In the days since the announcement, streaming figures for Oasis’ back catalog have surged dramatically. As reported by Variety, according to data from Spotify, daily streams of the band’s biggest hits, including Wonderwall, Don’t Look Back in Anger, and Champagne Supernova, have increased by over 160%. Albums like (What’s the Story) Morning Glory? and Definitely Maybe are seeing a resurgence, climbing the charts once more as both long-time fans and new listeners dive back into the music that defined a generation.

Apple Music and Amazon Music have reported similar trends, with Oasis tracks dominating playlists and trending charts worldwide. The band’s social media accounts have also seen a sharp uptick in activity, with millions of fans sharing their excitement and reminiscing about the band’s influential legacy.

The reunion, which comes after years of speculation and publicised feuds between the Gallagher brothers, Liam and Noel, has been heralded as one of the most significant comebacks in rock history, with Fade Out magazine calling it “the comeback to end all rock and roll comebacks.” Fans have eagerly awaited this moment, with many expressing their hopes for new material in addition to the reunion tour.

Music industry analysts are attributing the surge in streaming numbers not only to the excitement surrounding the reunion but also to a broader trend of renewed interest in 90s music and culture.

In an interview in 2023, Jack Melhuish, the previous general manager of Parlophone Records UK, spoke of the appeal of 90s music:

These records take us back to simpler, freer times. Audiences need a bit of that relief at a time that still feels quite unstable for a lot of people.

Oasis, often regarded as one of the most influential bands of that decade, stands to benefit from modern listener’s desire to hear music that enables them to reminisce.

As Oasis prepares to take the stage once more, their music continues to resonate, proving that even decades after their initial success, the band’s appeal remains as strong as ever. With millions of streams and a sold-out tour on the horizon, the Oasis reunion is shaping up to be a cultural phenomenon, reigniting the passion of old fans and introducing their timeless sound to a new generation.

It is reported in The Guardian Newspaper that Committee chair, MP Julian Knight said that it would inquire as to whether, “The economics of streaming could in future limit the range of artists and music that we’re all able to enjoy today.” He went on to describe the way that music is being promoted for the rising UK talent as a “blunt tool to operate in a creative industry with emerging talent risking failing the first hurdle.”

Streaming has changed the music industry – but do the economics of music streaming work for everyone?

We’re launching an inquiry into the economics of music streaming today and want to hear from you.

Find out more and submit evidence here: https://t.co/tj3lUEVnZ2 pic.twitter.com/7fov9s99of

— Digital, Culture, Media and Sport Committee (@CommonsDCMS) October 15, 2020

The investigation has been launched after the, ‘Keep Music Alive’ campaign was founded by the Musician’s union and Ivors Academy due to insufficient royalties given to creatives and performers in the music industry. The Daily Mail reported that Chief Executive of the Ivors Academy, Graham Davies stated,

“On behalf of all music creators we are delighted that Government will investigate the streaming market so it can work for all parts of the music industry. Most creators cannot make a living from streaming, it simply does not pay enough and millions of pounds each year is not properly allocated due to poor data. Following our campaigning with the Musicians’ Union, performers and creators to Fix Streaming this is an opportunity to create a transparent, fair and equitable approach.”

According to the Ivors Academy, noted by the Daily Mail, the UK brings accumulates over £1 billion a year in revenue and bringing in over 114 billion pounds in revenue for music streams in the last year. Companies such as Spotify pay as littles as £0.002 and 0.0038 per stream. Apple music pays £0.0059.

MP’s are requesting written documents from industry professionals from experts with the music sector, music labels, streaming platforms and artists themselves to address the business tools being used to promote the music and the long term affect these could have on the industry without changes being pursued.

Deezer, a French streaming company is currently the only leading streaming platform which uses a user centric payment system (UCPS) which ensures subscriber’s that revenues go direct to the artists. However, this is a growing platform, which is not currently a dominant feature in the way to download music.

Alexander Holland from Music Ally, a glowing streaming platform told The Guardian, “This can only happen in the context of agreement with our label partners. We cannot unilaterally introduce UCPS.”

The piracy of digital music has spiked since lockdown from the coronavirus in the spring and the government is keen to look at the consequential effect this could have long term for the industry. It will be looking at the EU copyright opposed to the UK equivalent to see if changes can be made to support the industry in these challenging times to protect the industries future.

Bay’s recent performance was part of Apple Music At Home, a web series that features intimate performances of artists’ covers and original songs. Bay’s session with Apple Music can be listened to here. 

Bay explained his reasoning behind choosing Don’t Look Back in Anger and Trouble as covers, both of which are equally epic and emotive. Chatting to Apple Music, Bay explained that he grew into his love of both bands, saying “It’s funny, I didn’t really like Oasis or Coldplay as a kid. I picked up a guitar at 11 years old and wanted to be The Rolling Stones, Clapton, Hendrix.”

With a penchant for heavier rock in his youth, Bay then said “as I got deeper and deeper into songwriting and studying great songs, I came to love Oasis, Coldplay and more great modern songwriters. I totally fell in love with the music. So much so that I now sit and play their songs to myself on guitar, that’s why I chose them, they’re just so timeless and brilliant.”

View this post on Instagram

Excited to share a cover of a timeless and brilliant song! I hope you enjoy my version of @coldplay’s Trouble, out now only on @applemusic. PS, happy 20th birthday to their album Parachutes! Link in bio

A post shared by James Bay (@jamesbaymusic) on Aug 14, 2020 at 1:53am PDT

Bay’s recent session with Apple Music is one of the many ventures that the Hold Back The River hitmaker has embarked on during the global lockdown. The singer-songwriter is amongst the seven new artists selected as patrons of the Music Venue Trust. 

A registered UK charity, The Music Venue Trust (MVT) supports and protects independent music venues. During these unprecedented Covid-19 times, the MVT is a vital cause dedicated to preserving the heart and soul of British music: Grassroots venues. Focusing on four major categories: Broadcasting, Artists, Politics and Industry, some notable patrons of the MVT are Sir Paul McCartney, KT Tunstall, Frank Turner, Bill Bragg, Elbow and many more.

Bay and other artists have utilised their huge platforms to raise awareness for the MVT. One significant campaign being the #saveourvenues movement, which generated a staggering £2.5m for the upkeep of struggling Grassroots venues. The talented musician recognises the importance of preserving independent venues, saying “It’s vital that we don’t lose any music venues. They are so important to every artist’s growth, learning how to really turn a live show from a good night to a great one.”

The Hitchin native took to social media today to announce the news of his exhilarating collaboration with Apple Music. Bay shared a snippet of himself to Instagram strumming the opening chords of Trouble on his guitar, crooning the timeless lyrics “Oh no, I see, a spider’s web that’s tangled up with me.” The post has received a whopping 30,000 views, Bay’s huge fanbase clearly overjoyed at the sight of him singing to British classics. 

James Bay’s most recent song is the indie-pop bop, Chew On My Heart. Released on the 9th July, Chew On My Heart has garnered over 10 million global streams, and is currently sitting within the Top 30 at Triple A & Hot AC Radio.

Bay’s recent song is certainly a sonic departure from his previous stylings. Rolling Stone recognises this, declaring “If “Chew On My Heart” is any indication of what his forthcoming album is going to sound like, it seems like the musician is taking his sound in a more positive direction.”