Oscar Lloyd as Damon Albarn and George Usher as Liam Gallagher. Pictures: Helen Murray

The Battle

Birmingham Rep

****

I was at school when the Britpop era exploded. It doesn’t feel like thirty years since I was flicking through NME, taping the charts off the radio, and wondering which CDs I could afford to buy from Our Price.

In 1995, there was one big question on everyone’s lips . . . were you Blur or Oasis? We were young, loving life, and it all felt so important at the time. Watching The Battle at Birmingham Rep brought all that nostalgia rushing back, capturing a time that was bold, chaotic, and free. It explores the chaotic build up to a battle for the number one single spot between Blur’s Country House and Oasis’s Roll With It.

From the opening moments, the show bursts with energy. The huge video screens are used cleverly to pull you back into the era without ever feeling gimmicky. Among the live footage, we see animation (created brilliantly by John O’Conner) including radio DJs of the day bringing the 90s world together, as cartoon Mark and Lard or Jo Whiley link scenes together with a great soundtrack from the time.

Surprisingly, there is very little Blur or Oasis music in the show. If you’re hoping for a musical tribute to the bands, you’ll be sorely disappointed. The characters at the heart of that infamous musical battle, however, are very much on display, and the script is packed with sharp one‑liners that land beautifully. The laughs come not just because the jokes are good, but because anyone who remembers those days recognises the madness of it all.

Tommy Garside as Bonehead, Paddy Stafford as Noel, Louisa Lytton as Meg,, George Greenland as Alan White, George Usher as Liam and Billy Dunmore as Guigsy

The cast deliver with real energy and confidently bring to life these larger‑than‑life figures we know so well. George Usher captures Liam Gallagher’s swagger and attitude while keeping it funny rather than slipping into parody. He relishes the material, especially the moments where Liam’s lack of understanding of the world he’s stepping into becomes wonderfully ridiculous, and he frequently has the audience in stitches.

Paddy Stratford gives Noel Gallagher that intelligent, slightly weary realism, trying to keep his brother grounded while accidentally causing more offence than Liam could dream of. The messy studio floor becomes almost a metaphor for the chaotic behaviour and constant swearing that surrounded Oasis. If you’re easily offended by bad language then it’s probably best to miss this one.

This sharply contrasts with Blur, who seem to have everything neatly in order. Even when they swear, it feels calculated. Oscar Lloyd, as Damon Albarn, brings exactly the right cool, detached presence to make the rivalry believable without ever overplaying it. He convincingly shows the hurt and competitive nature that builds in the lead‑up to the battle. Surrounded by the hilarious, exaggerated nervous energy of Will Taylor’s Graham Coxon and the intentionally irritating Alex James (played excellently by Brandon Bendell), the humour leads steadily towards the frantic finale.

There are, however, a few odd directing choices, particularly with the set. Though Matthew Dunster’s direction brings the comedy and surrealism of the time to life, there are questionable decisions regarding the setting and transitions. The use of door‑shaped panels meant to represent different locations feels confusing at times, and the way they’re moved around the stage doesn’t always make much sense, occasionally blocking the action. It can distract from the story, which is a shame because everything else feels so lively and clear. The energetic soundtrack also tries to mask the sluggish scene changes, which can again feel distracting or even unnecessary.

We all think we know the ending of this battle. The majority of the audience lived through it the first time around, hearing the announcement of the winner on the Top 40 countdown. However, you won’t expect how this play twists and turns in its final twenty minutes. All I will say is: brace yourself for absolute chaos and a climax that left the audience in hysterics and applauding wildly.

The Battle isn’t perfect, but it’s a must‑see for any die‑hard fans of the 90s Britpop scene. Nostalgia certainly does some of the heavy lifting, reviving the drama of thirty years ago that seemed so crucial at the time, but it’s also hugely entertaining, funny, and earned a standing ovation from most of the audience. So, whether you were Blur or Oasis, it’s a brilliant way to relive those good old 90s memories.

I always preferred Take That, myself.

Dexter Whitehead and Andrew Pullen

17-02-26

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