The Oasis reunion is no longer a rumour, it’s happening. With shows already underway in Manchester, Cardiff and soon Dublin’s Croke Park, fans are once again screaming Champagne Supernova like no time has passed.

In this episode of The Last Mixed Tape, I revisit the song that captured Oasis on the edge of everything, before Be Here Now, before the implosion, before break-up and the 2025 reunion.

I first heard it on a crackling 2FM broadcast in Waterford in 1996. Now, watching clips from the reunion flood social media, I feel the same way I did back then like the world cracked open for just a few minutes.

This video explores why Champagne Supernova might be the most Oasis song Oasis ever made, all drift, ego, grandeur and aching beauty.

00:00 Intro

00:30 Noel Gallagher

01:39 Champagne Supernova IS Oasis?

02:28 Memories of Oasis live in 1996

04:39 What Oasis meant then

08:07 Oasis at their most Oasis

09:44 Why is matters now

16:25 Champagne Reunion

17:40 What’s your favourite Oasis song?

18:58 Noel

“Let God Sort Em Out” isn’t just a comeback it’s a calculated strike. Clipse have returned with one of the most competitive, ruthless rap records in years, and they brought Pharrell and Kendrick Lamar into the ring with them.In this episode of The Last Mixed Tape, we dive into the philosophy behind the album, how Pusha T and Malice weaponise precision, and why this record proves that hip-hop is still a full contact sport.🎙 Featuring a deep dive on Chains & Whips, Pusha’s legendary beef track record, and how Clipse’s return rejects nostalgia in favour of confrontation.

00:00 Intro

00:30 Pusha T

01:46 Clipse Let God Sort Em Out

03:10 First Impressions

06:58 Chains & Whips

08:10 Music As A Full Contact Sport

17:34 Clipse Are Ruthless

18:24 What do you think?

19:05 Pusha

Glastonbury 2025 became one of the most politically charged festivals in recent memory from Bob Vylan’s explosive set being investigated by police, to Kneecap’s BBC censorship, and Rod Stewart backing Nigel Farage in the press.

In this episode of The Last Mixed Tape, we explore the growing tension between protest art and platform control, and ask:Who gets to speak freely on the biggest stages and who gets silenced?

With Palestinian flags in the air, a woman live-streaming censored sets in real time, and police watching musicians instead of listening to them, we’re witnessing a major shift in how protest music is treated.

00:00 Intro

00:30 Nina Simone

01:33 Why Glastonbury 2025?

02:03 Bob Vylan

04:12 Matty Healy

05:26 Freedom of Expression

10:45 The Politics of Glastonbury 2025

12:15 Why?

19:43 We Choose The Art We Consume

21:07 Dangerous Days

22:37 Chuck D

In 1992, Sinéad O’Connor tore up a photo of the Pope live on Saturday Night Live and paid the price for telling the truth. Booed at Madison Square Garden. Silenced by the industry. Mocked by the media.But what if she was right all along?

In this episode of The Last Mixed Tape, we revisit that moment not as scandal, but as protest, an act of defiance rooted in Ireland’s painful history with the Catholic Church.

From the SNL performance to the Bob Dylan tribute, and all the backlash in between, we trace the legacy of Sinéad’s bravery through the artists carrying her torch today: Kneecap, CMAT, Pillow Queens, Radie Peat, Boygenius and Dua Lipa, who just honoured her live in Dublin.

This is not just a music story.It’s an Irish story.And it still matters.

00:00 Intro

00:30 Sinéad O’Connor

01:06 Performance as Protest

01:38 Ripping Up The Pope

03:22 The Legacy of Catholic Ireland

07:08 Booed at Bob Dylan Tribute Show

09:34 Why it matters

16:34 Sinéad O’Connor’s Legacy

18:18 Final Thoughts

19:24 Sinéad

In this episode of The Last Mixed Tape, we break down the powerful courtroom moment when Kneecap’s Mo Chara demanded to speak Irish during his trial in London and why that decision echoes far beyond the courtroom.From The Pogues to Johnny Rotten, Shane MacGowan to Fontaines D.C., this is a history of Irish voices using British stages to express defiance, identity, and survival. Mo Chara’s stand isn’t new, it’s the latest verse in a long rebel chorus.The Last Mixed Tape is hosted by Stephen White00:00 Intro00:28 Mo Chara01:54 Kneecap, Mo Chara & The Courts02:24 Mo Chara Vs The Crown04:19 The Irish Voice07:12 Voices From The Past09:44 Thoughts21:49 Future 23:18 Outro

Ireland’s housing crisis. The ghost of Dublin. The music of frustration. In this episode of The Last Mixed Tape, we dive into Fontaines D.C.’s “In The Modern World” and explore how it captures the voice of a generation let down by their country.

With echoes of Gertrude Stein’s “Lost Generation”, this episode connects the cultural disillusionment of Hemingway and Joyce with Ireland’s own Generation Perdue, the artists and outsiders shaping our modern protest music.

Featuring a key moment from Blindboy almost a decade ago, this is an exploration of art as identity in exile.

00:00 Intro

00:29 Blindboy

02:01 Gènération Perdue

04:17 Fontaines D.C In The Modern World

09:46 Surviving 2025

11:28 Reflections

20:30 Ghost Towns

21:50 Your Comments?

22:29 Outro

Gilla Band are not the most commercially successful band of their generation but they might be the most influential.

In this deep dive from The Last Mixed Tape, through the lens of Franics Bacon I explore how this uncompromising Dublin four-piece rewrote the rules for noise, post-punk, and experimental rock and why their contorted, chaotic sound is being echoed in a new wave of artists like Fontaines D.C., Black Midi, IDLES, Sprints, and more.

Featuring analysis of key releases (Holding Hands with Jamie, The Talkies, Most Normal), their creative ethos, influence on the Irish scene, and personal reflections from their landmark 2019 comeback show, this episode makes the case for why Gilla Band may just be the most important underground band of the 21st century.

The Last Mixed Tape is hosted by Stephen White

00:00 Intro

00:25 Francis Bacon

01:26 Gilla Band

03:15 The Contorted Soundscape

08:20 Echoes in the Noise

10:09 The Most Influential Band of the 21st Century?

20:30 Future Shapes

21:28 Your Thoughts?

23:13 Outro

This week on The Last Mixed Tape, I explore my personal connection to Kanye West’s Through the Wire, a song that helped me survive a near-fatal accident 20 years ago and reckon with what it means to love a piece of art when the artist behind it becomes indefensible.

Kanye West’s most recent release, featuring praise of Hitler, crosses every line and forces a deeper conversation about artistic intent, freedom of expression, and what we do with the work left behind when creators betray their own legacy.

This episode is about survival, memory, and the uneasy space between loving a song and condemning the person who made it. It’s also about choice and why it should be ours, not the state’s, to make.

00:00 Intro

00:25 Through The Wire

02:21 Kanye

04:25 The Road to Ye

07:26 20 Years Later

09:35 The Art & The Artist

23:13 Moving On

24:52 Conclusions

25:37 Outro

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🎙️ Hosted by Stephen White | The Last Mixed Tape

#KanyeWest #ThroughTheWire #ProblematicArtists #MusicCriticism #TheLastMixedTape

Irish rapper Mo Chara of Kneecap is facing terror charges in the UK for a performance in London. But what does this case really say about freedom of expression, cultural identity, and the criminalisation of art?

In this episode of The Last Mixed Tape, I explore the history of artists on trial from John Lennon to Pussy Riot and ask what happens when the state decides where art ends and extremism begins. This is about more than a flag it’s about the boundaries of dissent, the weaponisation of performance, and the ongoing legacy of censorship through legal means.

We’ll look at past precedents, why Mo Chara’s anglicised name was used in the charge, and how artists like the Pogues, Siouxsie Sioux, and Ice-T have walked similar lines before.This is where art, politics, and power collide.

00:00 Intro

00:25 Biko

01:17 Mo Chara

04:00 The Slippery Slope

06:51 Art vs the State

09:25 What this means…

16:04 The Future

17:06 Final Thoughts

17:45 Outro

One of modern music’s most haunting voices is Maria Somerville, whose new album Luster captures the tension between dreams and memory, tradition and distortion.In this episode of The Last Mixed Tape, Stephen White explores how Irish artists like Somerville, Katie Kim, and Virgins are carrying the echo of shoegaze, dream pop, and drone into something uniquely Irish. With nods to My Bloody Valentine, Joyce, Beckett, and even ancient mythology, this is a story of sound shaped by place where ghost notes linger in every reverb trail.

00:00 Intro00:26 Anthony Bourdain 01:16 Maria Somerville 03:08 The Mythology of Dreams 04:55 Ghosts in the Reverb07:26 Luster Review 14:30 Recurring Dreams?15:55 I Am Certain of Nothing16:58 Outro