In the vibrant tapestry of music history, few genres evoke as much passion and controversy as Oi!—a subculture born from the gritty streets of late 1970s London. Simon Spence, a seasoned journalist known for his extensive writings on Britpop, has turned his pen toward Oi!, sharing his love for this often-misunderstood genre in his new book, What Have We Got? This illuminating and thought-provoking overview serves as a balanced account of Oi!’s origins and evolution, navigating the complex landscape of the genre both in the UK and abroad.
Spence opens with a candid acknowledgment: “A definitive history of Oi!? Yes and no.” This statement sets the tone for his exploration—while he aims to provide a thorough account, the complexities of the genre make any claim to definitiveness challenging. Throughout the book, he tackles the negative associations that often accompany the term “Oi!”—linking it to violence, hooliganism, and radical politics. By engaging with these stereotypes, Spence contests the notion of the skinhead as merely a thug or aggressive individual, emphasizing that contexts and motivations vary significantly among individuals involved in the scene.
Central to Spence’s narrative is a thorough examination of influential bands, including Cock Sparrer, Sham 69, Menace, and Angelic Upstarts, whose sounds and messages shaped the Oi! movement. Although he opts for a conventional view of Oi!’s origins, focusing on well-known acts, he does delve into the darker aspects of its history, such as politically motivated violence at concerts. His portrayal of Sham 69 and Angelic Upstarts’ frontmen is particularly compelling, revealing their complex backgrounds against a backdrop of sociopolitical turmoil.
However, Spence’s exploration doesn’t shy away from the genre’s uglier realities. He confronts the rise of openly neo-Nazi bands and the associated far-right ideologies that have historically plagued the scene. Yet, his treatment of these bands sometimes lacks nuance, failing to clearly distinguish between their actions and the broader Oi! movement. This approach raises questions about the genre's identity and its implications within the wider socio-political landscape.
A particularly engaging aspect of What Have We Got? is Spence’s discussion of the “grey zone”—a term that many find frustratingly ambiguous. Although he doesn’t provide a definitive answer about what constitutes this branch of the Oi! scene, his insights provoke further thought and discussion. Spence highlights contemporary bands like Crown Court and Takers and Users, illustrating how Oi! has experienced a revival and remains a thriving creative outlet.
Despite some arguments lacking persuasive power and a few key questions left unanswered, Spence has crafted a well-researched and thought-provoking piece that sheds light on a much-debated genre often dismissed for its associations. He invites readers to consider whether Oi! represents the musical voice of the working class—a response to the struggles and harsh realities of everyday life.
For fans of crude punk rock and punk rock history, What Have We Got? is a must-read. Spence’s exploration speaks volumes about the intersection of music, society, and politics, and the enduring urge to influence change. As the Oi! scene continues to evolve, his work serves as a reminder of its rich history and invites a new generation to engage with its vibrant, albeit tumultuous, legacy.
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