Capturing the band’s 2025 global comeback tour, this two-hour film reveals the tense first rehearsal with Liam, Noel being a big softie and the Gallaghers’ politics – just don’t expect any mention of ticket prices

It was the reunion that many thought would never happen: Oasis re-forming for a series of sold-out live shows, their first since Noel and Liam Gallagher split acrimoniously in 2009. For those who managed to get tickets last year, the performances were a celebration of one of Britpop’s finest bands and a chance to live through a night of 90s nostalgia. For the millions who missed out, be it due to demand or budgetary restraints, the tour represented a generational Fomo moment.

Luckily, the directors Will Lovelace and Dylan Southern were embedded within team Oasis throughout the whole thing, alongside the Peaky Blinders creator, Steven Knight: the result is Oasis: Don’t Look Back in Anger, a two-hour concert film that hits cinemas around the world this week. Whether you were on the front row at Manchester’s Heaton Park, doing the Poznan in Seoul or stuck at home watching it all online, Don’t Look Back in Anger captures the Oasis Live ’25 Tour for posterity. Here’s what we learned.

Day’s latest album Halo is all high-energy exhaustion, injected with a crushing electroclash chaos that illuminates her insecurities in bright neon

From Los Angeles
Recommended if you like Slayyyter, Charli xcx, Underscores
Up next Halo out now. UK and Ireland tour starts in December

Right now popstar breakthrough and burnout are a hair’s breadth from one another. Enter Tiffany Day, a Wichita-raised artist who first went viral in 2017 when a video of her singing Hallelujah on a school trip blew up online. She spent the subsequent years unsuccessfully chipping away at building on that virality, cycling through acoustic guitar covers and bedroom R&B. Only by channeling her frustrations into this year’s anxiety-ridden sugar rush Halo did Day finally regain her early momentum.

The latest in our series of writers paying tribute to their most rewatched comfort films is a trip back to 1992 for the unique rock comedy

When the conversation of the most overrated band in history crops up I often want to put Queen forward as my suggestion. Their omnipresent hits represent the worst of bands who favour stadium-sized grandeur over true ambition. However, I can never truly get behind the idea of trashing Freddie and co when their music helped create one of my most beloved scenes in cinema history.

Early in 1992’s Wayne’s World, a bunch of rockers squeeze into an AMC Pacer with custom flames painted on the side. As they drive past the automarts, car washes and beef stands of downtown Chicago, Bohemian Rhapsody plays on the car stereo. The song’s operatic verses are used for laughs (the “Let me go” line becomes a cry for help from a friend who is partied out and might “honk” in the backseat) while the breakdown in the middle creates space for a spot of high-speed headbanging. To me it’s as thrilling a car scene as anything in Bullitt or the Mad Max franchise.