Graham Coxon’s Latest Project, The WAEVE: Pushing Boundaries and Embracing Parenthood

For Graham Coxon, founding member and iconic guitarist of Blur, musical exploration has always been part of the journey. But his latest project, The WAEVE – a collaboration with singer-songwriter and his new wife Rose Elinor Dougall – offers fans a deeper look into his creative evolution. Their new album, City Lights, serves as a raw, reflective record born out of the transformative (and sleepless) days of early parenthood, channeling a mix of vulnerability and grit that reveals a whole new side of Coxon.

After the release of The WAEVE’s self-titled debut in 2023, City Lights builds on the unique chemistry between Coxon and Dougall, blending indie rock with touches of jazz and post-punk to create a sound that is both familiar and refreshingly new. While Blur fans may recognize Coxon’s signature guitar style, The WAEVE’s music is distinct, weaving in lush saxophone lines, atmospheric synths, and Dougall’s hauntingly beautiful vocals. Together, Coxon and Dougall have crafted an album that feels both cinematic and intimate – the perfect soundtrack for late nights and introspective moments.

Reflecting on the inspiration behind City Lights, Coxon has spoken openly about how early parenthood has shaped the project. “There’s a kind of surrealism that comes with the lack of sleep, a strange clarity too,” he shared with NME recently. “It’s been a time of change for both of us, and the music has kind of emerged from that space – raw and genuine.” 

For Coxon, known for his introspective solo work and the occasional melancholy within Blur’s music, City Lights is a deeply personal and collaborative project, allowing him to push boundaries while staying grounded in life’s real, sometimes messy, moments.

Working with Dougall, former vocalist of The Pipettes and a talented artist in her own right, has also allowed Coxon to explore new creative territory. Dougall’s voice and lyrical presence bring a unique warmth and depth to The WAEVE’s sound, giving Coxon a fresh perspective in his songwriting. Together, they form a partnership that’s both dynamic and balanced, with Dougall’s emotive delivery perfectly complementing Coxon’s intricate instrumentals.

Released to critical acclaim, City Lights has already captured the attention of fans and critics alike, showcasing a more experimental side of Coxon while remaining accessible. Tracks like “Over and Over” and “Dawn Break” delve into themes of love, loss, and renewal, with melodies that linger long after the first listen. It’s a far cry from the Britpop anthems that defined Blur’s early days, but it’s exactly where Coxon wants to be.

As Blur prepares to hit the stage again for upcoming reunion shows, Coxon’s work with The WAEVE feels like a testament to his relentless pursuit of musical growth. “Blur will always be a part of me, but The WAEVE lets me express myself differently,” he said in an interview. For fans of both Blur and Coxon’s solo work, The WAEVE’s City Lights is a captivating exploration of artistry, transformation, and the strange beauty of change.

In City Lights, Coxon has once again proven his ability to evolve while remaining true to himself, this time with Dougall by his side. For those ready to follow him into this next chapter, The WAEVE offers a soundtrack as unexpected and layered as the journey itself.

City Lights - Tracks

1. "City Lights" – 4:20
2. "You Saw" – 5:24
3. "Moth to the Flame" – 4:43
4. "I Belong To..." – 4:23
5. "Simple Days" – 4:09
6. "Broken Boys" – 3:12
7. "Song for Eliza May" – 5:37
8. "Druantia" – 7:44
9. "Girl of the Endless Night" – 4:55
10. "Sunrise" – 6:50

Blur’s Graham Coxon on Oasis Reunion: “Good for the Fans and Good for Them”

As Oasis fans gear up for one of the most anticipated reunions in British rock history, Blur’s guitarist Graham Coxon has weighed in on the Gallaghers’ decision to patch things up and hit the road once again. “It’s good for them and it’s good for the fans,” Coxon said in a recent interview with The Sun, capturing the mood of an entire generation ready to relive the highs of Britpop.

For Coxon, this isn’t just industry news; it’s a reminder of a time when Blur and Oasis dominated the UK charts and drove the Britpop phenomenon of the 1990s. The two bands’ rivalry was legendary, fueling one of the most electric eras in British music. Now, with the Gallaghers setting aside their differences, it feels like a piece of that magic is back.

In August, Liam and Noel Gallagher announced their plans to reunite Oasis for a stadium tour, which kicks off in the UK and Ireland in July 2025. After bringing their hits to fans across North America, the iconic duo will return to London for two final dates at Wembley Stadium in September before taking the show to Australia in October. While Coxon is all for the reunion, he kept a respectful distance from suggesting it outright, clarifying, “God no, I wouldn’t have talked to him about that… I don’t know him well enough to say that.”

Interestingly, the announcement comes alongside another Britpop throwback – a stage play currently in development for London’s West End, titled The Battle. Set to debut in 2025, the play will chronicle the fierce rivalry between Blur and Oasis, with a particular focus on the infamous 1995 chart showdown. That summer, Blur’s “Country House” and Oasis’s “Roll With It” went head-to-head for the Number One spot, a battle Blur won. Written by John Niven and produced by Simon Friend, The Battle is being billed as “a comedy with teeth,” and promises to capture the competitive spirit and camaraderie that defined the scene.

Meanwhile, Coxon hasn’t slowed down creatively. He recently released City Lights, his second album with The WAEVE, his collaboration with Rose Elinor Dougall. Following their 2023 debut, this new release is a personal exploration of early parenthood and its sleepless nights, something Coxon discussed candidly with NME. Despite his own busy schedule, he’s excited for the Oasis reunion, noting, “Hopefully it’s a genuine reunion because some bands break up and don’t get that chance again.”

With Blur’s legacy secure and Oasis set to reignite their own, this reunion feels like a nostalgic gift to fans who never stopped hoping for another chapter. For Britpop devotees, it’s like the ‘90s never left – and Coxon, like all of us, seems ready to cheer them on.

Graham Coxon Embroiled in Bitter Divorce with Ex Soraya Coxon

Blur guitarist Graham Coxon is in the midst of a bitter, gruelling UK High Court divorce battle with his wife, Soraya "Essy" Coxon. 

On September 19 2024, Mr. Coxon attended an interim hearing at London’s Royal Courts of Justice, presided over by Mr. Justice Peel, regarding his separation. Both Mr. Coxon, represented by Rosanne Godfrey-Lockwood, and Mrs. Coxon, represented by Michael Glaser KC, were identified in the proceedings, though the judge has prohibited publication of specific case details.

A follow-up hearing is expected in the coming months.

Coxon’s professional life remains high-profile as Blur recently completed a world tour, including two monumental performances at Wembley in 2023. The band, which includes Damon Albarn, Alex James, and Dave Rowntree, continues to thrive with a legacy of 13 UK top 10 singles and seven chart-topping albums.

While Coxon’s personal life has been challenging, he has found renewed happiness and inspiration with musician Rose Elinor Dougall. 

Dougall, the granddaughter of respected BBC newsreader Robert Neill Dougall and singer in The Pipettes, and Coxon share both a romantic and musical partnership as the duo behind The WAEVE. They released their latest album, City Lights, in September and are also parents to a two-year-old daughter Eliza May.

Coxon’s marriage to Soraya 'Essy' Coxon reportedly began to dissolve around 2020 with rumours of him meeting Rose Elinor Dougall at the same time during a London charity concert, which led to a period of emotional turmoil. 

Reflecting on the experience, he recently shared with The Times: “It was extremely traumatic. That’s when I knew I needed therapy.”

Graham Coxon with his ex-wife Soraya 'Essy' Coxon

The guitarist eventually returned to the UK, where he connected with Dougall. Their relationship began as a creative collaboration but soon blossomed into romance and family life. 

“I didn’t know what I was going to be doing,” Coxon recalled. “I had just gone through a big loss of confidence, so I liked the idea of working with someone who could sing and play piano and take the strain a little bit. I don’t think either of us expected it to go the way it did.”

Known for his reserved and socially awkward nature, Coxon admitted that Dougall’s lively, outgoing personality has helped him open up. 

“I’ve always been socially awkward, which is why it’s great going out with Rose because she’s lively and she enjoys the moment,” he explained. 

Looking back, he added, “For years I was the snarling person in the corner, hiding in a pub in Camden. I was the problematic Blur boy.”

This news comes around the same time when Damon Albarn, Coxon's long-time friend and bandmate from Blur, separated from his long-term partner Suzi Winstanley. 

Damon Albarn releases New Song 'Gumbri' with Kaktus Einarsson

Damon Albarn has recently released a new single with "Gumbri" by Kaktus Einarsson feat. Damon Albarn's wispy vocals. "Gumbri" is a collaborative track by Icelandic musician Kaktus Einarsson and British artist Damon Albarn, released in September 2024.

The song serves as the lead single from Einarsson's second album, Lobster Coda, which was released on October 25, 2024. 

The collaboration between Einarsson and Albarn is rooted in a longstanding professional relationship. At 15, Einarsson played the trumpet on Gorillaz's track "Stop The Dams," and later contributed to Albarn's solo debut, Everyday Robots. 

"Gumbri" marks their first joint effort as solo artists. Musically, "Gumbri" blends introspective lyrics with a groovy instrumental backdrop. The accompanying music video features both artists in a natural setting, engaging in activities like lounging among trees and feeding chickens, complementing the song's reflective tone. 

The track is available on various streaming platforms, including Spotify and Apple Music.

About Kaktus Einarsson

Kaktus Einarsson, a visionary musician and artist from Iceland, has carved out a distinct place in the music world with his bold fusion of genres. Growing up in Reykjavík, he started his musical path remarkably early, joining the experimental electronic group Ghostigital at just 10 years old. Later, he became the frontman of the post-punk band Fufanu, a role that earned him opportunities to share the stage with major acts like Radiohead and the Red Hot Chili Peppers. 

In 2021, Kaktus embarked on a solo career, releasing his debut album, Kick the Ladder, which showcased his innovative blend of electronic, classical, and pop influences. This was followed by Lobster Coda in 2024, an album enriched with collaborations from notable artists, including Damon Albarn, Nanna Bryndís Hilmarsdóttir from Of Monsters and Men, and School of X’s Rasmus Littauer. 

Kaktus's artistic journey is marked by unique partnerships and memorable contributions. He played trumpet on Gorillaz's track "Stop The Dams" at just 15 and contributed to Damon Albarn's solo album, Everyday Robots. His music is a testament to his fearless exploration and dedication to pushing creative boundaries.

Listen to 'Gumbri' below 

Gumbri lyrics

[Verse 1: Kaktus Einarsson] 

Wake up every morning without an alarm that I can snooze 

Try to maintain tempo with a one plus three we've managed to defuse 

A life of surprises in a bevel full of joy 

There are different rooms with different roads 

Amongst the tourists I hide, grab a fresh bread bun to go 

Try to write some happy songs, but it makes me feel so wrong 

I am privileged, I've known for long 

But there are different roads to different moods

[Chorus: Damon Albarn & Kaktus Einarsson] 

Living on the edge embrace a unique self 

You saw in my palm with every sun that sets I drift and roam a subtle flow 

As the world reveals its truths one by one I start to feel where my life needs to go 

[Verse 2: Kaktus Einarsson] 

Dance in the club as daybreak claims the sky again 

A labyrinth of chambers it’s pounding the kick drum though my head 

A real time spectrum every door a check 

There are different rooms with different roads 

Dreams of the cruise ship life sailing into old its old 

Alive and anchored in a bubble that simply stays afloat 

Is that something for me, I cannot know 

There are different rooms with different moods

[Chorus: Damon Albarn & Kaktus Einarsson] 

Living on the edge embrace a unique self 

You saw in my palm with every sun that sets I drift and roam a subtle flow 

As the world reveals its truths one by one I start to feel where my life needs to go 

Living on the edge embrace a unique self 

You saw in my palm with every sun that sets 

I drift and roam a subtle flow

As the world reveals its truths one by one 

I start to feel where my life needs to go 

As the world reveals its truth one by one 

I start to feel where my life needs to go

Best Damon Albarn Quotes About Work

Dive into the mind of Damon Albarn, the visionary behind Blur and Gorillaz, through his own words. These 20 quotes offer a glimpse into his unique perspective on music, life, and art, revealing the depth and ingenuity of a true musical maverick.

21. "I used to go to work and take heroin in the studio and then stop when I came home."
22. 
    
23. "Well, as resources inevitably disappear [in Africa], people have to make do with a lot less. You have to be much more ingenious with a lot less, and accept that you can't get your perfect tuna sandwich on a street corner."
24. 
    
25. "I was going through a breakup. I was depressed... I really did need to do something. Recording an album was a great escape. I don't know what would have happened if I wouldn't have started to work."
26. 
    
27. "I'm an English songwriter/composer, working in Mandarin and trying to find something about Chinese culture that I really relate to and respect and feel some genuine emotions for - and it's quite hard, the pentatonic scale, and that, in a way, is why I think it works."
28. 
    
29. "I used to be younger than my producers but now I'm older than my producers and I think that works for me, that works better cause you get a good kick up the ... everyday."
30. 
    

21. "I'm slightly ambivalent to the whole relationship between the whole advertising world and music. I think sometimes it works and sometimes it's a really bad mismatch."
22. 
    
23. "I'm not really one of those people who believes that if you're a musician you can just leave that behind and start getting into politics."
24. 
    
25. "The cartoon is a metaphor really for the fact that it's almost impossible in our celebrity-obsessed culture to move around genres and sort of change your ideas, change your face, you know?"
26. 
    
27. "When you're doing a deal with someone in the southern Sahara, it's a very different way of doing business than in London. You can't sign them in the usual way because they'd end up getting ripped off, which would defeat the object of setting up a label like this."
28. 
    
29. "Being in Blur has allowed me to travel and hear the music that’s being made all over the world."
30. 
    
31. "As soon as it sounds fine, I’m on to the next thing, man."
32. 
    
33. "It’s not like my old self – I’m not in character anymore, I’m me. I’m not hiding behind that anymore."
34. 
    
35. "I was approached by Oxfam to go to Mali as their ambassador and get involved in their various initiatives out there."
36. 
    
37. "Music is something that should speak for itself, straight from the heart."
38. 
    
39. "I don’t need to be a frontman all the time, and in fact, the older I get, the less of an urge it is inside me to play that role."
40. 
    
41. "Whenever you’re writing something that’s reflective, you have to put yourself through some sort of ordeal just to understand the way you’re feeling."
42. 
    
43. "I spent two years figuring out how I could turn it into something that would satisfy me as a musician but also make some kind of cross-cultural link."
44. 
    
45. "More and more, cultural groups are cross-pollinating, and we’re getting much more interesting art as a result."
46. 
    
47. "The whole period has taught me that I enjoy being part of an ensemble rather than just a front man."
48. 
    
49. "I like to go to Africa purely with something to do. I’m not very comfortable getting into an armor-plated Land Rover and going to see things, with my hand gel, you know, it’s not me at all."

Top 20 Damon Albarn Quotes About His Music And Life

Here are 20 quotes by Damon Albarn, reflecting his thoughts on music, life, and creativity:

1. "The things that make me happy most are my family and working."
2. "If you don't see something as a career but as an important part of your life, you don't know how you're going to feel about it." 
3. "There's always been a hip-hop element to my trousers." 
4. "I have to wear a new T-shirt every night. I throw them into the audience. One day I'm going to go around the world and reclaim all my T-shirts." 
5. "What you learn from working with other performers and musicians is invaluable, really, and can only help you grow." 
6. "Each individual has their own opinions about whether war is an answer to any problems. Personally I think it's a waste of time." 
7. "No, every album is something like a snapshot. It only shows one moment in time." 
8. "Yeah. You've seen The Sun today; I've got myself a big house, settled down. Apart from the odd night out with the New Fathers' Club, I'm a family man now." 
9. "The whole Gorillaz concept is one for mavericks; it's a way for people who never have a chance to work together being able to ally behind the cartoons." 
10. "Every time I go to Africa, I see the future. I see what the Western world is going to become. It's a very futuristic place." 
11. "Trying to write music that's sensitive to 400 years ago takes a bit of madness, as it's such a long stretch of time."
12. "I've always been inspired by different cultures and their musical traditions. Diversity is what makes our world so beautiful."
13. "My goal is to constantly evolve as an artist and explore new sounds and ideas." 
14. "Music has the ability to transport you to different places and evoke a wide range of emotions." 
15. "The best songs are the ones that connect with people on a personal level. They become a part of their lives."
16. "Failure is just a part of the creative process. It's through our mistakes that we learn and grow." 
17. "I believe that art should challenge people's perceptions and make them think." 
18. "Being in Blur has allowed me to travel and hear the music that’s being made all over the world." 
19. "It’s not like my old self – I’m not in character anymore, I’m me. I’m not hiding behind that anymore." 
20. "The cartoon is a metaphor really for the fact that it’s almost impossible in our celebrity obsessed culture to move around genres and sort of change your ideas, change your face, you know?" 

 

The Art of Blur: the Band's Visual and Musical Aesthetics

As a lifelong Blur fan, I've not only been captivated by their infectious melodies and insightful lyrics but also deeply intrigued by the artistry that encapsulates their visual and musical aesthetics. Blur, in their decades-long career, has not just created music; they've crafted a multi-sensory experience that merges sight and sound in a way that few bands have managed.

Blur's visual identity has been as integral to their appeal as their music. The cover of their debut album, "Leisure" (1991), with its psychedelic swirls, set the tone for a band that was ready to challenge the status quo. But it was with "Modern Life is Rubbish" (1993) that their visual identity began to mirror their growing exploration of British identity and culture. The album cover, featuring a vintage British railway ticket, was a statement against the American grunge trend and a nod to the quintessentially British themes that would become their hallmark.

With "Parklife" (1994), Blur's visual and musical identity fused perfectly. The album cover, portraying greyhounds in mid-race, captured the essence of British life – dynamic, competitive, and somewhat absurd. Musically, the album was a mosaic of genres, from punk to new wave and Britpop, all tied together by Damon Albarn's satirical yet poignant storytelling. Songs like "Girls & Boys" and "Parklife" were not just catchy tunes; they were reflections on the society of the time, set against a backdrop of vibrant, varied instrumentation that made the album a cultural landmark.

The release of "The Great Escape" (1995) saw Blur's visual and musical aesthetics take a more introspective turn. The cover art, featuring a melancholic suburban landscape, complemented the album's themes of disillusionment and the desire to escape. Musically, the album was a complex mix of orchestral sweeps and electronic nuances, showcasing the band's evolving sound palette.

Blur's self-titled album in 1997 marked a significant shift both visually and musically. The minimalist cover art, with its simple white background and bold black lettering, mirrored the band's exploration of a rawer, more experimental sound. Songs like "Song 2" burst with gritty energy, a stark departure from their earlier Britpop style, reflecting the band's willingness to reinvent themselves.

"13" (1999) was a further evolution, with its abstract, emotive cover art echoing the album's exploration of more personal and existential themes. The music, with its eclectic mix of electronic, gospel, and ambient influences, was a testament to the band's artistic bravery and versatility.

In examining Blur's aesthetic journey, it's evident that their visual artistry is inextricable from their musical evolution. Each album cover was not just a visual accompaniment but a narrative extension of the music within. Their ability to capture the essence of a particular moment, both culturally and personally, through a combination of visual and musical storytelling, is what sets them apart.

As a fan, witnessing Blur's journey has been like watching a series of vivid paintings come to life, each album a new scene in a continually evolving landscape. They've taught me that music is not just an auditory experience; it's a visual and emotional journey that can capture the zeitgeist of an era, challenge societal norms, and express the complexities of the human experience.

In sum, the art of Blur – both visual and musical – is a testament to their creativity, versatility, and enduring impact on the music world. Their ability to blend sound and sight into a cohesive, evocative narrative is what makes them one of the most influential bands of their generation. As a fan, I can’t help but be excited about what artistic horizons they will explore next.

Where Are The Blur Members Now?

From Britpop legends to diverse adventurers, the members of Blur have charted unique paths since their '90s heyday.

As of 2024, the members of the iconic Britpop band Blur have been engaged in various individual projects and activities, following their recent band activities.

Damon Albarn, Blur's charismatic frontman, has been particularly active in various musical endeavors. After Blur's first reunion in years and the release of their latest album "The Ballad Of Darren," Albarn announced a break for the band. He has hinted at concentrating on an opera set to be presented in Paris and is also planning to work on a new Gorillaz album, following the success of 2023's "Cracker Island," which featured collaborations with several big names in the music industry.

After the recent reunion and release of their album "The Ballad of Darren," Albarn has announced that Blur will be going on hiatus. He expressed that continuing with Blur at this point is "too much" for him, although he didn't rule out the possibility of reuniting with the band in the future. His decision reflects a desire not to dwell on the past but to explore new creative avenues.

Graham Coxon, the band's guitarist, has also been involved in his own projects. Apart from his contributions to Blur, Coxon has a reputation for his solo work, which showcases his versatility as a musician and an artist. He has released solo albums that highlight his expansive musical range beyond the Britpop genre that Blur is famous for​.

Alex James, Blur's bassist, has taken a unique path post-Blur. Known for his distinct style and musical prowess during the band's heyday, James has ventured into the world of food. He started a cheesemaking business and became a food writer for The Times. This transition from music to gastronomy showcases his diverse interests and talents beyond the music industry​.

Dave Rowntree, the drummer, has explored a different kind of public service following his music career. He became a Norfolk City Council member and has made attempts to gain a parliamentary seat in various constituencies. He also obtained a law degree after his time at Blur. This move into politics indicates his interest in public service and community involvement, diverging significantly from his musical background​.

As you can see, the members of Blur have each taken distinct paths following their success in the band. While they have come together occasionally for music, their individual pursuits reflect a broad range of interests and talents, from operatic compositions and graphic novels to cheesemaking and politics.

Their varied careers are a testament to their versatility and ability to reinvent themselves beyond the realm of Britpop.

Blur's Cultural Impact - 90s and beyond

Alright, gather 'round. It’s time to dive into the cultural tsunami that was – and still is – Blur. These four lads from London didn't just make music; they stirred a cultural pot that hadn't seen this much action since The Beatles talked about a yellow submarine.

So, what was it about Blur that made them the darlings of the 90s and beyond? Picture this: it’s the 90s, flannel shirts are in, and the world is just discovering the internet. Enter Blur, with their catchy tunes, cheeky lyrics, and a frontman who had more charisma in his pinky finger than most bands had in their entire line-up.

"Parklife" wasn’t just an album; it was a British cultural manifesto. It was like Blur looked around, saw a nation sipping tea, queuing politely, and said, “Let’s put that to music.” The result? A soundtrack that defined a generation. Whether you were a student, a bus driver, or the Queen herself, you couldn't help but hum along to "Girls & Boys" or get a bit introspective with "End of a Century."

But it wasn’t just their music that left a mark; it was their attitude. In a world of rock 'n' roll clichés, Blur was like a breath of fresh air with a hint of sarcasm. They were the clever kids in class who could throw a punchline as well as they could a guitar riff.

And then there was the Britpop rivalry with Oasis. It was like the Beatles vs. Stones for the 90s. You picked a side, and you defended it at the pub like it was your dissertation. Blur vs. Oasis wasn’t just a music rivalry; it was a cultural moment that had everyone talking, from tabloids to tea shops.

Blur's impact stretched beyond the shores of Britain. They were like musical explorers, bringing the Britpop sound to the world. Suddenly, everyone wanted a piece of that cheeky, quintessentially British charm. And let’s not forget how they evolved – from the Britpop bounce to the lo-fi introspection of "13" and the globetrotting vibes of "Think Tank."

In essence, Blur was more than just a band; they were a cultural phenomenon. They made it cool to be unabashedly British, a bit quirky, and to wear your heart on your sleeve (or in your song lyrics). They showed us that it's okay to mix a bit of irony with your art and to evolve without losing your essence.

So here’s to Blur – the band that didn't just play music; they played the heartstrings of a generation. They taught us that it’s alright to be different, to be bold, and most importantly, to be unapologetically ourselves. Cheers, Blur, for the music, the memories, and for making the 90s one heck of a ride!