Gallagher’s recent complaint that Glastonbury has “gone woke”—lamenting “idiots waving flags around and making political statements”—has drawn sharp criticism, not least from Ian McNabb of Icicle Works, who has delivered a withering assessment of the Gallagher brothers and their legacy.
McNabb’s take cuts to the core of Oasis’s trajectory: a band that burnt brightly for a fleeting moment before descending into self-parody.
“Good Old Noel” – The Transformation Into What He Once Mocked
Noel’s gripes about Glastonbury’s supposed “virtue-signalling” and “preachy” politics have struck many as ironic, given that Oasis built their brand on working-class defiance and anti-establishment posturing. McNabb skewers this shift, writing:
“GOOD OLD NOEL. Now, utterly complete in his transformation into everything he pretended he wasn’t – in order to get your money.”
The man who once sneered at Britpop’s posers and corporate rock has become exactly that—a grumpy nostalgist railing against change while cashing in on past glories.
Oasis: Eighteen Months of Brilliance, Then a Long, Slow Fade
McNabb’s most damning line about Oasis’s career is brutally concise:
“Oasis were genuinely thrilling for approximately eighteen months and around sixteen songs, then they turned into a long, boring roast dinner that just wouldn’t go away after the gravy dried up.”
It’s hard to argue. After Definitely Maybe (1994) and What’s the Story? (Morning Glory) (1995), the band’s output became increasingly bloated and repetitive. By the time Be Here Now (1997) arrived, the magic had curdled into excess. Yet, unlike other bands that flame out quickly, Oasis lingered—long after their creative spark had dimmed.
The One-Trick Pony vs The Exhausted Garage Attendant
McNabb draws a stark contrast between the brothers:
- Liam Gallagher, for all his limitations, still commands a certain rock ’n’ roll magnetism: Liam seems likeable and down-to-earth in many ways, is frequently funny still, and despite being the most obvious One Trick Pony in all of Rock – still manages to cut a convincing dash across the Rock ‘n’ Roll sky.”
- Noel, meanwhile, has shed any remaining charm: Noel possesses all the charm of an individual working in a 24-hour garage who has done around 1,000 too many shifts.”
It’s a brutal but effective metaphor—Noel, once the sharp-tongued songwriter of his generation, now comes across as a weary, disgruntled figure, baffled by a world that’s moved on.
The Inevitable (Pointless) Reunion
Oasis’s long-rumoured reunion now seems all but confirmed, but McNabb isn’t holding his breath for a revival of past greatness. His prediction is merciless:
“Their ‘comeback’ will play out every way you think it will. Their paying audience will do all the heavy lifting, while the band do NOTHING but show up. T’was ever thus.”
Indeed, Oasis gigs in their later years were often ragged, half-arsed affairs, relying entirely on crowd singalongs to carry the energy. A reunion tour will likely be no different—a victory lap for the fans, not the band.
Final Verdict: Good Luck, Lads – You’ll Need It
McNabb’s critique is less about outright hatred and more about disappointed realism. Oasis had a moment, lost it, and has spent decades trading on nostalgia. The reunion will make millions, but artistically?
“Good luck lads.”
And with that, McNabb signs off—leaving us to wonder whether the Gallaghers will prove him wrong or simply confirm what we already know.
A Necessary Reality Check
While Oasis remain beloved by many, McNabb’s takedown is a refreshing counterbalance to the uncritical hero-worship that often surrounds them. The Gallaghers were brilliant once, but time has exposed their limitations—both as musicians and as cultural commentators.
As for Noel’s “Glastonbury’s gone woke” rant? It’s just another sign that the man who once wrote “Don’t Look Back in Anger” now seems to do little else.
