Tom Walker has weighed in on the whole Oasis-style dynamic ticket pricing revealing that he’s asked his managers to make sure he’d never used the strategy.
The singer’s comments come following news that Oasis’ Liam and Noel Gallagher had reconciled, and would be getting back together for their first shows in 16 years. Tickets went on sale at the end of last month and officially sold out within a few hours. However, the entire process was far from smooth, with millions flocking to try to grab tickets and many – including Louis Tomlinson – being left disappointed after several issues arose.
Some who did eventually manage to get through the queues were then disappointed to see the cost of remaining tickets had increased due to Ticketmaster’s dynamic pricing policy; a process which sees prices hiked up due to high demand.
The ‘dynamic pricing’ soon led to widespread backlash. As well as countless fans, politicians like Culture Secretary Lisa Nandy also weighed in, calling for a review of the policy and secondary ticket sites. Similarly, Twickets announced a U-turn on their stance – capping their booking fee at a maximum of £25 per ticket – while Mark Davyd, CEO of the Music Venue Trust (MVT), used the scramble as a way to highlight the struggles faced by grassroots venues.
Hundreds of fans then launched complaints to the Advertising Standards Association (ASA) over surge ticket pricing, debate arose about whether the lack of warning may have been a breach of consumer law, and fans celebrated Robert Smith for fighting Ticketmaster to keep The Cure ticket prices affordable.
Eventually, Oasis addressed the controversy – distancing themselves from the price hikes and announcing that they would be playing two extra shows at Wembley, but this time with much stricter rules in place for the ticket sales.
Now, Walker has opened up about the legendary Mancunian band’s inflated ticket price issue telling the Daily Star: “There’s a limit, isn’t there? I do feel like some people are taking the piss, and it’s not cool. Oasis came out saying they weren’t aware of what Ticketmaster were doing and all the rest of it. Maybe they didn’t know.”
He continued: “The point is if all artists said ‘No’ to that last-minute ticket inflation due to high demand, it wouldn’t be a thing. That’s my view. I even asked my management, ‘We’ve never done that, have we?’ Because I don’t know – I’m not in charge of that bit.”
Walker went on to admit that there is a debate to be had with the ticket prices when a gig you end up paying a high price for ends up being “the best thing you have ever seen and you feel like you’re getting your money’s worth, then fair play.” He went on to add: “But I do think people queuing for six hours thinking they’re getting a £150 ticket and then [being told], ‘That’ll be £400, please,’ you’d be fuming!”
The singer is the latest to comment on the situation. Previously, David Gilmour weighed in on the dynamic pricing situation and said that he thinks bands should stay loyal to the price they initially lay out.
In an interview with ITV News, the guitarist, singer and songwriter said: “I think Oasis should do exactly what they want to do. I’m not sure about this strange ticketing thing that’s going on. They should put a price on tickets and stick to it.”
Elsewhere, Walker is set to release his second album ‘I Am’ on September 20. According to a statement, his latest sees him “writing about his own personal struggles and anxieties, creative challenges, sadness and moments of despair.” It’s also described as “a sometimes visceral account of who Tom Walker is in 2023.”
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Fontaines D.C. members Carlos O’Connell and Tom Coll have been behind the production of the forthcoming second album from French indie outfit Film Noir. To introduce the project, the band has unveiled the paired singles ‘VIENS TIENS TOI’ and ‘VEGITA’, which you can listen to below.
The Fontaines D.C. guitarist and drummer worked alongside Film Noir at La Frette Studios just outside Paris. The renowned recording space is also where Arctic Monkeys created their two most recent albums, ‘Tranquillity Base…’ and ‘The Car’.
O’Connell is partnered with Film Noir vocalist Joséphine de La Baume, who is also known for her work as an actor, filmmaker and model. Together, they share two children, with their first child serving as the inspiration for Fontaines’ 2025 track ‘It’s Amazing To Be Young’.
Reflecting on the project while announcing his role in the album, O’Connell shared on social media: “In early 2020 I walked into a gig in a club in Paris and was introduced to a band called Film Noir. I fell in love with the singer, I went on to make babies with her to to fall in love twice again with them.
“A little while back myself, [Coll] and @filmnoirmusic went to La Frette and recorded their upcoming record.”
The guitarist continued: “Producing this record was one of the most beautiful experiences I’ve had. Blessed to have so many. This album means the world to me & I hope it’ll mean something to many more.”
Film Noir have offered an early look at the still untitled album through the release of ‘VIENS TIENS TOI’ and ‘VEGITA’. O’Connell handled production duties on both tracks, while Coll contributed drums. O’Connell also took care of mixing on ‘VEGITA’.
Opening with a light acoustic arrangement, ‘VIENS TIENS TOI’ gradually unfolds into a dreamy sound shaped by shoegaze influences. In contrast, ‘VEGITA’ leans into a brighter, surf inspired feel that complements de La Baume’s floating vocal performance.
The group has also released a behind the scenes video capturing moments from the recording sessions for their sophomore album, which can be viewed below. At this stage, no official release date has been announced.
Back in spring 2020, O’Connell collaborated with Film Noir on a rendition of Lee Hazlewood’s ‘For A Day Like Today’ (via LiveForever). When the track arrived, the band described the guitarist as “a great supporter of the European rock scene and a common friend”.
Film Noir first emerged with their debut EP, ‘Vertiges (Men Of Glory)’, in 2019, followed by ‘Tendrement’ a year later. Their first full length album, ‘Palpitant’, arrived in 2022.
Outside of music, Joséphine de La Baume portrayed Marie in the 2011 film adaptation of One Day alongside Anne Hathaway. She has also appeared in Apple TV’s The New Look and the Polish period feature Chopin, a Sonata in Paris.
O’Connell also produced the self titled debut album from Dead Dads Club, the new project led by former Palma Violets singer Chilli Jesson. Released in 2026, that record was also created at La Frette Studios.
Speaking with NME earlier this year, O’Connell explained that the French studio “feels like a home”. He continued: “There’s nothing about it that feels corporate or constrained by time. My mind goes into this creative mode in which I can hear things in a certain way, and it doesn’t stop until I leave the building.”
Jesson also spoke about the experience, saying: “It was really organic. Carlos, on one of the tours we were on together, was working on a Film Noir album, and he was always mixing it and playing around with sounds. He’d just come out of the studio at La Frette and to see that process, with the production, I was like, ‘Holy shit.’ I’d been in a world where it was all on the computer, and then suddenly he’s talking about a fucking bass drum that’s two metres long.’”
More recently, Fontaines D.C. contributed music to the soundtrack for Peaky Blinders: The Immortal Man. The band also appeared on the collaborative charity release ‘Help(2)’, which supports War Child.
The group are preparing to return to the stage this summer for their first performances in nearly a year, beginning with three headline concerts in Spain before taking on their first ever top billing appearances at Reading & Leeds 2026.
Their schedule also includes a headline performance at Electric Picnic in Ireland, alongside appearances at European and American festivals including Frequency, La Route du Rock and Shaky Knees.
Discussing new material with NME at the beginning of the year, O’Connell revealed: “We’ve been writing, it’s been fun. We’re at [Reading & Leeds] and there are a couple of shows before that. I think if the music is there, it could get busy.”
Asked whether any fresh songs could appear during the Reading & Leeds performances, he responded: “I’d say so. If there is stuff written, then I would say so, yeah. That’s what we used to do all the time, play the new stuff live, songs that weren’t even finished. It’s a good way to test the songs.”
O’Connell was also asked whether elements of the visual production from the ‘Romance’ era might carry over into the band’s 2026 shows. “I think ‘Romance’ was so intense in every [way]… the visual, the production, the setlist… It wasn’t just about the music,” he explained.
“It’s almost a bit of the identity of the band now, but I guess that’s the decision to make. Does that become the identity of the band, or actually, it’s just a phase and you reinvent it? I don’t know.”
He went on to add: “I personally like the idea of revisiting some old stuff at Reading & Leeds, making the setlist maybe a bit more ‘Dogrel’ heavy. I’m excited about that. I’ve been listening to music like that much more. This morning I was listening to Sonic Youth. I want to go [in] that direction, but we’ll see, because anything could happen now, literally anything.”
‘Romance’ ultimately secured the Number Two spot on NME‘s list of the 50 best albums of 2024, finishing just behind Charli XCX’s ‘Brat’.
