Post-Britpop

[7] Drawn from across the United Kingdom, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height.

[14] The cultural and musical scene in Scotland, dubbed "Cool Caledonia" by some elements of the press,[15] produced a number of successful alternative acts, including the Supernaturals from Glasgow, whose re-released single "Smile" (1997) reached number 25 in the UK charts, and whose album It Doesn't Matter Anymore (1997) entered the top ten, but who failed to sustain their success or achieve the anticipated international breakthrough.

[1] Using the hooks and guitar rock favoured by Oasis in a song-based format, they moved from the personal on Good Feeling (1997), through the general on their breakthrough The Man Who (1999), to the socially conscious and political on 12 Memories (2003)[5] and have been credited with a major role in disseminating a new Britpop.

[21][22] Also from Wales were Feeder, who were initially more influenced by American post-grunge, producing a hard rock sound that led to their breakthrough single "Buck Rogers" and the album Echo Park (2001).

[23] After the death of their drummer Jon Lee, they moved to a more reflective and introspective mode on Comfort in Sound (2002), their most commercially successful album to that point, which spawned a series of hit singles.

[38] These acts were followed by a number of bands who shared aspects of their music, including Snow Patrol from Northern Ireland, and Athlete, Elbow, Embrace, Starsailor, Doves, Gomez and Keane from England.

[43] A wave of garage rock revival/post-punk revival bands sprang up in response, like the Strokes and the White Stripes in the US, the Hives in Sweden, the Vines in Australia, and the UK's own Kaiser Chiefs, Arctic Monkeys and Bloc Party.