Back in the early 1980s, while floppy-fringed post-punkers were anxiously fretting over whether appearing on Top of the Pops meant selling out, a burgeoning hip-hop scene in the US was rapping the praises of high-end, lux brands and extolling the joys of making some serious bank.

The following decade, with the first stirrings of Britpop, bands began to play to a different tune. Prompted in part by what had been happening over in the States, but also with the adopting of British legacy sports and streetwear brands like Fred Perry, Ben Sherman, Clarks and John Smedley, there was a marked shift towards an embrace of mainstream success and all the commercial opportunities on offer. Indie integrity be damned.

And, of course, of all the new wave of new wavers, one group stood out for their swaggering ambition and willingness to align with whatever high street and/or luxury name sat within their set of clearly defined reference points, from adidas to Burberry: Oasis.

Bob Workman, senior vice president and head of artist and fan experience UK and ROW at WMX, part of Warner Music, remembers it well. “When I first joined, we had a lot of artists who wouldn’t dare think about working with a brand. But then there was a whole young generation that came through, for whom it was just as important to be a brand dealer as it was to be on the Radio 1 A-list.” That was then accelerated after the digital and streaming revolution, when market demand for physical music (ie vinyl records, tapes, CDs) dramatically fell away.