As Oasis prepares for their highly anticipated reunion this summer, it’s the perfect opportunity to reflect on their remarkable journey through the music industry.

Originating from Manchester, England in 1991, Oasis quickly ascended to fame. Their debut album, the groundbreaking Definitely Maybe, released in 1994, shattered records by becoming the fastest-selling debut album in the history of British music. This monumental success was merely the beginning, as every subsequent release from the band, totaling six albums, achieved the coveted No. 1 spot in the U.K. charts.

However, the intense rivalry between brothers Noel and Liam Gallagher culminated in 2009, leading to the band’s disbandment. Their upcoming reunion tour, set to kick off on July 4, marks the first time the siblings will perform together since August 22, 2009.

While Oasis experienced rapid success, their journey began with humble beginnings as a group of passionate musicians from Manchester. Notably, photographer Kevin Cummins was there to capture the essence of the band during the pivotal months leading up to the release of Definitely Maybe.

With a decade of experience as the chief photographer for NME, Cummins has also worked with iconic artists such as David Bowie, Iggy Pop, Debbie Harry, New Order, and many others. His latest book, Oasis: The Masterplan, showcases dozens of previously unseen images of the Gallagher brothers as they approached global stardom, accompanied by insightful commentary from Noel himself.

Recently, UCR had the opportunity to speak with Cummins about his experiences and memories from those early photo sessions.

Can you share insights on the process of selecting the 75% previously unpublished photos featured in your book?
When I was initially commissioned for this project, it was about a year ago, well before the announcements of their reunion. All my materials are stored at Getty, so I retrieved all the negatives and transparencies. Revisiting these sessions was fascinating because, in my work for music magazines, you typically only showcase a handful of images. Most of the other photos remain filed away and seldom see the light of day. It was intriguing to rediscover the entire session, allowing me to chart their progression during that pivotal first year. As I mention in the book, I was tasked by Creation Records—Oasis’ first label—to photograph them in varied settings, helping them become comfortable with being photographed. We experimented with different lighting techniques and explored various locations around Soho and other parts of London. However, as their popularity exploded by April of that year, they quickly outgrew the venues they were performing in, presenting unique challenges.

What stands out to you about these photographs is the youthful appearance of the band members.
Absolutely. There’s an undeniable innocence captured in those moments. The connection was forged because their record label wanted someone who could relate to them. I was from Manchester and shared their passion for football, which eased the atmosphere. They admired my previous work and had a strong appreciation for bands like Joy Division, The Stone Roses, and Happy Mondays. This familiarity allowed us to engage in conversations about football, making them feel more relaxed during the shoot.

In contrast, American bands often possess a more career-driven attitude. In the U.K., the vibe is more genuine. The band members would show up in the clothes they wore that day without bringing changes. Everything in the book reflects their authentic selves, except for a couple of instances. One instance involved me gifting them football kits for the iconic “brother” shots, and the other was when I lent Liam a maroon shirt for a cover shoot. Ultimately, I felt that blue shirts would look better for the images, so I had Liam wear my newly purchased Armani denim shirt for the shoot, which was a fun moment for him.

You have a striking close-up of Liam Gallagher in the book, where you describe him as having an “angelic face.” What did you mean by that, and why was it an ideal look for the British music magazine market?
For NME, we aimed to create a strong iconography with bands. The images needed to resonate with readers, encouraging them to tear out and display the photos on their bedroom walls. At the time, teen magazines were beginning to take notice of the band, and that close-up was perfectly suited for those audiences, particularly young female readers, as Liam looked strikingly beautiful. He exuded an innocence that would soon be overshadowed by the tumultuous lifestyle that awaited him. Interestingly, Oasis seemed oblivious to the whirlwind of fame that was about to transform their lives.

Was there a noticeable difference in how each brother posed for photographs?
Definitely, Liam takes the lead as the frontman. Typically, lead singers invest considerable time in front of the mirror, honing their poses. In contrast, some band members focus on their musical contributions rather than their appearance. During interviews for the book, Noel often deflected questions about style, insisting I ask Liam instead, even though he cares about his appearance too. He prefers to maintain a certain image of nonchalance.

You have also photographed both Noel and Liam in their solo careers. How does that differ from capturing them together as Oasis?
Shooting them individually presents its own dynamics. I’ve collaborated more with Noel than Liam. I even worked on the sleeve for Noel’s latest album, Council Skies, in 2023. We often meet at football matches with mutual friends. On the other hand, Liam can be more challenging to capture, yet he embodies that lead singer persona. During a recent Adidas shoot, he playfully remarked that I must be thrilled to photograph him instead of “our kid,” which he uses to refer to Noel. Liam has a unique perspective on what makes a great photograph of Noel, illustrating the sibling rivalry that fuels their relationship.

Is there anything else you’d like to share about Oasis and the photographs you took?
While photographing them in Manchester City shirts, I was keen to highlight the significance of football in their lives. Back then, football wasn’t as globally popular as it is today. The Premier League has since become the largest league worldwide, but at the time, it was just beginning to gain traction. Manchester City, at the time, was sponsored by a Japanese electronics company named Brother. For me, capturing the brothers in those shirts was a clever visual pun, linking their relationship and our shared football allegiance. Those photographs have appeared on hundreds of magazine covers worldwide, reinforcing their identity as a band rooted in their home city and football culture. The connection between the “brother” theme in their shirts and their relationship became increasingly evident as I photographed them, illustrating the strength of their bond within the band.