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Oasis have revealed that their acclaimed Don’t Look Back In Anger documentary will be available to watch on Disney+ and Hulu on October 9.

Produced by Stephen Knight, the creator of Peaky Blinders, House of Guinness, SAS: Rogue Heroes and more, and directed by Dylan Southern and Will Lovelace, the team behind the LCD Soundsystem concert film Shut Up and Play the Hits, Oasis: Don’t Look Back In Anger was released in cinemas on September 11. The film documents Oasis’ phenomenally successful Live ’25 reunion tour.

“More than the Gallaghers, this is a movie about the impact of their songs,” Classic Rock‘s Fraser Lewry wrote in his review of the film. “On the big screen, pumped through multiple cinema speakers, their great songs (Live Forever, Wonderwall, Acquiesce) sound utterly immense. Their decent songs (most of the rest) aren’t far behind. Even Roll With It, a three-chord boogie so rudimentary Francis Rossi might have baulked at releasing it, sounds like it was handed down from Mount Olympus. Never have a band sounded so much more than the sum of their parts.

“The true star of the movie is the audience,” he adds. “They seem to be split fairly evenly between fans returning to the band they loved in the 90s, and those who’ve picked up Oasis via their parents rather than first-hand exposure. The cameras roam the crowd looking for fans overcome by the occasion, and they find plenty. Grown men weep. Strangers embrace. Couples kiss. Even the ticketless are part of the experience. The impact is clearly generational.”

Full performances of Oasis classics Wonderwall and Slide Away will appear exclusively on Disney+/Hulu; abridged renditions from across their 2025 tour were featured in the documentary shown in cinemas.

Oasis announced yesterday that every date on their recently announced Live ’27 world tour is sold out.

Oasis: Live ’27 Tour

May 21: Glasgow Celtic Park, UK
May 23: Glasgow Celtic Park, UK
May 25: Glasgow Celtic Park, UK
May 28: Glasgow Celtic Park, UK
May 29: Glasgow Celtic Park, UK

Jun 04: Manchester Etihad Stadium, UK
Jun 06: Manchester Etihad Stadium, UK
Jun 08: Manchester Etihad Stadium, UK
Jun 11: Manchester Etihad Stadium, UK
Jun 12: Manchester Etihad Stadium, UK
Jun 15: Manchester Etihad Stadium, UK
Jun 18: Manchester Etihad Stadium, UK
Jun 19: Manchester Etihad Stadium, UK
Jun 22: Manchester Etihad Stadium, UK
Jun 25: Manchester Etihad Stadium, UK
Jun 26: Manchester Etihad Stadium, UK

Jul 02: Munich Allianz Arena, Germany
Jul 03: Munich Allianz Arena, Germany
Jul 06: Munich Allianz Arena, Germany
Jul 10: Barcelona Estadi Olímpic Lluís Companys, Spain
Jul 11: Barcelona Estadi Olímpic Lluís Companys, Spain
Jul 16: Amsterdam Johan Cruijff ArenA, Netherlands
Jul 17: Amsterdam Johan Cruijff ArenA, Netherlands
Jul 20: Paris Stade de France, France
Jul 24: Paris Stade de France, France
Jul 26: Rome Stadio Olimpico, Italy
Jul 29: Rome Stadio Olimpico, Italy
Jul 30: Rome Stadio Olimpico, Italy

Aug 10: Boston Gillette Stadium, MA
Aug 13: Boston Gillette Stadium, MA
Aug 14: Boston Gillette Stadium, MA
Aug 20: Las Vega Allegiant Stadium, CA
Aug 21: Las Vegas Allegiant Stadium, US
Aug 24: Las Vegas Allegiant Stadium, CA

Sep 04: Slane Castle, Ireland
Sep 05: Slane Castle, Ireland
Sep 11: Knebworth Park, UK
Sep 12: Knebworth Park, UK
Sep 18: Knebworth Park, UK
Sep 19: Knebworth Park, UK
Sep 25: Knebworth Park, UK
Sep 26: Knebworth Park, UK

One of the highlights of Marillion’s second album Fugazi was its top 30 second single, Assassing, which remains regarded as a high point of the band’s Fish era. Its video, however, was less well-received – especially by the band. When they spoke to Prog n 2021 they seemed as bewildered about it as they’d been when it was released in 1984.

The early 80s was the Wild West when it came to the emergent art form that was the music video. But even by the maverick standards of the day, the clip for Marillion track Assassing was something else.

The second single from 1984 album Fugazi was accompanied by a promo that yoked state-of-the-art digital effects to a plot that was somewhere between would-be spy thriller and office training video. The results were both visually striking and utterly incomprehensible.

It was directed by Simon Milne, who’d overseen the eye-catching clips for He Knows You Know and Garden Party. This time, the filmmaker was determined to try out the new chroma key technique, aka green screen. The only problem was, no one had quite got a handle on how it worked.

“Because they were inexperienced, they didn’t light it properly, so they weren’t able to superimpose the images on the screen,” says keyboardist Mark Kelly. “That’s why some of the time you just see a plain blue or green screen.”

The ‘plot’ featured Fish joining a group of dark-suited office workers – possibly spies – gathered in a dim room to watch a woman give a presentation, in which footage of the band playing is accompanied by lines of computer-generated data, mainly describing the colour of the text that’s appearing

“What the fuck they were doing with all the computer-generated graphics and Jimmy Bond spy stuff, I have no idea,” says Kelly. “It was just rubbish.”

At one point, the woman finds herself trapped in the middle of screens showing separate performances by the each bandmember. There’s also a moment of high comedy on the set when a car is driven through one of the giant green screens.

“The stunt driver was, like, ‘Oh yeah, I can do that,’” says Kelly. “So he drives through this screen – then bounces through the warehouse and crashes into a wall on the other side of the room.”

Fish recalls: “The first time Ian Mosley saw the video for Assassing, he said, ‘What the fuck was that all about?’ I had to agree with him.”