Magazine article New Statesman (1996)

All White on the Night: How the Mythology of Britpop Rewrote the History of British Music

Magazine article New Statesman (1996)

All White on the Night: How the Mythology of Britpop Rewrote the History of British Music

Article excerpt

At the 1998 Brit Awards, New Labour's love affair with Cool Britannia got a drenching when Danbert Nobacon from Chumbawamba tipped a bucket of ice-cold water over the head of John Prescott, the then deputy prime minister. It was such a comedown. Less than a year earlier, in July 1997, shortly after Labour's general election victory, Tony Blair had triumphantly hosted a glittering music biz reception at No 10, cementing the link between the new government and all things groovy. Although, according to Alastair Campbell's diaries, Blair was worried even then about rock'n'roll behaviour, and felt that Noel Gallagher "was bound to do something crazy", the Creation Records boss Alan McGee assured him Noel would behave, saying only that "if we had invited Liam, it might have been different".

Poor Tony, though, trying so hard to be down with the cool kids and yet so scared of what the cool kids might do. I was at the 1996 Brits, where he gave a speech, and the room had filled with a frisson of both approval and the opposite. The party on the table behind us were heckling and I remember turning to shout at them, "Well, who would you prefer?" feeling some sense of loyalty and gratitude towards Blair for the unexpected optimism he'd introduced into the Labour voter's life. A row broke out, drunken and par for the course at the Brits, but it was telling that it was about politics rather than drugs or rock'n'roll.

In his ill-fitting Nineties suit and spotted tie, Blair made a speech that was a celebration of the renewed chart dominance of British bands, putting their success down to the inspiration they'd drawn from the past "from bands like the Beatles, the Stones, the Kinks ... or the later generations, the Clash, the Smiths, the Stone Roses ..." Well. You don't need me to tell you the kind of people who are missing from that list. It's a version of music history that sums up precisely what went wrong during the Britpop years.

I'd attended the Brits in 1995, too, and wrote later in Bedsit Disco Queen about how proud I was to be sitting with Massive Attack: "Protection was up for a couple of awards, and though it was the height of the Britpop Oasis V Blur battle, I felt that ours was the table to be on, with Massive and Tricky and Bjork. The rock kids seemed to be trapped in a dreary rehash of the past, still repetitively harking back to the yawn-inducing Sixties, while we were with a group of people who were looking forwards."

By 1996, the two strands of the music scene were in direct competition. Our song "Missing" was up for Best Single and "Protection" the single for Best Video. Massive Attack won Best British Dance Act, while Batman Forever, featuring Massive and me singing a Smokey Robinson cover, won Best Soundtrack. But Oasis won Best Album and Video and Group, beating Blur and Pulp and Radiohead in those categories, and when Massive went up to collect their award, 3D made a sardonic comment, saying, "It's quite ironic, 'cos none of us can dance." It was a joke but he wasn't laughing, and I think he was making a point. He might have said, especially given the most recent album that they'd made: "Why are we in a different category from Blur and Radiohead? Why is Protection a 'dance' album? What is 'dance' code for?"

It was a classic piece of Othering. The implication of the awards, and of Blair's speech, was that the white boys with guitars were the Norm, and deviations from that were the Other, and certainly not the main story. …

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