Don't Look Back in Angers: the story of the Oasis reunion

Oasis, return to Manchester. But photographers boycott the tour

The Oasis return home in their Manchester. Everything is ready for Heaton Park, a green lung of the British city, for the first of the five shows that mark the return of the Gallagher brothers in the place where it all began, in the 90s. But it is already controversy, the umpteenth of this tour. British newspapers, starting from the Guardian, report concerns about the authorities related to some videos that have become viral on Tiktok in which the audience is raised to enter without a ticket to Heaton Park, forcing the gates and climbing over the barriers (unlike Cardiff, who last weekend hosted the first two Reunion shows, in Manchester the Oasis will not perform in a stadium, but in a public park).

Fans who were unable to buy tickets for the 19 given in the United Kingdom, the first of the Reunion tour series, said they are arranged to anything to attend the shows of the most iconic band of the 90s rock: “It would be a catastrophe for safety and public order and that point we will have to cancel the concert”, reports a source of the police to the Guardian, referring to the feared disorders to Heaton Park.

But the one linked to possible disorders is not the only controversy that accompanies the return home of the Gallagher brothers. After the first stages of the tour in Cardiff, the photographers of agencies, newspapers and printing agencies have decided to boycott the rest of the Oasis tour. The fault of the requests of the entourage of the band of “Don’t Look Back in Angers”. According to reports from British newspapers, while generally the rights of shows of the show remain owned by the authors of the photos, the Oasis demanded that photographers and agencies had copyright only for a year, and then became owned by Noel and Liam Gallagher.

The NMC, News Media Coalition, an international group in which they are part Reuters, Associated Press, ShuttersTock, Getty Images, AFP and others, He defines the “highly unusual” restrictions, remembering how the media played an important role in the popularity of the band.