Don’t mention the war. Seventeen years ago, on August 28th, 2009, Noel and Liam Gallagher had a “frank and firm exchange of views” backstage at the Rock en Seine festival, on the outskirts of Paris, leading to the immediate, sensational break-up of Oasis after 18 years together as a band.

“It’s with some sadness and great relief to tell you that I quit Oasis tonight,” Noel posted online a few hours later. “People will write and say what they like, but I simply could not go on working with Liam a day longer.”

The brothers’ falling-out and unexpected return for their reunion tour of 2025, which included a sold-out (and, controversially, dynamically priced) gig at Croke Park in Dublin, is the starting point for this noisy rockumentary.

Archive footage recalls the implosion before we enter the rehearsal room for six weeks of preparation for Oasis’s 41-show Live ’25 tour. But we never do get the lowdown on the big strop.

What actually happened? According to what Noel told the media in 2011, the Gallaghers had been rowing because Liam wanted to promote his clothing range in the band’s tour programmes.

“I didn’t think it was right for him to be flogging his gear to our fans,” the older brother said, proposing that Liam pay full rate for the adverts. “He couldn’t get his head around that. He hit the roof. Things really went downhill from there.”

It all culminated, according to Noel, with Liam throwing a plum at him in the dressingroom that night in France, then trying to hit him with a guitar. “He nearly took my face off with it,” the older brother said in the 2015 interview. “It was a really unnecessary, violent act.”

That account doesn’t materialise in the film. Instead, Noel and Liam appear together as an older, guarded and PR-wiser Oasis, still swearing and boasting about how their kids – who were kept apart by the famous feud – get “spangled” together every night.

George Cragg’s editing is the star as the film swerves between peak-1990s clips, rousing choruses and big cities. The concerts themselves are thunderous, and the crowd bawl, booze and belt out every song.

“It’s more of a football crowd,” says the police officer co-ordinating security before the tour’s opening concert, in Cardiff. He’s right, but only in the impossible instance whereby both teams win. The visible outpouring of joy moves Noel to tears more than once.

Oldies are present and correct. But the huge Gen Z contingent is more surprising. (The film’s premiere at Venice film festival brought in a swarm of teenagers hoping to get their vinyls signed on the red carpet.)

The film’s inconsistent use of fan testimony often feels like an attempt to manufacture profundity. There’s a lovely moment with an Ulster mum and her non-verbal son listening to Talk Tonight. Elsewhere, the personal stories are often slight.

There are few outrageous, swaggering claims, save for a hypothesis that the world “went to shit” after Oasis split up. Perhaps that is the film’s strongest argument: Oasis offer escape, communal release and a version of belonging that feels vanishingly rare.

Mother from Mayo, father from Meath: How Irish are Oasis?

Yes, they know how much you paid for your ticket. When Liam calls out to the “cheap seats”, he follows up with, “Oh, wait: there are no cheap seats. Sorry about that.”

The rendition of The Auld Triangle by 80,000 Irish fans at Croke Park is special. But for all its noise, the film could do with more of what we most want to see: the Gallaghers being Gallaghers.

In cinemas from Wednesday, September 9th