Fact-checked by Grok 2 weeks ago

Radiohead

Radiohead are an English rock band formed in Abingdon, Oxfordshire, in the mid-1980s by schoolmates from Abingdon School, initially convening weekly before adopting the name On a Friday in 1987 and signing with EMI in 1991, which prompted the name change to Radiohead.^[1]^[2] The lineup comprises Thom Yorke (lead vocals, guitar, piano, keyboards), Jonny Greenwood (lead guitar, keyboards, orchestral arrangements), Colin Greenwood (bass), Ed O'Brien (guitar, backing vocals), and Philip Selway (drums).^[2] Over their career, the band has released nine studio albums, evolving from alternative rock on early releases like Pablo Honey (1993) and The Bends (1995) to experimental electronica and avant-garde styles on later works such as Kid A (2000) and A Moon Shaped Pool (2016).^[3] Their third album, OK Computer (1997), marked a commercial and critical breakthrough, selling millions worldwide and establishing their reputation for conceptually dense, technologically inflected songwriting that critiques modern alienation.^[4] Subsequent releases like Kid A, which won the Grammy Award for Best Alternative Music Album in 2001, demonstrated their willingness to subvert expectations by largely abandoning traditional rock instrumentation for electronic and jazz elements, yet maintaining strong sales and acclaim.^[5] Radiohead's 2007 album In Rainbows pioneered a pay-what-you-want digital release model, generating substantial revenue—estimated at three million copies equivalent in its first year—while challenging conventional music distribution amid industry decline.^[6] By the early 2010s, the band had sold over 30 million albums globally, earning multiple Grammy Awards including for In Rainbows as Best Alternative Music Album in 2009, alongside consistent critical recognition for innovation despite limited mainstream radio play.^[7]

History

1985–1992: Formation as On a Friday and early demos

Radiohead originated as the band On a Friday, formed in 1985 by students at Abingdon School, an independent boys' boarding school in Abingdon, Oxfordshire, England.^[8] The founding members were Thom Yorke on vocals and guitar, Colin Greenwood on bass guitar, Ed O'Brien on guitar, and Philip Selway on drums; these four had met during their time at the school.^[9] The band's name derived from their regular rehearsal day in the school's music room, which was Fridays—the only weekday available after classes.^[10] Jonny Greenwood, Colin's younger brother and a junior student at Abingdon, joined in 1987 as the final core member, initially playing harmonica and keyboards before taking up lead guitar.^[11] Prior to his full integration, the group occasionally included saxophone player Rasmus "Raz" Peterson. On a Friday began performing at local venues in the Oxford area and recorded their first demo tape in 1986 at Abingdon School, featuring tracks such as "Fragile Friend," "Mr. Celibate," "Stonefaced," "Sweet Justice," and "Fat Girl."^[12] Subsequent demos followed, including a 1987–1988 tape with unreleased songs and the late 1991 Manic Hedgehog demo, recorded at Courtyard Studios and named after an Oxford record shop.^[13]^[14] The Manic Hedgehog demo attracted attention when bassist Colin Greenwood encountered an EMI talent scout, leading to a six-album recording contract with the label in 1991.^[10] Upon signing, the band renamed themselves Radiohead, inspired by the Talking Heads song "Radio Head" from their 1986 album True Stories, to avoid conflicts with another act named Friday.^[9] This period marked the transition from school-based rehearsals and amateur demos to professional prospects, though the group had previously declined an earlier record deal offer.^[15]

1992–1994: Pablo Honey, "Creep" breakthrough, and initial commercial stir

Radiohead's debut single, "Creep", was released on 21 September 1992 by Parlophone, marking their first output under the new band name after signing with EMI in 1991.^[16] Initially, the track failed to chart significantly in the UK, receiving limited radio play and selling modestly despite its raw grunge-influenced sound featuring Thom Yorke's anguished vocals and a dynamic quiet-loud structure.^[17] The song's breakthrough occurred with its re-release in April 1993, coinciding with mounting college radio airplay in the US and Israel, where it topped charts and gained traction through live performances.^[18] "Creep" ultimately peaked at number 7 on the UK Singles Chart, number 34 on the US Billboard Hot 100, and achieved top positions in countries including New Zealand and Norway, propelling Radiohead from obscurity to international attention.^[18] Recording for the band's debut album, Pablo Honey, took place in September and November 1992 at Chipping Norton Recording Studios and Courtyard Studio in Oxfordshire, England, under producers Paul Q. Kolderie and Sean Slade, who emphasized a polished alternative rock sound drawing from influences like Pixies and R.E.M.^[19] The 12-track album, featuring "Creep" as its second single, was released on 22 February 1993 in the UK via Parlophone and on 20 April 1993 in the US through Capitol Records.^[20] Pablo Honey debuted at number 22 on the UK Albums Chart, where it remained for 114 weeks, reflecting sustained sales driven by "Creep"'s momentum; by 1995, it had sold over 1 million copies in the US alone, earning gold certification, and accumulated approximately 1.97 million units worldwide.^[21]^[22] In the US, the album reached number 32 on the Billboard 200, bolstered by touring slots opening for acts like PJ Harvey and the Pixies.^[23] The period saw Radiohead undertake extensive touring, including UK headline shows in 1992 at venues like the University of Sheffield and Peterborough Arena, followed by North American and European dates in 1993–1994 to capitalize on "Creep"'s viral spread via MTV and alternative radio.^[24] This initial commercial stir established the band as a grunge-era contender, though Pablo Honey received mixed reviews for its derivative style, with critics noting its formulaic tracks beyond "Creep" while acknowledging the standout single's raw emotional punch.^[17] Sales figures and chart longevity underscored a breakthrough from indie demos to major-label viability, setting the stage for broader recognition despite the band's later ambivalence toward their debut hit.^[22]^[16]

1994–1996: The Bends, touring expansion, and critical consolidation

Radiohead began recording their second album, The Bends, in early 1994, following dissatisfaction with the grunge-influenced sound of Pablo Honey and a desire to showcase deeper songwriting. Sessions took place at Canned Applause Studios in Oxfordshire and RAK Studios in London, with producer John Leckie emphasizing layered guitars and dynamic arrangements to differentiate from contemporaries. The album marked the first significant involvement of engineer Nigel Godrich, who later became a longtime collaborator.^[25]^[26] The Bends was released on 13 March 1995 by Parlophone in the UK and Capitol in the US, featuring 12 tracks including "My Iron Lung," "High and Dry," "Fake Plastic Trees," and "Just." It peaked at No. 6 on the UK Albums Chart but reached only No. 88 on the Billboard 200, reflecting slower US commercial uptake despite radio play for singles like "Fake Plastic Trees." The preceding "My Iron Lung" EP, released in September 1994, charted at No. 24 in the UK and signaled the band's intent to transcend their "Creep" association through introspective lyrics on fame and isolation. Subsequent singles "High and Dry" (May 1995, No. 78 UK), "Fake Plastic Trees" (September 1995, No. 20 UK), and "Just" (October 1995, No. 74 UK) received moderate airplay but no major hits, underscoring a shift toward artistic substance over pop accessibility.^[25] Touring expanded significantly from the Pablo Honey era's club-focused runs, with Radiohead performing over 170 shows in 1995 alone across North America, Europe, and Asia, often headlining mid-sized venues and supporting acts like R.E.M. on their Monster tour. Key dates included US legs in spring and fall 1995 (e.g., Ogden Theatre, Denver on 5 October) and European festivals, building audience rapport through extended sets blending old and new material. By 1996, they continued with club and theater dates, such as Chicago's Metro in April, honing a live sound that amplified the album's textural guitars and Thom Yorke's emotive vocals, which drew growing crowds amid rising word-of-mouth. This period marked a transition from opening-act status to co-headlining viability, with setlists increasingly favoring The Bends tracks to redefine their image.^[27]^[28] Critically, The Bends consolidated Radiohead's reputation beyond a novelty act, earning praise for its melodic sophistication and avoidance of Britpop clichés, in contrast to Pablo Honey's derivative grunge leanings. Reviewers highlighted its "sonically ambitious" guitar interplay and thematic maturity, positioning it as a "jumping-off point" for the band's evolution, though initial sales lagged behind hype. While not an immediate blockbuster, the album's reception elevated the band from one-hit wonder perceptions, fostering sustained media interest that foreshadowed OK Computer's breakthrough.^[25]^[29]

1997–1998: OK Computer, mainstream acclaim, and cultural phenomenon status

Radiohead released their third studio album, OK Computer, on 21 May 1997 via Parlophone in the United Kingdom and Capitol Records in the United States.^[30] Produced by Nigel Godrich, the album featured a shift toward layered electronic and orchestral elements blended with rock instrumentation, addressing themes of alienation, technology, and modern disconnection.^[31] It debuted at number one on the UK Albums Chart on 28 June 1997 and peaked at number 21 on the US Billboard 200.^[32] By 2025, OK Computer had sold approximately 5.7 million copies worldwide, including 2 million in the US (certified double platinum by the RIAA) and 1.6 million in the UK (certified five times platinum by the BPI).^[33]^[34] The album garnered widespread critical acclaim in 1997, with reviewers praising its ambitious song structures, Thom Yorke's emotive vocals, and the band's experimental production.^[31] Publications highlighted tracks like "Paranoid Android"—a six-minute prog-influenced single released on 26 May 1997 that reached number three on the UK Singles Chart—and "Karma Police," which became radio staples.^[30] Spin magazine named Radiohead its Band of the Year for 1997, crediting OK Computer for elevating the group beyond alternative rock conventions.^[35] In 1998, Q magazine's reader poll voted it the greatest album of all time, reflecting its rapid elevation in critical esteem.^[36] OK Computer emerged as a cultural phenomenon, capturing millennial anxieties about technological dehumanization and corporate overreach at the dawn of the internet age.^[37] Its dystopian lyricism and sonic density influenced subsequent alternative and indie acts, signaling a pivot away from Britpop's guitar-driven optimism toward introspective electronica.^[38] The band supported the release with the OK Computer Tour, spanning May 1997 to April 1998, including headline slots at major European festivals and extensive North American dates, such as performances at Philadelphia's Electric Factory in August 1997.^[39] This grueling schedule, involving over 90 shows, amplified the album's reach but contributed to band exhaustion, as later reflected in Yorke's accounts of tour-induced stress.^[40]

1999–2001: Electronic shift with Kid A and Amnesiac

Following the critical and commercial success of OK Computer, Radiohead's members, particularly frontman Thom Yorke, expressed exhaustion from extensive touring and the pressure to replicate their guitar-driven sound, prompting a deliberate pivot away from traditional rock structures.^[41] This led to exploratory sessions starting in January 1999 at Studio Guillaume Tell in Paris with longtime producer Nigel Godrich, where the band de-emphasized live band performances in favor of sampling, looping, and electronic manipulation.^[41] Sessions continued across locations including Medley Studios in Copenhagen and Batsford House in Gloucestershire, concluding in April 2000 after approximately 15 months of intermittent work, yielding enough material for two albums.^[41] The resulting Kid A, released on October 2, 2000, by Parlophone Records, represented a stark electronic shift, incorporating ambient textures, glitchy beats, and influences from IDM artists via tools like software sampling for tracks such as "Idioteque," which drew from electronic dance rhythms without conventional promotion—no singles were issued, and previews were limited to anonymous web leaks and Mediterranean tour performances of unfinished songs in mid-2000.^[41]^[42] Yorke described the album's creation as a reaction against rock expectations, prioritizing abstract, machine-like sounds over lyrical clarity or guitar solos, with Jonny Greenwood integrating modular synthesizers and Ondes Martenot for orchestral unease.^[41] Commercially, it debuted at number one on both the UK Albums Chart and Billboard 200, selling over 1.7 million copies in the US by 2001 despite initial fan division over its departure from OK Computer's anthemic style.^[43] Critics offered polarized responses: Pitchfork awarded it a perfect 10/10, praising its "emotional, psychological" innovation akin to a "clouded brain recalling an alien abduction," while some outlets decried it as an esoteric betrayal of rock accessibility.^[44]^[41] Amnesiac, drawn from the same sessions and released June 5, 2001, extended this experimentation with jazz-inflected pieces like "Pyramid Song" and krautrock pulses in "Knives Out," the latter promoted as a single with a video.^[41] It also topped charts in the UK and reached number two in the US, with sales exceeding 800,000 copies domestically in its first year, though reception remained divided—some viewed it as a fragmented sequel lacking Kid A's cohesion, yet it reinforced Radiohead's pivot toward electronic abstraction.^[43]

2003–2006: Hail to the Thief, political context, and band fatigue

Radiohead recorded their sixth studio album, Hail to the Thief, from September 2002 to February 2003 at Ocean Way Recording in Hollywood, California, and Canned Applause studios in Didcot, Oxfordshire, with longtime producer Nigel Godrich. The band faced significant internal tensions during the process, with members reporting massive arguments over the direction and structure of the material, which initially yielded a sprawling double album before being edited down to a single disc of 14 tracks. Released on 9 June 2003 by Parlophone in the UK and Capitol in the US, the album debuted at number one on the UK Albums Chart and number three on the US Billboard 200, eventually selling over 2.5 million copies worldwide.^[45]^[18]^[46] The album's title, Hail to the Thief (The Gloaming)—shortened to Hail to the Thief for release—drew inspiration from the disputed 2000 US presidential election outcome and the traditional presidential anthem "Hail to the Chief," reflecting lead singer Thom Yorke's critique of the George W. Bush administration. Yorke described the record as infused with political agitation, addressing themes of paranoia, power, and the impending Iraq War, though he emphasized it was not solely a protest album but a broader expression of dystopian unease. Songs like "2 + 2 = 5" and "There There" incorporated layered electronics and rock elements, echoing the experimental shift from Kid A and Amnesiac while returning to guitar-driven structures, amid Yorke's lyrics evoking authoritarian overreach and environmental decay.^[47]^[48] Following the release, Radiohead embarked on an extensive world tour from mid-2003 to late 2004, performing over 100 shows across North America, Europe, Japan, and Australia, including headline slots at festivals like Coachella and Glastonbury. The demanding schedule, coupled with the physical and creative toll of promoting a politically charged record during a polarized global climate, exacerbated band fatigue; Yorke later cited the exhaustion from relentless touring and interpersonal strains as key factors prompting a prolonged hiatus after the final dates in November 2004. This period of burnout led to individual solo pursuits, with the group not reconvening for new material until 2006, marking a temporary retreat from collective endeavors to recharge amid growing disillusionment with the music industry's expectations.^[49]^[50]^[51]

2007–2009: In Rainbows self-release, pay-what-you-want experiment, and EMI split

Radiohead's contract with EMI expired following the 2003 release of Hail to the Thief, allowing the band to negotiate independently for future projects.^[52] Negotiations for a new EMI deal collapsed in 2007 due to financial disputes, with the band reportedly seeking a £10 million advance that EMI's new owner, Guy Hands, deemed excessive and unwilling to subsidize at the expense of other artists.^[53] ^[54] Band members attributed the split to personal disagreements with EMI's revamped management rather than broader ideological conflicts over digital distribution.^[55] ^[56] Opting for self-management, Radiohead announced In Rainbows on October 1, 2007, and released it digitally on October 10 via their website, employing a pay-what-you-want model where users could enter any amount, including zero, for the download.^[57] This approach bypassed traditional label intermediation, enabling direct fan engagement and retaining full revenue control after costs.^[58] The experiment yielded approximately $3 million from website digital sales alone, with publisher Warner Chappell reporting earnings exceeding the total from Hail to the Thief prior to any physical release.^[59] ^[58] While exact average payments varied—often cited around £4 per download, though many opted for free—the strategy generated buzz and sustained catalog sales, demonstrating viability for established acts in a piracy-era market.^[60] Physical editions followed, with a "disk 2" bonus tracks package mailed to pre-order "From the Basement" fans on December 3, 2007, and standard CD releases in early December internationally via self-distribution or partners like XL Recordings, while the U.S. retail version launched January 1, 2008, through TBD/ATO Records.^[61] ^[62] The self-release model, coupled with the EMI departure, marked Radiohead's shift toward autonomy, influencing subsequent digital strategies and affirming touring as a primary revenue pillar, with In Rainbows-era shows contributing significantly to finances amid the 2008-2009 economic downturn.^[63]

2011–2012: The King of Limbs and digital-first approach

Radiohead self-released their eighth studio album, The King of Limbs, as a digital download on 18 February 2011, one day ahead of the originally announced date of 19 February.^[64]^[65] The announcement came on 14 February via the band's website, offering the MP3 version for £6 or $9 and a higher-quality WAV edition for £9 or $14, emphasizing a fixed-price digital model distinct from the pay-what-you-want approach of their prior album In Rainbows.^[66]^[67] Physical formats followed, with CD and standard vinyl editions available from 28 March in the UK and 29 March internationally, alongside a deluxe "newspaper album" package priced at £30 featuring artwork, lyrics, and additional content.^[68] The album's production, overseen by longtime collaborator Nigel Godrich, originated from sessions initially intended as a brief experiment but extended over six months, incorporating looped drum patterns, electronic manipulation, and live instrumentation recorded at the band's Oxfordshire studio.^[69] This digital-first strategy aimed to prioritize immediate fan access and control over distribution, leveraging surprise announcements via social media to generate buzz and minimize leaks, redefining artist-fan dynamics in an era of rapid online dissemination.^[70]^[71] In December 2011, Radiohead recorded a full performance of The King of Limbs for the From the Basement series at BBC's Maida Vale Studios, adapting the album's studio-heavy electronic elements to a live band setup with expanded arrangements.^[72] The resulting live video and audio release, issued in early 2012, showcased rearranged tracks like extended versions of "Bloom" and "Feral," highlighting the band's ability to evolve material beyond the original recording.^[73] This period marked Radiohead's continued independence post-EMI, with touring in 2012 supporting the album, including dates in North America that drew on the live interpretations developed in the From the Basement session.^[74]

2013–2016: Extended hiatus, solo endeavors, and A Moon Shaped Pool

Following the 2012 tour supporting The King of Limbs, Radiohead entered an extended hiatus from collective activities, allowing members to explore solo pursuits over the next several years.^[75] Thom Yorke led the supergroup Atoms for Peace—featuring Flea, Mauro Refosco, and producer Nigel Godrich—on a world tour in 2013 to promote their debut album Amok, with dates including U.S. stops in September and October, as well as festival appearances.^[76]^[77] Jonny Greenwood composed film scores during this period, including the soundtrack for Paul Thomas Anderson's Inherent Vice, released in December 2014.^[78] Phil Selway issued his second solo album, Weatherhouse, on October 7, 2014, via Bella Union, featuring tracks like "Coming Up for Air."^[79]^[80] Ed O'Brien and Colin Greenwood maintained lower profiles, with O'Brien beginning preliminary work on future solo material and occasional production contributions.^[81] Radiohead intermittently developed new material starting after the King of Limbs tour, with principal recording sessions occurring in 2014 and 2015 at locations including RAK Studios in London, their Oxford facility, and La Fabrique studio in Saint-Rémy-de-Provence, France.^[82] The sessions, overseen by longtime producer Nigel Godrich, were described by band members as "difficult" and "fragile," incorporating older compositions like "True Love Waits" alongside fresh orchestral elements arranged by Greenwood.^[83]^[84] A Moon Shaped Pool, the band's ninth studio album, launched as a surprise digital release on May 8, 2016, through their website, bundled streaming services, and platforms like Apple Music, accompanied by animated videos for lead singles "Burn the Witch" and "Daydreaming."^[85] The physical edition followed on June 17, 2016, distributed by XL Recordings.^[86] A supporting tour commenced that month, featuring performances such as the second show at Le Zénith in Paris on May 24.^[87]

2017–2025: Archival reissues, side projects, The Smile, and 2025 reunion tour

In June 2017, Radiohead issued OK Computer OKNOTOK 1997–2017, a deluxe 20th-anniversary edition of their 1997 album featuring the remastered original tracks, three previously unreleased songs ("Man of War", "Big Boots", and "Lift"), B-sides, and additional archival material including videos and photographs.^[88] The release topped charts in multiple countries and was praised for unveiling material from the original sessions, though some critics noted it did not substantially alter the album's established legacy.^[89] The band maintained a low profile as a unit, with members turning to individual and collaborative endeavors. In November 2021, they released Kid A Mnesia, a combined reissue of Kid A (2000) and Amnesiac (2001) that incorporated bonus tracks, alternate mixes, and footage from the era, marking the 21st anniversary of the former.^[90] In August 2025, Radiohead issued Hail to the Thief: Live Recordings 2003–2009, a compilation of live performances from the 2003 album's tour and later dates, covering nearly all tracks from the record and described by the band as a "very cathartic" archival effort.^[91] These reissues preserved and expanded access to the band's catalog without new studio material under the Radiohead name. Prominent among side projects was The Smile, formed in 2021 by vocalist Thom Yorke and multi-instrumentalist Jonny Greenwood with drummer Tom Skinner (formerly of Sons of Kemet).^[92] The trio debuted with live streams in January 2022, emphasizing improvisational rock with jazz influences, and released their debut album A Light for Attracting Attention in May 2022, produced by Radiohead's longtime collaborator Nigel Godrich.^[93] Follow-up Wall of Eyes arrived in January 2024, followed by the surprise third album Cutouts in October 2024, solidifying the project as an outlet for Yorke and Greenwood's experimental tendencies outside Radiohead's structure.^[92] Other members engaged in varied pursuits: bassist Colin Greenwood toured with Nick Cave and the Bad Seeds, while drummer Philip Selway and guitarist Ed O'Brien continued solo recordings and collaborations.^[94] Speculation of a full-band return intensified in March 2025 when the members registered a new limited liability partnership named RHEUK2025, echoing past entities formed ahead of activity.^[95] On September 3, 2025, Radiohead announced their first tour in seven years, comprising 20 arena dates across Europe from November to December, including four-night residencies in Madrid (November 4–18 at Movistar Arena, shared with Bologna at Unipol Arena), London, Copenhagen, and Berlin.^[96]^[97] Tickets were distributed via fan registration on the band's official site, with the shows positioned as a selective comeback following the recent live archival release.^[98]

Artistry

Influences and stylistic roots

Radiohead's stylistic roots emerged from the alternative rock and college rock scenes of the 1980s and early 1990s, with the band's formation in 1985 at Abingdon School reflecting influences from acts like R.E.M. and Pixies.^[99] Thom Yorke has credited R.E.M. frontman Michael Stipe's embrace of personal flaws and unconventional expression as formative during his adolescence, shaping Radiohead's early lyrical vulnerability.^[100] Similarly, Yorke described the Pixies' album Doolittle (1989) as life-changing, particularly their dynamic shifts between quiet verses and explosive choruses, which informed the structure of "Creep" from Pablo Honey (1993).^[100] Additional early rock influences included Pink Floyd and Queen, contributing to the melodic and atmospheric guitar work on Pablo Honey, as well as Joy Division, Siouxsie and the Banshees, and Elvis Costello's indie sensibilities.^[99] By The Bends (1995), these roots expanded to incorporate shoegaze and noise rock elements from My Bloody Valentine, Sonic Youth, and further Pixies guitar experimentation, alongside Beatles-inspired songcraft and Phil Spector's wall-of-sound production techniques.^[99] Lead guitarist Jonny Greenwood, the band's only formally trained musician, introduced classical and avant-garde roots through composers like Olivier Messiaen and Krzysztof Penderecki, influencing orchestral textures as early as OK Computer (1997).^[101] Yorke drew from Neil Young's authentic, unfiltered songwriting approach, emphasizing raw emotional delivery over polished perfection.^[100] These foundations later intertwined with krautrock from Can and Neu!, whose repetitive rhythms and experimental structures underpinned the band's shift toward abstraction.^[99] Electronic influences, notably Aphex Twin, liberated Yorke from guitar-centric limitations, fostering the ambient and IDM elements that redefined Radiohead's sound from OK Computer onward.^[100] Jazz roots, particularly Miles Davis's Bitches Brew (1970), provided chaotic, improvisational atmospheres for tracks like "Subterranean Homesick Alien," while Charles Mingus's rhythmic complexity echoed in "Pyramid Song."^[102]^[99] These diverse strands—rooted in rock's immediacy but branching into experimental forms—established Radiohead's hybrid style, prioritizing textural innovation over genre conventions.^[102]

Evolution of musical style and experimentation

Radiohead's musical style originated in the guitar-driven alternative rock of their debut album Pablo Honey (1993) and follow-up The Bends (1995), characterized by distorted electric guitars, dynamic rhythms, and song structures rooted in 1990s Britpop and grunge influences such as Pink Floyd, R.E.M., and Sonic Youth.^[99] These works emphasized Thom Yorke's emotive vocals over layered guitar textures and conventional verse-chorus forms, with early rhythmic experiments like mixed meters (e.g., shifts from 6/8 to 5/8 in tracks such as "You") and unusual chord progressions (I–vi–VI–III–VI).^[103] The release of OK Computer on 21 May 1997 introduced greater experimentation, blending rock foundations with avant-garde elements including orchestral swells, vocal manipulation, and sampling inspired by Miles Davis's Bitches Brew, composer Krzysztof Penderecki, krautrock band Can, and DJ Shadow.^[99] Guitarist Jonny Greenwood began incorporating the ondes Martenot—an early 20th-century electronic instrument known for its theremin-like wavering tones—during the album's tour, drawing from Olivier Messiaen's classical usage to add eerie, sliding pitches to tracks like "Climbing Up the Walls."^[104] This period expanded rhythmic complexity with displaced accents and polytempo layering, moving toward abstract soundscapes while retaining melodic accessibility.^[103] A pivotal shift occurred with Kid A (2 October 2000), where Radiohead largely abandoned guitar-rock conventions in favor of electronic and ambient textures, influenced by IDM artists like Aphex Twin and Autechre, free jazz from Charles Mingus and Alice Coltrane, and krautrock's motorik beats from Neu! and Can.^[99]^[105] Production techniques emphasized minimalist rhythms, live sampling, and software manipulation to deconstruct traditional band roles, resulting in tracks like "Everything in Its Right Place" built around vocoder effects and modular synths rather than riffs; the album featured no guitar solos and prioritized atmospheric drones over verse-chorus resolution.^[106] Amnesiac (21 June 2001), recorded concurrently, extended this with jazz improvisation and harp accents, further exploring unconventional pop formats.^[99] Subsequent albums hybridized these elements: Hail to the Thief (9 June 2003) reintegrated rock aggression with glitchy electronics akin to Liars and Modeselektor, using polytempo and syncopation amid politically charged rhythms.^[99]^[103] In Rainbows (10 October 2007 from digital release) reverted to organic, live-band recording—deriving from extended tour jams—but retained experimentation through acoustic layering and arpeggiated motifs, as in "Weird Fishes/Arpeggi" with its descending patterns and displaced accents.^[103] The King of Limbs (18 February 2011) delved into loop-based construction via Max/MSP software, drum sampling, and dub influences from Burial and King Tubby, creating polyrhythmic densities through overlaid percussion and nature-field recordings rather than linear composition.^[99]^[107] A Moon Shaped Pool (8 May 2016) incorporated jazz syncopation, string arrangements, and multi-tempo piano (e.g., "Daydreaming"), synthesizing prior electronic abstraction with acoustic intimacy and minimal distortion.^[103] Throughout, Radiohead's experimentation prioritized rhythmic innovation—syncopation, triplets, and mixed meters—over melodic predictability, often via Greenwood's multi-instrumentalism (guitars to modular synths and ondes Martenot) and collaborative studio processes that blurred live and digital boundaries, enabling continual reinvention without stylistic stagnation.^[103]^[104]

Songwriting process and collaboration dynamics

Radiohead's songwriting typically begins with Thom Yorke developing lyrics and initial melodies, often derived from personal notebooks or guitar sketches, before presenting demos to the band for collective refinement.^[108] Yorke has described this initial phase as instinctive and unpolished, likening it to a "defecatory" process in a 1996 interview, emphasizing rapid ideation over premeditated structure.^[109] The full band then contributes through jamming sessions, where instrumentalists like Jonny Greenwood layer arrangements, including unconventional orchestration and electronic elements, transforming skeletal ideas into complex compositions.^[110] Collaboration dynamics center on a democratic yet specialized division, with Yorke anchoring vocals and thematic core while Greenwood, the band's primary arranger, integrates classical influences and experimental textures—such as the melody for "How to Disappear Completely" on Kid A (2000)—to elevate tracks beyond rock conventions.^[111] Bassist Colin Greenwood and drummer Philip Selway provide rhythmic foundations, with Selway's polyrhythms and Greenwood's bass lines occasionally seeding songs like "Airbag" from OK Computer (1997), credited jointly to Yorke and Colin.^[112] Guitarist Ed O'Brien focuses on atmospheric effects and grooves, ensuring sonic depth, though the group credits most material collectively since their debut, reflecting shared ownership despite Yorke's dominant lyrical role.^[113] The process evolved toward greater improvisation post-In Rainbows (2007), influenced by observing Flying Lotus's live looping during Radiohead's 2010 tour; Yorke adopted this by sending raw fragments to producer Nigel Godrich for sample-based loops, over which the band improvised, yielding the loop-heavy structures of The King of Limbs (2011).^[114] Long-term familiarity fosters intuitive interplay—Yorke noted in 2019 a "telepathic" band rapport after decades together—but requires deliberate disruption of habits to sustain innovation, as stagnation risks inauthenticity detectable by audiences.^[115] This balance of individual inception and group alchemy underscores Radiohead's avoidance of formulaic repetition, prioritizing emergent causality in musical form over rigid authorship.

Lyrics, themes, and philosophical underpinnings

Radiohead's lyrics, primarily written by vocalist Thom Yorke, employ an abstract, non-linear style that prioritizes evocative fragments over straightforward storytelling, often described by Yorke himself as "shattered bits of mirror" capturing disjointed perceptions of reality.^[116] This impressionistic approach, evident from the band's debut Pablo Honey (1993) through later works, resists fixed interpretations, allowing listeners to project personal meanings onto themes of disconnection and unease. Yorke has emphasized that lyrics should function as "windows opening" rather than closing off understanding, fostering ambiguity to mirror life's complexities.^[115] Early lyrics center on personal alienation and social outsider status, as in "Creep" from Pablo Honey, which Yorke rooted in feelings of inadequacy and unrequited desire. This evolved into broader societal critiques on The Bends (1995) and peaked with OK Computer (1997), where themes of technological dehumanization, information overload, and existential impotence dominate; Yorke framed the album as exploring disconnection amid rampant media and corporate influence, with songs like "Paranoid Android" drawing from encounters with societal "demons" and "Karma Police" reflecting scrutiny-induced stress.^[117] Kid A (2000) and Amnesiac (2001) internalized these motifs, addressing mental fragmentation and detachment—exemplified by "How to Disappear Completely," inspired by Yorke's tour-related breakdowns and a chant-like mantra of denial.^[117]^[116] Later albums incorporate political and environmental dimensions, such as resistance to surveillance and mind control in Hail to the Thief (2003), influenced by George Orwell's 1984 and post-9/11 anxieties, or apocalyptic warnings in "Idioteque" from Kid A, blending sampled chaos with fears of societal collapse.^[117] Yorke's evolving process discards overly resolved phrases, favoring raw emotional states that span personal anxiety to critiques of government and consumerism.^[115] Philosophically, the lyrics underpin a realist confrontation with modernity's causal disorientations—technology's erosion of agency, the absurdity of overloaded existence, and the tension between individual fragility and collective resilience—without dogmatic resolution. Yorke positions music as a reparative force for empathy and rebellion against commodification, yet cautions its limits in an era of political theater, where art's connective power stems from shared, unscripted experiences rather than prescriptive ideology.^[115] Tracks like "Street Spirit (Fade Out)" from The Bends evoke unrelenting fatalism, which Yorke linked to literary influences evoking inescapable confrontation with despair.^[117] This underscores a causal view of human vulnerability amid systemic pressures, prioritizing unflinching observation over consolation.

Production techniques and instrumentation

Radiohead's production techniques, primarily shaped by engineer Nigel Godrich since their 1995 single "Black Star," emphasize spatial depth through meticulous arrangement, panning, and selective use of reverb and delay effects, often prioritizing instrumental clarity over heavy processing.^[118] Vocals receive minimal intervention, typically limited to plate reverb or short delays to preserve natural timbre, while compression and tape delay are deployed for textural enhancement rather than dominance.^[119] High- and low-pass filtering is routinely applied to instruments to avoid frequency clutter, enabling dense layers to coexist without muddiness, as evident in the wide stereo imaging of guitar stems on tracks like those from Hail to the Thief.^[120] Instrumentation evolved from standard rock setups—electric guitars, bass, and drums—on early albums like Pablo Honey (1993) to incorporate unconventional electronics post-OK Computer (1997). Jonny Greenwood prominently features the ondes Martenot, an early electronic instrument invented in 1928, which produces theremin-like glissandi and sine waves via a ring-controlled wire and keyboard; he first used it on Kid A (2000) for tracks such as "How to Disappear Completely," employing both original models and replicas like the French Connection for live performances to replicate its pure tones without fragility risks.^[121] Modular synthesizers, particularly Analogue Systems units, entered Greenwood's arsenal around the Hail to the Thief (2003) era, providing resonant squelches and analogue sequencing integrated into songs like "The National Anthem," with their use persisting through live rigs into the 2010s.^[122] For OK Computer, recording at Canned Applause Studios involved innovative tape manipulation, such as reversing guitar tracks to generate dissonant, alien textures in "Subterranean Homesick Alien," complemented by orchestral strings captured at Abbey Road Studios for swelling arrangements in "Exit Music (For a Film)."^[123] The Kid A sessions adopted a collage-like assembly, building tracks incrementally from isolated loops and samples on laptops and software, eschewing traditional band recordings for electronic percussion via drum machines and Prophet-5 synthesizers, which yielded the album's glitchy, ambient pulses.^[124] Later works like The King of Limbs (2011) leveraged live looping and digital manipulation, with Greenwood's laptop setups handling real-time processing during tours, including Max/MSP software for bespoke effects.^[125] This shift facilitated Radiohead's hybrid of acoustic and synthetic elements, where guitars often undergo heavy effects processing to blend seamlessly with synth-generated beds.^[126]

Reception and legacy

Critical reception and evolving assessments

Radiohead's debut album Pablo Honey (1993) received mixed reviews, often dismissed as derivative of grunge acts like Nirvana despite the breakout success of "Creep," which peaked at number 32 on the Billboard Hot 100. Critics such as those at Rolling Stone noted the band's potential but faulted the rest of the record for lacking cohesion beyond its hit single. The Bends (1995) marked an improvement, earning praise for stronger songwriting and Thom Yorke's emotive vocals, though it was still viewed as conventional alternative rock without the innovation that would define later works; retrospective analyses credit it with laying groundwork for the band's evolution. The release of OK Computer on May 21, 1997, propelled Radiohead to critical consensus as a landmark act, with near-universal acclaim for its thematic depth on alienation and technology, intricate arrangements, and tracks like "Paranoid Android." Rolling Stone hailed it as a "stunning art-rock tour de force," reflecting a shift from guitar-driven rock to orchestral and electronic elements that anticipated millennial anxieties.^[127] The album's Metacritic equivalent in era-adjusted scores underscores this, often cited in polls as one of the greatest albums ever, influencing subsequent assessments of the band's willingness to transcend genre norms.^[128] Kid A (October 2, 2000) represented a stark departure, abandoning traditional rock structures for electronic abstraction and drawing from influences like Aphex Twin and Miles Davis, which initially polarized listeners expecting OK Computer sequels. While NPR's Ken Tucker labeled it "anti-rock" for its minimal guitars and glitchy textures, Pitchfork awarded a rare 10.0, praising its reinvention amid post-9/11 unease, and it debuted at number one on the Billboard 200 despite fan backlash.^[129] ^[130] Over time, retrospective reviews elevated it, with Metacritic user scores at 91% positive, viewing the risk as causal to Radiohead's enduring relevance in experimental music.^[131] Amnesiac (2001), recorded concurrently, received similar acclaim for its jazz-infused paranoia but was critiqued as fragmented. Subsequent releases maintained high critical regard with variations: Hail to the Thief (2003) earned an 85 on Metacritic for its political urgency post-Iraq War, blending electronica and rock.^[132] In Rainbows (2007), self-released via pay-what-you-want model, garnered widespread praise for its melodic warmth and production, with critics like those at Opus noting a return to accessibility without compromising experimentation.^[133] The King of Limbs (2011) drew mixed responses, scoring 80 on Metacritic but faulted for brevity and repetitiveness in looped rhythms.^[134] A Moon Shaped Pool (2016) restored favor, lauded for elegiac strings and introspection amid Yorke's divorce, achieving 88 on Metacritic.^[135] Evolving assessments position Radiohead as pioneers of genre-blending and digital disruption, with legacy tied to causal innovations in production and release strategies rather than consistent commercial dominance. However, detractors argue post-OK Computer output veers into pretentiousness, prioritizing sonic novelty over memorable songs, as critiqued in forums and reviews decrying "egotistically dull" experimentation.^[136] ^[137] Mainstream critical acclaim, while empirically strong (84% positive aggregate), reflects institutional preferences for "artistic" ambiguity, potentially inflating hype beyond empirical sales data where albums like Kid A succeeded commercially despite initial resistance.^[138] This duality underscores Radiohead's influence on indie and electronic acts, yet invites scrutiny of whether reverence stems from genuine innovation or critic-band symbiosis.

Commercial performance and sales data

Radiohead's albums have collectively sold over 21 million copies worldwide, with approximately 9 million units in the United States and 5.3 million in the United Kingdom, according to aggregated sales data from music industry trackers.^[4] This figure reflects pure album sales excluding streaming equivalents or compilations, though broader estimates including digital downloads and later releases place total record sales closer to 30 million by the early 2010s.^[139] Despite shifts toward experimental electronic and ambient styles post-1997, the band sustained strong commercial viability, with multiple albums debuting at number one on the UK Albums Chart and Billboard 200. The 1997 album OK Computer marked Radiohead's commercial breakthrough, selling over 7.8 million copies globally and becoming their best-performing release.^[34] It received RIAA platinum certification on May 6, 1998, for shipments exceeding 1 million units in the US, and five-times platinum certification from the BPI in the UK for 1.5 million units.^[140]^[34] Earlier works like Pablo Honey (1993) earned RIAA gold status for 500,000 US shipments, driven largely by the single "Creep," while The Bends (1995) achieved RIAA platinum for 1 million units.^[23]^[141] Subsequent releases maintained momentum despite unconventional promotion. Kid A (2000) debuted at number one on the Billboard 200 with over 207,000 first-week US sales and has sold more than 4 million copies worldwide.^[142] In Rainbows (2007), released via a pay-what-you-want digital model, generated 3 million purchases within its first year, including 1.75 million physical CDs, outperforming the band's prior two albums in physical sales alone.^[143]^[144] Later albums like A Moon Shaped Pool (2016) also topped the Billboard 200 and UK charts upon release. In 2025, OK Computer and The Bends experienced a sales resurgence, re-entering UK charts following viral TikTok traction for tracks like "Let Down," which debuted at number 91 on the Billboard Hot 100—Radiohead's first entry there since 2008.^[145]^[146] This reflects enduring catalog value amid streaming dominance, though pure sales growth remains modest compared to peak eras.

Accolades, rankings, and industry recognition

Radiohead has received three Grammy Awards for Best Alternative Music Album: for OK Computer at the 40th Annual Grammy Awards on February 25, 1998; for Kid A at the 43rd Annual Grammy Awards on February 21, 2001; and for In Rainbows at the 51st Annual Grammy Awards on February 8, 2009.^[147] The band has earned 18 Grammy nominations in total, including for Album of the Year (Kid A, 2001) and Best Rock Performance ("Paranoid Android," 1998), though it has not won in major categories like Album of the Year.^[147] The group holds four Ivor Novello Awards, recognizing outstanding British songwriting: "Paranoid Android" won Best Contemporary Song in 1998; In Rainbows received Best Album in 2008; Jonny Greenwood earned an award for Best Original Score for There Will Be Blood in 2008 (as a band-associated composer); and the band collectively received the International Achievement Award in 2019 for their body of work.^[148] Radiohead has also secured five nominations for the Mercury Prize—the most for any act, tied with Arctic Monkeys— for The Bends (1995), OK Computer (1997), Kid A (2000), Amnesiac (2001), and A Moon Shaped Pool (2016), but has never won.^[149] Radiohead was inducted into the Rock & Roll Hall of Fame on March 29, 2019, in recognition of its influence on rock music boundaries, with David Byrne of Talking Heads delivering the induction speech; only guitarists Ed O'Brien and Philip Selway attended to accept the honor.^[150] The band's albums frequently rank highly in all-time lists: OK Computer placed third on Rolling Stone's 2020 edition of the 500 Greatest Albums of All Time; Kid A ranked 29th on the same list; and In Rainbows appeared at 384th. In a 2012 BBC Music poll of critics, OK Computer was voted the greatest album of all time. These rankings underscore industry consensus on Radiohead's artistic impact, despite limited mainstream award wins relative to commercial peers.^[151]

Cultural and musical influence

Radiohead's transition from guitar-centric alternative rock to incorporating electronic, jazz, and krautrock elements on Kid A (2000) and Amnesiac (2001) advanced the boundaries of alternative rock, encouraging musicians to integrate experimental production techniques and abandon conventional song structures.^[152] This evolution influenced artists across genres, with Grizzly Bear citing the emotional depth of tracks like "Let Down" from OK Computer (1997) as shaping their balladry, and tUnE-yArDs drawing from the sonic experimentation in "Pulk/Pull Revolving Doors" to expand their own sound explorations.^[153] Death Cab for Cutie and Dinosaur Jr. have similarly referenced Radiohead's songwriting authenticity and guitar innovations as formative.^[153] The band's emphasis on risk-taking and genre-blending, evident in OK Computer's fusion of progressive rock with electronica, inspired a wave of alternative acts to prioritize thematic cohesion and unconventional arrangements over mainstream accessibility.^[154] Tracks like "Paranoid Android" defied radio-friendly norms by extending durations and incorporating abrupt shifts, setting precedents for artists to challenge industry expectations in the late 1990s and beyond.^[152] This approach contributed to the diversification of alternative music into more atmospheric and concept-driven forms by the 2000s.^[152] Culturally, OK Computer resonated as a critique of technological alienation and consumerism, with lyrics in songs like "Fitter Happier" portraying societal monotony and human disconnection in an increasingly mechanized world.^[154] Its warnings about overreliance on technology—framed through themes of isolation amid constant connectivity—anticipated broader societal shifts toward digital dependency, influencing discussions on modernity's psychological toll.^[155] Radiohead's surreal visuals and philosophical undertones further elevated alternative music's role as a medium for social commentary, prompting listeners and creators to engage with existential concerns beyond mere entertainment.^[154]

Criticisms, detractors, and counter-narratives

Despite widespread critical acclaim, Radiohead has faced detractors who characterize the band as pretentious and overrated, with some arguing that their reputation stems more from hype than substantive innovation.^[156]^[157] User reviews on platforms like Metacritic for albums such as Kid A (2000) frequently label the band as "pretentious" and Thom Yorke as a "douche," reflecting a sentiment that their experimental turns prioritize affectation over accessibility.^[158] Similarly, forum discussions on sites like Head-Fi.org from 2003 onward list Radiohead among the "most overrated/pretentious bands," citing their perceived self-importance as a barrier to genuine appreciation.^[159] Critics of Yorke's vocal style often describe it as whiny and grating, contributing to perceptions of the band's music as overly depressive or lifeless.^[160]^[161] In Quora threads analyzing public disdain, respondents highlight how Yorke's falsetto and lyrical themes evoke a "pompous and pretentious" intellectualism that alienates listeners seeking emotional uplift rather than alienation.^[162] Reddit discussions from 2014 echo this, attributing dislike to the music's "depressive and lifeless" quality, which some find unrelatable or excessively dour compared to more dynamic rock contemporaries.^[163] The band's post-OK Computer (1997) evolution toward electronica and abstraction, as in Kid A and Hail to the Thief (2003), has drawn counter-narratives questioning its artistic merit, with some reviewers deeming albums like Hail to the Thief "disappointing" for lacking cohesion or reverting to rock without recapturing earlier strengths.^[164] Detractors argue this shift reflects an elitist detachment, portraying Radiohead as adopting a "holier-than-thou" stance that dismisses mainstream appeal in favor of niche experimentation, a view amplified in online critiques labeling Yorke as elitist.^[165] While mainstream outlets rarely issue outright negative assessments, fueling claims of inflated acclaim, these grassroots detractors maintain that the band's influence is overstated, with personal blogs and forums positing their work as "chilly" or "boring" rather than revolutionary.^[166]^[157]

Business practices and innovations

Label transitions and independence efforts

Radiohead's contract with EMI, through its Parlophone subsidiary, expired after the release of Hail to the Thief on June 17, 2003, following the fulfillment of their multi-album obligations signed in 1991.^[167] Negotiations for renewal broke down amid disputes over financial terms, with reports indicating the band sought a deal exceeding £10 million, which EMI declined under new management pressures post its 2007 acquisition by private equity firm Terra Firma.^[53] ^[168] The band expressed dissatisfaction with EMI's handling of their back catalog and royalties, contributing to an acrimonious split that underscored tensions between established artists and major labels amid industry shifts toward digital distribution. In response, Radiohead pursued greater autonomy by self-releasing their seventh album, In Rainbows, digitally on October 10, 2007, via their official website, employing a "pay-what-you-want" model that allowed fans to download it for any price, including zero.^[169] This marked their first major independent release, bypassing traditional label involvement entirely for the initial rollout and generating over 1.2 million downloads in the first week, with average payments around £4 per user based on band statements.^[170] The experiment demonstrated viable direct-to-consumer economics, though it did not broadly disrupt label dominance as some anticipated, as subsequent data showed limited long-term emulation by other artists due to risks in revenue predictability.^[171] For physical distribution of In Rainbows, Radiohead entered a non-exclusive licensing agreement with independent label XL Recordings on October 31, 2007, handling manufacturing and sales without ceding master ownership or full creative control.^[172] This partnership extended to later releases, including The King of Limbs (February 18, 2011) and A Moon Shaped Pool (May 8, 2016), where XL managed physical and select digital territories while the band retained publishing and master rights through self-managed entities.^[173] In 2016, the band's pre-2004 catalog transferred from Warner Music (which had acquired Parlophone) to XL, reflecting negotiated reclamation of distribution rights that preserved Radiohead's oversight.^[174] ^[175] To facilitate ongoing independence, Radiohead routinely established limited liability partnerships (LLPs) or companies for each project, such as Ticker Tape Ltd (formed 2010, renamed from Make Bread Ltd) prior to The King of Limbs, enabling self-financing, direct fan engagement, and circumvention of conventional label advances or long-term contracts.^[176] This structure, involving over 20 entities since their formation, allowed retention of masters and revenues, prioritizing artistic autonomy over label-backed marketing despite forgoing some upfront capital.^[177] Such strategies empirically yielded higher per-unit earnings compared to major-label deals, as evidenced by In Rainbows' physical sales exceeding 3 million units globally under XL's limited role.^[173]

Release models: Empirical outcomes of In Rainbows and beyond

Radiohead's seventh studio album, In Rainbows, released on October 10, 2007, via the band's website as a pay-what-you-want digital download, marked a departure from fixed-price models. Downloaders could enter any amount, including zero, for high-quality files. An analysis of 53,104 downloads by Oxford Internet Institute researchers, using ComScore data, found that 62% paid nothing, while 38% paid an average of approximately £4 (equivalent to about $8 at the time), yielding a low overall average payment per download.^[178]^[179] Despite the prevalence of free downloads, the model generated significant initial revenue, with reports of $3 million from digital sales in the first week, driven by a subset of high-paying fans.^[59] The release achieved over 1.2 million downloads in the first 48 hours, boosting visibility and fan engagement.^[180] Physical editions followed on December 10, 2007, under a deal with XL Recordings, including standard CDs and a limited "Discbox" set priced at £40 ($80). Total sales reached 3 million units, with 1.75 million physical CDs and 100,000 Discbox sets, outperforming the combined physical sales of prior albums Hail to the Thief (2003) and Amnesiac (2001).^[181]^[182] Pre-physical digital revenue exceeded the lifetime earnings of previous albums, per the band's publisher Warner Chappell, attributing success to the established fanbase rather than the pricing alone.^[58] However, piracy via BitTorrent reduced potential digital income, as expected in open-access models.^[183] Subsequent releases built on this hybrid digital-first approach, emphasizing direct-to-fan sales and limited physical variants. The King of Limbs (February 18, 2011) launched via the band's site at a fixed £6 for digital files, followed by a £30 "newspaper" physical edition with extras. It achieved strong initial digital uptake but faced piracy challenges and mixed reception, with physical sales bolstered by collector appeal.^[184] A Moon Shaped Pool (May 8, 2016), surprise-dropped digitally via XL Recordings, sold 181,000 equivalent units in its U.S. first week, including 173,000 pure sales, Radiohead's strongest debut since 2003.^[185]^[186] These models sustained commercial performance amid streaming's rise—Radiohead delayed In Rainbows availability on platforms like Spotify until 2016—prioritizing ownership and revenue control, though aggregate data shows declining physical dominance industry-wide.^[187] Overall, empirical results indicate the strategies amplified short-term buzz and physical revenue for a loyal audience but did not broadly resolve digital devaluation, as average PWYW payments remained below traditional prices and free access encouraged substitution via unauthorized channels.^[63]

Catalogue ownership, licensing, and economic strategies

Radiohead exited their contract with EMI in 2007 amid disputes over digital rights and back catalogue control, with EMI initially retaining licensing authority over the band's first six albums (Pablo Honey through Hail to the Thief) for an extended period.^[168] The Parlophone/EMI-held pre-2004 catalogue later transferred to XL Recordings in April 2016, following Warner Music's acquisition of Parlophone and subsequent regulatory divestment of assets to independent entities like the Beggars Group-owned XL.^[174] ^[188] This shift credited albums such as The Bends and OK Computer to XL for distribution, though without evidence of full masters transfer from the band, aligning with Radiohead's pattern of retaining core ownership via licensing arrangements.^[175] Subsequent releases from In Rainbows (2007) onward operate under the band's independent imprint, Ticker Tape Ltd., formed in December 2010 for The King of Limbs and used for self-managed distribution.^[189] Radiohead employs a strategy of incorporating specialized limited liability partnerships for each album cycle—such as Xurbia Xendless Ltd. for In Rainbows—to isolate liabilities, optimize tax structures, and preserve artistic and financial autonomy across their estimated 20+ corporate entities.^[176] ^[177] Publishing rights remain largely self-controlled, with selective licensing; for In Rainbows, the band retained ownership of recordings and compositions while partnering with Warner/Chappell for an "all rights" digital exploitation model, bypassing traditional labels for direct fan access.^[190] Licensing to XL extends to physical formats, streaming, and select territories for post-2007 works, emphasizing non-exclusive deals that avoid ceding perpetual control.^[173] These approaches underpin economic strategies focused on diversified revenue beyond recordings, including high-margin live tours (which accounted for the majority of band income historically) and merchandise, while using innovative models like In Rainbows' pay-what-you-want digital release—yielding over £2 million in pre-physical sales and elevating subsequent catalogue streams by an estimated 73% in the following year.^[63] Such tactics prioritize brand longevity and fan loyalty over immediate label advances, enabling Radiohead to forgo short-term payouts in favor of sustained royalties from controlled licensing and direct channels.^[191]^[192]

Controversies and disputes

"Creep" plagiarism lawsuit and legal precedents

Radiohead's 1992 song "Creep" features a chord progression—G–B–C–Cm—that songwriters Albert Hammond and Mike Hazlewood alleged was substantially similar to the one in their 1974 composition "The Air That I Breathe," recorded by The Hollies.^[193]^[194] Hammond and Hazlewood initiated a copyright infringement lawsuit against Radiohead, leading to an out-of-court settlement in which Radiohead acknowledged the influence by granting the songwriters co-writing credits and a share of royalties on "Creep," estimated at around 35–40% of publishing income.^[193]^[194] The band has publicly stated that the progression was subconsciously borrowed during composition, with guitarist Jonny Greenwood confirming in interviews that they "ripped it off" without initial intent to obscure the source.^[195] This settlement did not establish formal judicial precedent, as no trial occurred, but it underscored the legal vulnerability of specific chord sequences when combined with melodic and structural elements that evoke substantial similarity under copyright law, which protects original expressions rather than ideas or common progressions alone.^[193] U.S. courts have historically dismissed claims over isolated chord progressions—such as in Newton v. Diamond (2008), where the Beastie Boys' sampling of a James Newton flute note was deemed non-infringing due to lack of protectable originality—but settlements like Radiohead's reflect pragmatic resolutions to avoid uncertain litigation outcomes.^[196] In January 2018, Radiohead's publishers, Warner Chappell, sued singer Lana Del Rey for copyright infringement over her 2017 track "Get Free," claiming its chorus chord progression and vocal melody closely mirrored "Creep," particularly the lifted sections from "The Air That I Breathe."^[197]^[193] Del Rey offered to credit Radiohead as co-writers and share 40% of "Get Free" royalties, but the publishers demanded 100% of publishing rights, leading to prolonged negotiations.^[194] The dispute settled out of court by March 2018, with confidential terms; Del Rey stated the matter was resolved without admitting infringement, though subsequent releases of "Get Free" included partial credits to Hammond and Hazlewood but not Radiohead.^[198] The Radiohead-Del Rey case, like the prior Hollies settlement, avoided precedent-setting rulings but highlighted inconsistencies in music copyright enforcement: Radiohead aggressively pursued protection for elements they had previously settled as derivative, illustrating how economic incentives drive preemptive claims in an industry where juries assess "substantial similarity" subjectively, often favoring settlements over trials to mitigate financial risks.^[193]^[199] This chain of disputes exemplifies causal chains in musical borrowing, where uncredited influences propagate liability, yet courts rarely deem basic harmonic structures copyrightable absent additional original combinations, as reinforced in cases like Bridgeport Music v. Dimension Films (2005), which lowered thresholds for sound recording infringement but not compositions.^[196]

Israel performances, BDS campaigns, and free speech debates

Radiohead first gained significant popularity in Israel in 1993 when their single "Creep" was frequently played by DJ Yoav Kutner on Israeli Army Radio, leading to three performances in Tel Aviv that year.^[200] The band performed in Israel eight times between the 1990s and 2000, establishing a longstanding connection with local audiences before a 17-year hiatus.^[201] Their return occurred on July 19, 2017, with a concert at Park HaYarkon in Tel Aviv featuring 27 songs, marking the longest set in 11 years and drawing large crowds despite international controversy.^[202] The 2017 performance faced opposition from the Boycott, Divestment, Sanctions (BDS) movement, which urged artists to shun Israel as a form of protest against its policies toward Palestinians, viewing cultural engagements as complicit in "artwashing" alleged human rights abuses.^[203] BDS activists, including Pink Floyd's Roger Waters, issued open letters and petitions calling on Radiohead to cancel, arguing that performing normalized Israeli actions; a "Radiohead Fans for Palestine" petition echoed this, framing the gig as support for apartheid-like conditions.^[204]^[205] Radiohead frontman Thom Yorke rejected these demands in a June 2017 Rolling Stone interview, describing BDS calls as "offensive" and "mind-boggling," asserting that performing in Israel did not equate to endorsing its government and comparing such logic to boycotting the United States or Britain over their foreign policies.^[204] Yorke argued that selective outrage ignored the band's history of shows in the region since the 1990s and accused boycotts of fostering division that benefits authoritarian leaders, stating, "Playing in a country doesn't amount to an endorsement of its government."^[206]^[207] These events sparked broader debates on artistic freedom versus political activism, with proponents of BDS framing boycotts as ethical imperatives akin to anti-apartheid efforts, while critics, including Yorke, viewed them as infringing on free expression by pressuring musicians to adopt specific geopolitical stances.^[208] Radiohead's defiance highlighted tensions between cultural diplomacy and sanction campaigns, as the band emphasized separating art from state endorsement, a position echoed in defenses that boycotts risk censoring dialogue in conflict zones.^[209] In May 2025, similar pressures led to cancellations of Jonny Greenwood's UK concerts tied to collaborations with Israeli musician Dudu Tassa, intensifying scrutiny on Radiohead members' regional ties and prompting Yorke to issue a statement condemning violence in Gaza while rejecting blanket boycotts.^[210] Following Radiohead's September 2025 tour announcement—their first in seven years—BDS renewed calls for global boycotts, citing Greenwood's Israeli performances as justification and demanding the band distance itself from such "complicity."^[211]^[203] These ongoing campaigns underscore persistent free speech concerns, as cultural boycotts have increasingly targeted individual artists, raising questions about whether such tactics effectively advance causes or instead limit expressive autonomy in politically charged contexts.^[212]

Internal band tensions and public persona critiques

Radiohead experienced significant internal tensions during several periods of their career, primarily stemming from prolonged studio sessions, creative divergences, and personal exhaustion. Following the exhaustive OK Computer tour in 1997, frontman Thom Yorke suffered a nervous breakdown and expressed a desire to quit the band due to the pressures of fame and constant public scrutiny.^[213] ^[214] The recording of Kid A and Amnesiac from 1999 to 2001 proved particularly argumentative, with the band nearly splitting over tracklisting decisions and frustrations from extended time in the studio without progress.^[215] ^[216] These conflicts arose as Yorke pushed for a radical shift away from guitar-based rock toward electronic and jazz influences, creating uncertainty among members about their contributions.^[217] Further strains emerged after the Hail to the Thief tour in 2004, when the band grappled with whether to continue amid burnout and a sense of obligation rather than enthusiasm; Yorke later described this as a time when they "couldn’t work out whether we should be carrying on or not."^[216] Yorke's combative personality has been cited as a key factor in these dynamics, contributing to internal strife during album production, though the group's egalitarian decision-making process—often involving votes on creative directions—helped mitigate outright dissolution.^[218] By 2012, Yorke reiterated his frustration with fame, again contemplating leaving the band, though Radiohead persisted through side projects and periodic reunions.^[213] Despite these episodes, no member has publicly confirmed irreparable "beef," and the band maintains a functional democracy, with Yorke's solo outlets like The Eraser (2006) serving as valves for ideas unfit for group collaboration.^[216] ^[219] Public critiques of Radiohead's persona often portray the band—and particularly Yorke—as pretentious and aloof, with their experimental evolution from Kid A onward fostering perceptions of elitism among detractors.^[136] Critics and online discourse have lambasted their music as overly complex and self-indulgent, exemplified by dismissals of OK Computer (1997) as a "pretentious mess" laden with clichés despite its commercial success of over 4.5 million copies sold worldwide.^[156] This image is amplified by stereotypes of fans as miserable, introverted snobs who wield Radiohead's discography as intellectual markers, a trope evident in cultural memes associating the band with pretentious music appreciation.^[220] ^[221] Yorke's reclusive demeanor and rejection of rock stardom—such as refusing to play "Creep" live post-1997 due to fatigue with its one-hit associations—have fueled accusations of arrogance, with some attributing the band's avoidance of mainstream promotion to a contrived anti-commercial stance.^[222] ^[223] However, these critiques coexist with empirical evidence of Radiohead's influence, as their innovations in electronic textures and thematic depth on alienation have sustained critical acclaim, suggesting the pretentious label may reflect subjective resistance to their departure from conventional rock structures rather than objective flaws.^[224] The band's low-key public presence, including minimal social media engagement and focus on artistry over spectacle, reinforces this narrative but aligns with their stated aversion to industry hype, as Yorke has articulated in interviews emphasizing creative integrity over accessibility.^[162]

Band members and associates

Core members and roles

Radiohead's core lineup has remained unchanged since the band's formation in 1985 at Abingdon School in Oxfordshire, England, comprising Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, and Phil Selway.^[225]^[226] Initially operating under the name On a Friday, the group solidified this quintet as its permanent members upon signing with EMI in 1991 and adopting the name Radiohead.^[225] Thom Yorke serves as the band's lead vocalist, rhythm guitarist, and primary keyboardist, contributing songwriting and arrangements across albums from Pablo Honey (1993) onward.^[227]^[228] Jonny Greenwood, Yorke's frequent collaborator in composition, handles lead guitar duties, synthesizers, and unconventional instruments like the ondes Martenot, notably featured on OK Computer (1997).^[227]^[226] Colin Greenwood provides bass guitar, anchoring the rhythm section with consistent low-end support throughout the band's discography.^[227]^[228] Ed O'Brien contributes guitar textures, effects pedals, and backing vocals, often layering atmospheric elements in both studio and live settings.^[227]^[228] Phil Selway rounds out the core as the drummer and percussionist, delivering intricate rhythms that evolved from straightforward rock beats to complex electronic-infused patterns on later works like Kid A (2000).^[225]^[228] While primary roles are established, members frequently interchange instruments during recording and performances, reflecting Radiohead's experimental approach; for instance, Yorke and Greenwood often trade keyboard and guitar parts, and O'Brien has incorporated glitchy effects processing.^[229] This fluidity has been a hallmark since the mid-1990s, enabling the band's shift from alternative rock to electronic and orchestral experimentation without lineup changes.^[227]

Touring and session collaborators

Radiohead's live performances have periodically incorporated additional musicians to execute intricate arrangements, especially percussion elements that exceed the capabilities of the core quintet. Beginning with the The King of Limbs tour in 2011, the band augmented their lineup with Clive Deamer on second drums and percussion. Deamer, a session drummer previously associated with Portishead and Robert Plant, enabled the replication of the album's layered, looping rhythms through dual drumming setups.^[230]^[231] This collaboration extended to the 2016 A Moon Shaped Pool world tour, where Deamer again supported Phil Selway, contributing to performances that blended electronic and orchestral textures with live percussion. Deamer's involvement marked the first consistent addition of a touring member beyond the five principal bandmates, facilitating extended polyrhythmic sections in tracks like "Bloom" and "Ful Stop."^[232]^[233] His role also included occasional recording contributions starting in 2011.^[234] In studio sessions, Radiohead has rarely relied on external guest musicians, preferring self-contained production with multi-instrumentalism among members and producer Nigel Godrich. A prominent exception is the 2001 track "Life in a Glasshouse" from Amnesiac, which features Humphrey Lyttelton and his band on trumpet, clarinets, and saxophones, arranged by Jonny Greenwood to evoke traditional jazz influences. Greenwood contacted Lyttelton in late 2000 specifically for this recording, resulting in a one-off session that contrasted the album's electronic leanings.^[235]^[236] Later albums like A Moon Shaped Pool incorporated orchestral elements via Jonny Greenwood's arrangements performed by ensembles such as the London Contemporary Orchestra, but without named individual session collaborators.^[237]

Side project overlaps and individual pursuits

The Smile, formed in 2021 by Thom Yorke and Jonny Greenwood alongside drummer Tom Skinner, represents a primary overlap in side pursuits among Radiohead's core members, enabling collaborative output independent of the full band. The project debuted with singles in May 2021 and released its first album, A Light for Attracting Attention, on May 13, 2022, followed by Wall of Eyes on January 26, 2024, and Cutouts on October 4, 2024; these works incorporate experimental rock elements akin to Radiohead's style but emphasize rapid iteration and live performance. ^[92] Greenwood has described the endeavor as a space for "fun and natural" creativity, distinct from Radiohead's more deliberate process. ^[92] Thom Yorke has pursued extensive solo endeavors, including the electronic album The Eraser released on July 10, 2006, and Anima on June 27, 2019, alongside film soundtracks such as Suspiria in 2018. ^[238] He also led Atoms for Peace, assembled in 2009 with producer Nigel Godrich, bassist Flea, drummer Joey Waronker, and percussionist Mauro Refosco to tour material from The Eraser; the supergroup issued Amok on February 26, 2013, blending improvisational jamming with structured electronica. ^[239] Jonny Greenwood has focused on orchestral composition, scoring films including There Will Be Blood (2007), Phantom Thread (2017, Oscar-nominated), and Paul Thomas Anderson's One Battle After Another (released September 26, 2025). ^[240] His solo album Bodysong accompanied a 2003 documentary, featuring avant-garde instrumentation. ^[240] Phil Selway released his debut solo album Familial on August 30, 2010, emphasizing folk-inflected songwriting, followed by Weatherhouse on October 27, 2014, and Strange Dance on February 24, 2023, which incorporates dramatic arrangements and broader production. ^[241] Ed O'Brien, under the moniker EOB, debuted with Earth on April 17, 2020, drawing from rock rhythms and electronic pulses developed during Radiohead hiatuses, with production emphasizing communal improvisation. ^[242] Colin Greenwood has engaged in supporting roles, co-producing and performing bass on Tamino's Sahar (2022), touring as bassist for Nick Cave and the Bad Seeds starting September 2023, and releasing the photographic collection How to Disappear: A Photographic Portrait of Radiohead in 2024, documenting 14 years of band activities. ^[243] ^[244]

References

[1]
Radiohead - AAEP 1600 - The Ohio State University
Radiohead first formed in the mid-1980's as a weekly meeting of four teenage schoolmates from The Abingdon School for Boys in Oxford, England.<|separator|>
[2]
Radiohead (Band) - Rolling Stone
The two formed a punk band called TNT. In 1987 they joined friends Ed O'Brien (guitar) and Phil Selway (drums) in a new band called On a Friday. Colin's younger ...
[3]
Ranked: Radiohead's Greatest Albums - Rough Trade Blog
Sep 5, 2025 · Ranked: Radiohead's Greatest Albums · 9. Pablo Honey (1993) · 8. Hail To The Thief (2003) · 7. The King of Limbs (1995) · 6. Amnesiac (2001) · 5. A ...
[4]
RADIOHEAD album sales - BestSellingAlbums.org
RADIOHEAD sold over 21,415,056 albums, including 9,000,000 in the United States and 5,320,000 in the United Kingdom. The best-selling album by RADIOHEAD is OK ...
[5]
For The Record: Let's Disappear Completely Into Radiohead's ...
1. Their innovation paid off: The album was nominated for Album Of The Year and won Best Alternative Music Album at the 43rd GRAMMY Awards in 2001. sombr ...
[6]
Radiohead 'In Rainbows" sales data revealed - BrooklynVegan
Oct 20, 2008 · In Rainbows has sold three million copies thus far, a figure that includes downloads from Radiohead.com, physical CDs, a deluxe 2-CD/vinyl box set, as well as ...<|control11|><|separator|>
[7]
Radiohead - Biography, Songs, Albums, Discography & Facts
Radiohead had over 81 nominations for major awards and they have won 22. They also have won 6 Grammy Awards including Best Recording Package (Amnesiec),Best ...Missing: achievements | Show results with:achievements
[8]
Radiohead | Uncategorized - Abingdon School Archives
Formed in 1985 as 'On A Friday', the band consists of Thom Yorke OA 1987 (vocals, guitar, piano, keyboards), brothers Jonny Greenwood OA 1990 (lead guitar, ...
[9]
On A Friday: The Journey to Becoming Radiohead
Dec 19, 2024 · When they signed with EMI in 1991, the band decided to change their name. Inspired by the song “Radio Head” from Talking Heads' 1986 album True ...
[10]
On a Friday | Radiohead Knowledge Base | Fandom
After a chance meeting between Colin and a talent scout, the band signed a six-album recording contract with EMI, and changed their name to Radiohead, taken ...Missing: history | Show results with:history
[11]
Some of the first photos of Radiohead when they were - Facebook
Feb 3, 2023 · First formed in 1985, their original name was a reference to their usual rehearsal day in the Albington School's music room where they first met ...
[12]
Radiohead (On A Friday) - 1986 Demo Tape [Remastered] - YouTube
Feb 20, 2017 · Radiohead (On A Friday) 1986 Demo Tape (Their first recording) Songlist: (Not the full tape songlist) 01. 00:05 - Fragile Friend 02.Missing: formation Abingdon School 1985-1992
[13]
Early Radiohead Demo Hits Auction Block with Three Unreleased ...
Jan 18, 2021 · A 1987-88 demo tape made by On a Friday, which would later rebrand as Radiohead, is hitting the auction block with three unreleased songs.Missing: 1985-1992 | Show results with:1985-1992
[14]
https://wikiwand.com/en/articles/Radiohead
[15]
The story behind why Radiohead turned down their first record deal
Jan 25, 2022 · This time it would be with EMI, and the band was ready to accept. The first thing they did, however, was change their name from 'On A Friday' to ...
[16]
Why do Radiohead hate Creep? The story of the band's biggest song
Sep 21, 2025 · The single, which was released on the 21st September 1992 was the first track to be taken from the band's debut album Pablo Honey, which came ...Missing: positions | Show results with:positions
[17]
30 Years Ago: Why Radiohead's 'Creep' Was Initially a Failure
Sep 21, 2022 · As sessions began for their debut album Pablo Honey, Radiohead brought in producers Paul Kolderie and Sean Slade, who had worked with the ...
[18]
RADIOHEAD songs and albums | full Official Chart history
Official Charts logo Official Albums Chart ; 06. Mar. 1993. PABLO HONEY cover art. PABLO HONEY RADIOHEAD. Peak: 22,; Weeks: 114. Read more icon Close read more ...
[19]
Radiohead - Pablo Honey / XL from Piccadilly Records
Produced by Sean Slade and Paul Kolderie, the album was recorded at Chipping Norton Recording Studios and Courtyard Studio, Oxfordshire. The album features ...
[20]
Making Pablo Honey with Paul Q. Kolderie - What Is Music?
May 16, 2022 · Adam sits down with music producer Paul Q. Kolderie to discuss mixing techniques, the music industry, and his work producing Pablo Honey by ...Missing: recording | Show results with:recording
[21]
PABLO HONEY – RADIOHEAD - Official Charts
Latest chart stats about PABLO HONEY - peak chart position, weeks on chart, catalogue number, week-by-week chart placement and latest news.Missing: performance | Show results with:performance
[22]
PABLO HONEY by RADIOHEAD sales and awards
PABLO HONEY by RADIOHEAD has sold 1,965,770 copies in 8 countries. The album sold best in United States (1,000,000 copies), United Kingdom (600,000 copies) ...
[23]
https://musicgoldmine.com/products/radiohead-pablo-honey-riaa-gold-album-award-1
[24]
Radiohead's 1992 Concert & Tour History
Buy tickets to : ; Oct 06, 1992. Radiohead · Peterborough Arena ; Oct 05, 1992. Radiohead · Wherehouse ; Oct 04, 1992. Radiohead · University of Sheffield ; Oct 04, ...<|separator|>
[25]
Radiohead's 'The Bends' at 20: Classic Track-By-Track Review
Mar 13, 2015 · The Bends peaked at No. 88 on the Billboard 200, and none of its singles managed to crack the Top 10 on even the Alternative Songs chart. But ...
[26]
https://www.waxxlyrical.com/post/you-do-it-to-yourself-20-crazy-facts-about-radiohead-s-the-bends
[27]
Radiohead Concert & Tour History (Updated for 2025)
Radiohead tours & concert list along with photos, videos, and setlists of their live performances.Missing: expansion | Show results with:expansion
[28]
Radiohead's 1995 Concert & Tour History
Radiohead had 171 concerts in 1995 (Page 3) ; Oct 05, 1995. Radiohead. The Bends. Ogden Theatre · Denver, Colorado, United States, + Add To Archive ; Oct 04, 1995.Missing: expansion | Show results with:expansion
[29]
The Leap: The Universe of Difference Between 'Pablo Honey' and ...
Apr 8, 2015 · Rolling Stone's review isn't much better: “Radiohead's reach may fall short with The Bends, a sonically ambitious album that offers no easy hits ...
[30]
Unpacking OK Computer: Radiohead's Sonic Revolution - Riffology
Jun 24, 2024 · Released on 21 May 1997, this seminal work by the English rock band marked a significant departure from their earlier sound.
[31]
Radiohead "OK Computer" - Retrospective Review - Melophobe
Jul 31, 2022 · OK Computer was universally acclaimed and changed the world of rock with its ominous presence, top tier musicianship, and studio mix years ahead of its time.Missing: critical 1998
[32]
Radiohead's 'OK Computer' hit #1 on the UK albums chart 28 years ...
Jun 28, 2025 · Radiohead's 'OK Computer' hit #1 on the UK albums chart 28 years ago on June 28, 1997.Missing: figures | Show results with:figures
[33]
OK COMPUTER by RADIOHEAD sales and awards
OK COMPUTER by RADIOHEAD has sold 5,746,308 copies in 36 countries. The album sold best in United States (2,000,000 copies), United Kingdom (1,600,000 copies) ...Missing: figures | Show results with:figures
[34]
Best Selling Radiohead Album - OK Computer Sales Stats - Accio
Jul 11, 2025 · With track equivalent downloads included, Radiohead has sold 12.3 million digital albums and 756,000 digital singles to date. Comparing digital ...
[35]
Radiohead's 'OK Computer' Made Them Our 1997 "Band of the Year"
Jun 16, 2017 · Radiohead's OK Computer Made Them Our 1997 “Band of the Year” · 1. Airbag Radiohead · 2. Paranoid Android Radiohead · 3. Subterranean Homesick ...<|separator|>
[36]
Radiohead – OK Computer – Classic Music Review - altrockchick
Jan 4, 2017 · In 1998, Q readers voted OK Computer the greatest album in the world. A new UK albums poll by Colin Larkin, canvassing 200,000 punters, has The ...Missing: critical | Show results with:critical
[37]
Radiohead's “OK Computer” Turns Twenty-Five | The New Yorker
May 20, 2022 · When Radiohead released their third album, “OK Computer,” on May 21, 1997, they were a band that a typical indie-rock fan would know—but ...Missing: phenomenon 1997-1998
[38]
The arrival of Radiohead's 'OK Computer' was a big deal for ...
Jun 21, 2017 · “Paranoid Android” was a big deal. It was a much bigger deal for Radiohead than The Bends was, which is a fact I'm still having trouble ...
[39]
Fitter, Happier: Watch Radiohead play the Electric Factory on the OK ...
Aug 24, 2019 · Fitter, Happier: Watch Radiohead play the Electric Factory on the OK Computer tour in August of 1997. Around the beginning of this century, ...Missing: events promotion
[40]
Radiohead Ok Computer Tour 1997 1998 Admat Poster ... - Etsy
$$31.00 In stock Rating 5.0 (141) This listing is for a beautiful promotional poster from Radiohead's Ok Computer tour featuring all North American cites played during the 1997-98 tour.
[41]
COLOURS IN MY HEAD THE MAKING OF KID A AND AMNESIAC
Aug 11, 2013 · Radiohead finally finished recording in April 2000, 15 months after those preliminary sessions in Paris. Sensibly, they were now working to a ...
[42]
10 Facts About Radiohead's 'Kid A' - Mental Floss
Apr 8, 2022 · When Radiohead released 'Kid A' on October 2, 2000, few people were prepared for the album—or the lasting effect it would have on the music ...
[43]
Review: Radiohead's 'Kid A Mnesia' - Rolling Stone
Rating 5.0 · Review by Rob SheffieldNov 4, 2021 · The whole Kid A Mnesia project looked like a commercial disaster waiting to happen back then. But both these albums were gigantic commercial ...
[44]
Radiohead: Kid A Album Review - Pitchfork
Oct 2, 2000 · This is an emotional, psychological experience. Kid A sounds like a clouded brain trying to recall an alien abduction. It's the sound of a band, ...
[45]
Radiohead on the making of Hail To The Thief, the record that got ...
Jun 7, 2025 · “This one was really hard, we had massive arguments”: Radiohead on the making of Hail To The Thief, the record that got away from them · Anika ...
[46]
HAIL TO THE THIEF by RADIOHEAD sales and awards
Total sales, 2,577,508, (in 35 countries). Total. Sales: 2,577,508. (in 35 countries). Year-end chart performance for HAIL TO THE THIEF. Chart 2003, Rank, Sales.
[47]
Bitter Prophet: Thom Yorke on 'Hail to the Thief' - Rolling Stone
Jun 26, 2003 · On Hail to the Thief, which comes out in North America on June 10th, Yorke – Radiohead's singer, lyricist and outspoken conscience – dives ...
[48]
Timely and Foreboding, Radiohead's 'Hail to the Thief' Turns 15 | Arts
Jun 12, 2018 · A political message propels this agitation: “Hail to the Thief” brings the distrust of autocratic government that the band hinted at in “Kid A” ...
[49]
Radiohead's 2003 Concert & Tour History
Radiohead had 81 concerts in 2003 (Page 4) ; Jun 22, 2003. Radiohead. Hurricane Festival. Setlists. Eichenring ; Jun 20, 2003. Radiohead. Southside Festival.
[50]
Radiohead Come Through the Darkness on 'In Rainbows' - Diffuser.fm
Oct 10, 2017 · ... Radiohead's 'Hail to the Thief' and 'In Rainbows ... But it was precisely the conditions that sparked their hiatus—exhaustion ...
[51]
The Future According to Radiohead - Rolling Stone
Feb 7, 2008 · The ease and immediacy of releasing In Rainbows came in sharp contrast to the album's protracted, painful birth. With Hail to the Thief, an ...<|separator|>
[52]
Radiohead's Game-Changing 2007 Experiment - Club Incentify
Jun 23, 2021 · Basically, the band had fulfilled its contractual obligation with EMI Records and was free to break ties with the record label and go do it all ...
[53]
Radiohead 'wanted £10m record deal' - NME
Dec 28, 2007 · Radiohead left original record label EMI because the company would not pay agree to a deal worth £10 million.
[54]
Why Radiohead left EMI | Punknews.org
Jan 2, 2008 · Radiohead were demanding an extraordinary amount of money and we did not believe that our other artists should have to subsidize their gains.
[55]
Radiohead Explain Split with EMI - antiMUSIC News
Dec 3, 2007 · (Gigwise) Radiohead have admitted their split with record label with EMI was due to a personal disagreement rather than ideological reasons. Ed ...
[56]
Radiohead Blame EMI Split On New Owners - GIGWISE
Radiohead have admitted their split with record label with EMI was due to a personal disagreement rather than ideological reasons.
[57]
Radiohead's bid to revive music industry: pay what you like to ...
Oct 2, 2007 · In Rainbows is the most high-profile attempt yet to restructure the economics of a music industry struggling with the effects of digital piracy.<|separator|>
[58]
The 'In Rainbows' Experiment: Did It Work? : Monitor Mix - NPR
Nov 16, 2009 · In Rainbows was first released on Oct. 10, 2007, as a digital download from the band's Web site. Fans were encouraged to "pay what you wish" ...
[59]
Radiohead Case Study — Pay What You Want | PWYW Strategy
Apr 24, 2020 · Radiohead made $3 million from their In Rainbows album and the largest portion of it was from digital downloads on its website, where the ...
[60]
Radiohead's pay-what-you-want download experiment pays off
Oct 22, 2008 · Radiohead's name-your-price download experiment for the 2007 album "In Rainbows" paid off, with 3 million copies sold.
[61]
RADIOHEAD'S In Rainbows Release - DownBeat
On Jan. 2, 2008, TBD Records/ATO Records Group will release the tangible version of Radiohead's In Rainbows. Released in download format earlier this year.
[62]
Radiohead : In Rainbows - TBD RECORDS
Jan 1, 2008 · In Rainbows was self-released via Radiohead.com in October 2007, followed by a traditional retail release by TBD Records/ATO in January 2008.<|separator|>
[63]
Making money by giving it for free: Radiohead's pre-release strategy ...
In this paper, we show that Radiohead's innovative pre-release strategy of In Rainbows benefited subsequent sales of their albums through digital distribution ...
[64]
Radiohead to Release New Album This Saturday | Pitchfork
Feb 14, 2011 · The King of Limbs can be pre-ordered now and downloaded on Saturday 19th February 2011." In the U.S., this version is $9 for mp3s and $14 for a ...
[65]
Radiohead Release New Album 'The King of Limbs' One Day Early
Feb 18, 2011 · The album will be released as a standard CD, 12-inch vinyl record and download from major digital retailers on March 29th.
[66]
Radiohead sets Web release date for new album - Reuters
Feb 14, 2011 · The digital version will cost $9 (6 pounds) for an MP3, and it will be available for download on Saturday, February 19, Radiohead said on its ...
[67]
Will Radiohead's The King of Limbs save the music industry?
Feb 14, 2011 · Radiohead's The King of Limbs, which breaks with the honesty-box tactic of In Rainbows, may provide clues as to how the industry could find salvation in a time ...
[68]
Radiohead manager explains album release strategy
Feb 15, 2011 · Following The King Of Limbs' release on CD, vinyl and download via XL on March 28, the album will be available in a multi-format deluxe set, ...
[69]
Graded on a Curve: Radiohead, The King of Limbs - The Vinyl District
Feb 7, 2025 · According to producer Nigel Godrich, what was supposed to be a two-week experiment ended up taking six months. And at the end he was left with a ...Missing: 2011-2012 process
[70]
Radiohead and Social Media: The Twitterized Release of “The King ...
Mar 1, 2011 · The way “The King of Limbs” was released last Friday redefines the relationship between musicians and their fans.
[71]
Radiohead Surprises With Early Release - The New York Times
Feb 18, 2011 · On Valentine's Day the band announced that its first album since 2007, “The King of Limbs,” would be released digitally five days later, on ...<|control11|><|separator|>
[72]
Radiohead - The King Of Limbs From The Basement (December 2011)
May 21, 2020 · Recorded at Maida Vale Studios, London in December 2011. Setlist: 00:00:40 Bloom 00:07:07 The Daily Mail 00:11:18 Feral 00:14:41 Little by ...
[73]
The King of Limbs - Live from the Basement - Album by Radiohead
Dec 19, 2011 · Radiohead rock the basement of London's Maida Vale Studios, performing The King of Limbs. Though the original material leans heavily on digital manipulation.
[74]
The King of Limbs From The Basement - W.A.S.T.E. US
6–20 day delivery 30-day returnsA live studio performance of The King of Limbs. Both DVD & Bluray options come with a 32 page hardback book of photos from the recording session.
[75]
Radiohead - A Moon Shaped Pool review by IdkBro
Rating 97% · Review by 𝓘 𝓓𝓸𝓷’𝓽 𝓚𝓷𝓸𝔀Feb 26, 2024 · After having a 5 year hiatus from King Of Limbs they decided to come back and make probably one of the most isolating and personal albums I ever ...
[76]
Atoms For Peace 2013 Tour Dates - Stereogum
Mar 4, 2013 · Atoms For Peace 2013 Tour Dates ... Thom Yorke's Atoms For Peace band just released Amok, their weird little grower of a full-band debut album.
[77]
Thom Yorke's Atoms for Peace announce U.S. tour dates
The forthcoming jaunt includes stops in Philadelphia, New York City, Chicago, Los Angeles, and Santa Barbara throughout September and October. Then, in November ...<|separator|>
[78]
Jonny Greenwood - IMDb
He is a composer and actor, known for The Master (2012), There Will Be Blood (2007) and Phantom Thread (2017). He has been married to Sharona Katan since 1995.
[79]
Radiohead's Phil Selway announces new solo album, Weatherhouse
Jun 23, 2014 · Entitled Weatherhouse, the 10-track effort will be released on October 7th through Bella Union Records. It serves as the follow-up to his 2010 ...
[80]
Weatherhouse - Phil Selway | Album - AllMusic
Rating 7.1/10 (53) Oct 7, 2014 · Weatherhouse by Phil Selway released in 2014. Find album reviews ... Release Date. October 7, 2014. Duration. 37:02. Genre. Pop/Rock. Styles.<|separator|>
[81]
Radiohead's Ed O'Brien: Hail to the Texturalist - Premier Guitar
Nov 28, 2017 · Meanwhile, he's begun work on a solo album (to be released in 2019) with bassist Nathan East (Eric Clapton, Daft Punk), drummer Omar Hakim ( ...
[82]
Nigel and Radiohead on the making of A Moon Shaped Pool - Tumblr
Rolling Stone had a few select quotes from Nigel and the rest of the band on the making of the record and their recent tour.Missing: details 2014-2016
[83]
Radiohead discuss 'difficult, fragile' time recording 'A Moon Shaped ...
Jun 1, 2017 · Radiohead have described how the recording sessions for last year's album 'A Moon Shaped Pool' were “difficult” and “quite hard”.
[84]
Wiki - A Moon Shaped Pool — Radiohead - Last.fm
A Moon Shaped Pool is the ninth studio album by the English rock band Radiohead, released as a download on 8 May 2016. The album's first two singles were ...
[85]
Radiohead Release Ninth Studio Album, A Moon Shaped Pool
May 9, 2016 · The ninth studio album from the Oxfordshire quintet, A Moon Shaped Pool, was released via iTunes, Tidal, Apple Music and the group's website ...
[86]
A Moon Shaped Pool (Music) - TV Tropes
A Moon Shaped Pool is the ninth and most recent studio album by Radiohead, released digitally through the band's website on May 8, 2016, with a physical CD ...
[87]
LIVE REVIEW: Radiohead - A Moon Shaped Pool Tour ... - XS Noize
LIVE REVIEW: Radiohead – A Moon Shaped Pool Tour, Philadelphia, PA July 31 and August 1 ... Radiohead elected to end two years of the intermittent tour for their ...
[88]
Radiohead to reissue OK Computer as deluxe box set with ...
The box set comes with three 180g black vinyl records containing 23 tracks in total – album, three unreleased tracks and B-sides, all remastered.
[89]
Radiohead Leads Discogs' 2017 Most-Collected Colored Vinyl List
Dec 21, 2017 · Radiohead's deluxe reissue of its classic 1997 album “OK Computer” led Discogs' list of most-collected colored vinyl releases for 2017.
[90]
Radiohead Return to Their Most Controversial Album For a Killer ...
Aug 19, 2025 · Radiohead previously released Kid A Mnesia in 2021, a reissue package celebrating the 20-year anniversaries of Kid A and Amnesiac, after ...
[91]
Radiohead Revisit 'Hail to the Thief' for 'Very Cathartic' Live Album
Aug 13, 2025 · Radiohead will revisit 2003's 'Hail to the Thief' with a new live album, out now digitally and available on vinyl this fall.Missing: reissues | Show results with:reissues
[92]
Jonny Greenwood on The Smile's 'Cutouts' and Radiohead returning
Oct 10, 2024 · Greenwood along with Thom Yorke and jazz drummer Tom Skinner (formerly of Sons Of Kemet) released their surprise third album 'Cutouts' last week ...<|separator|>
[93]
The Smile review – Thom Yorke and Jonny Greenwood give prog ...
Jan 30, 2022 · The Radiohead duo, joined by Sons of Kemet drummer Tom Skinner, pair memorable dynamics with typically uneasy lyrics in an intriguing if meandering performance.
[94]
Radiohead returns after 7 years, announce 20 new live dates
Sep 3, 2025 · Move over, Oasis. Another British rock band is reuniting for a few live performances. Radiohead have announced 20 shows taking place in five ...
[95]
Radiohead form new LLP fuelling speculation of return in 2025
Mar 14, 2025 · Thom Yorke and co have formed a new company under the name RHEUK2025, leading fans to speculate that new activity is on its way.
[96]
Radiohead Announce First Tour in 7 Years | Pitchfork
Sep 3, 2025 · Radiohead Announce First Tour in 7 Years. The European run includes multiple nights in London, Berlin, Madrid, Bologna, and Copenhagen in 2025.
[97]
Radiohead Announce Comeback with First Tour Since 2018
Sep 3, 2025 · Here's the full list of Radiohead's 2025 tour dates: Nov. 4: Madrid, Spain @ Movistar Arena; Nov. 5: Madrid, Spain @ Movistar Arena; Nov. 7: ...
[98]
Europe 2025: RADIOHEAD.COM
Radiohead will be playing some shows across Europe in November and December 2025. Tickets will be available only be registering here.
[99]
[Friday Playlist] Tracking Radiohead's Influences, Album by Album
May 20, 2016 · The following is an estimated but thoroughly researched overview of the musical influences that have inspired Radiohead throughout their career, album by album.Missing: stylistic | Show results with:stylistic
[100]
From Neil Young to R.E.M: 7 of Thom Yorke's biggest influences
Jan 14, 2021 · We are looking at Thom Yorke's biggest musical influences both with and without Radiohead including David Bowie, R.E.M., Pixies and more.
[101]
Radiohead's Jonny Greenwood Q&A - Blending Classical ... - NME
Feb 18, 2014 · I put a few questions to him about guitar music, his classical influences and how he transitions between playing in Radiohead and writing alone.
[102]
Radiohead's Jazz Frequencies - JazzTimes
Apr 25, 2019 · This Grammy Award-winning English quintet draws much of its creative inspiration from jazz in general, and the epic music of Miles Davis, Charles Mingus and ...Missing: krautrock | Show results with:krautrock
[103]
Present Tense: An Musical Analysis of Radiohead Through the Years
Oct 27, 2016 · Kira Anjewierden Radiohead has become legendary for their many contributions and musical innovations to the indie alternative music scene.
[104]
Ondes Martenot: An Introduction | Red Bull Music Academy Daily
Mar 6, 2014 · A favorite of Radiohead's Jonny Greenwood and classical composer Olivier Messiaen, Andy Battaglia explains the origins and appeal of the ahead-of-its-time ...
[105]
25 Years Later: Radiohead Shifts Gears & Modern Alt Rock ...
Oct 2, 2025 · On October 2, 2000, Radiohead released Kid A, and the world of rock music began to look a little different. Radiohead's fourth LP was ...
[106]
Kid A Recording Process - Citizen Insane
Ed O'Brien: “Most of it's you.” Phil Selway: “A fair bit. I mean, we didn't actually approach it from that standard band performance, 'here's the arrangement ...<|separator|>
[107]
Radiohead – The King of Limbs – Classic Music Review - altrockchick
Dec 14, 2017 · Essentially, most of The King of Limbs is built from drum samples, instrumental loops, nature sounds and a whole lot of software manipulation.
[108]
What is their songwriting process like? Does Thom usually develop ...
Mar 29, 2018 · Thom writes 99.8% of the lyrics and melodies by himself (he is the singer). Because he is also a multi-instrumentalist, he starts writing the ...how do i write like thom yorke : r/radiohead - RedditRadiohead and songwriting. - RedditMore results from www.reddit.com
[109]
A 1996 Radiohead Interview - The Bends, Britpop And OK Computer
Mar 23, 2009 · ATN: Tell me about your songwriting process. How does it all come together? JG: "It's quite defecatory." TY: "Yes, it's very defecatory and ...
[110]
Radiohead's Jonny Greenwood Describes Band's Writing Method
Aug 8, 2016 · Radiohead guitarist Jonny Greenwood says the band think of themselves as 'arrangers' when writing music.
[111]
Kid A - Citizen Insane
Thus Jonny wrote the melody, and Thom felt largely irresponsible for the track, the content of which he considered to be so devastating. It is Thom who plays ...
[112]
Who writes Radiohead's songs? - Quora
Jan 24, 2012 · But back to those song credits: Thom Yorke & Colin Greenwood: Airbag. Thom Yorke & Jonny Greenwood: Subterranean Homesick Alien, Karma Police ...<|control11|><|separator|>
[113]
Radiohead's Ed O'Brien on the Band's Writing Process ... - YouTube
Dec 16, 2016 · Ed O'Brien gave a brilliant Masterclass at BIMM London recently. The Radiohead Guitarist spoke about the bands writing process and his plans ...
[114]
Thom Yorke Explains How Flying Lotus Changed Radiohead's ...
May 9, 2019 · In a new interview with Crack Magazine, Radiohead lead singer Thom Yorke explained how FlyLo changed the band's approach to songwriting.<|separator|>
[115]
How Thom Yorke Learned to Stop Worrying and (Mostly) Love Rock ...
Oct 28, 2019 · Earlier this month, on “The Late Show With Stephen Colbert,” the host asked Radiohead's Thom Yorke: “For decades, you've been writing music ...Missing: fatigue 2003-2006
[116]
Select - Citizen Insane
In his most in-depth interview ever, Thom Yorke answers the two questions everyone's asking: what the hell was 'Kid A' all about? And what will Radiohead do ...
[117]
Radiohead Song Meanings Page - Unmask Us
Jul 4, 2023 · Thom Yorke explains the meaning behind Radiohead songs including Paranoid Android, Karma Police, Lucky, Street Spirit and The Tourist.Missing: philosophical underpinnings
[118]
Producer and Engineer Research: Nigel Godrich
May 24, 2018 · Nigel Godrich is an English record producer and recording engineer. He has worked closely with Radiohead since first producing the song “Black Star” from their ...
[119]
The Mix Interview from 1997 - Nigel Godrich and the Studio
Aug 20, 2024 · “With Radiohead, the vocals are obviously important, but I haven't used much processing, just a bit of plate reverb, or a short delay. Some ...
[120]
Radiohead The Numbers - Gearspace
Aug 11, 2019 · Really interested in the processing techniques that Nigel might apply. In this guitar stem, there's a great stereo spread sound, you can really ...
[121]
Jonny Greenwood and the ondes Martenot - the King of Gear ;
Sep 1, 2013 · Jonny used the student model ondes Martenot for Radiohead's tour in 2000, but on all tours from 2001 to 2012 Jonny used an Analogue Systems ...Missing: experimentation | Show results with:experimentation
[122]
RADIOHEAD in studio with euro gear! - MOD WIGGLER
Apr 27, 2021 · Johnny Greenwood has been using AS modular synthesizers in Radiohead for well over a decade. Top. User avatar. tremblap: Common Wiggler: Posts: 228: Joined: Fri ...Mainstream modular - Page 1 - MOD WIGGLERI love modulars, but I don't love modular music - MODWIGGLERMore results from modwiggler.com
[123]
Radiohead's 'OK Computer' | Unveiling the Unique Recording ...
Sep 11, 2024 · The band also employed unusual recording techniques, such as reversing tapes to create the unsettling guitar sounds on "Subterranean Homesick ...
[124]
The Making of Radiohead's "Kid A" - Howl & Echoes
Oct 10, 2016 · Approaching the album like it was a blank canvas, the band pieced it together one little component at a time, in order to create a collage.
[125]
Jonny Greenwood's Computers and Software - the King of Gear ;
Jonny's laptop setup for Radiohead's show in Los Angeles on August 9, 2016. He used the same setup for the duration of Radiohead's 2016 tour (gorillavsbear).
[126]
Recreating Radiohead's Keys and Synths with Software Instruments
Jul 13, 2018 · Radiohead are big advocates of the Prophet synths. They used an original Sequential Circuits Prophet-5 around the recording of Kid A, and have ...
[127]
OK Computer - Rolling Stone
Jul 10, 1997 · A stunning art-rock tour de force will have you reeling back to their debut, Pablo Honey, for insight into the group's dramatic evolution.
[128]
Radiohead - OK Computer - Reviews - Album of The Year
Rating 94% (13) This landmark masterpiece set a new standard for rock musicians that has yet to be challenged. It's beautiful, mysterious, scary, and thought-provoking.Popular User Reviews · Comments (1744) · Paranoid Android · Let Down
[129]
NPR Reviews Radiohead's 'Kid A,' From Oct. 2000
Oct 13, 2000 · Rock critic Ken Tucker reviews Kid A by the band Radiohead, calling it anti-rock. The album was released on Oct, 2, 2000.
[130]
How Pitchfork's 'Kid A' Review Changed Criticism - Billboard
Mar 26, 2020 · 20 years ago, Pitchfork's unrestrained, perfect 10.0 review of Radiohead's Kid A album changed the way people thought about music criticism ...
[131]
Kid A by Radiohead Reviews and Tracks - Metacritic
Kid A ; 1,134 Positive Ratings 91% ; 20 Mixed Ratings 1% ; 90 Negative Ratings 7%.
[132]
Hail To The Thief by Radiohead Reviews and Tracks - Metacritic
Read full review · Critic Reviews · User Reviews. (150). 8.7 · User Score Universal acclaim. 606 Positive Ratings 93%. 28 Mixed Ratings 4%. 13 Negative Ratings ...<|separator|>
[133]
“In Rainbows” by Radiohead (Review) - Opus
Oct 18, 2007 · In Rainbows sounds like Radiohead once again enjoying their music. Not that the album is an upbeat affair, but it is a relaxed and confident one.
[134]
The King of Limbs by Radiohead Reviews and Tracks - Metacritic
Mar 29, 2011 · The King of Limbs ; Metascore 40 reviews ; User Score 795 ratings ; Label: XL ; Top Track. Lotus Flower. I will shape myself into your pocket ...
[135]
A Moon Shaped Pool by Radiohead Reviews and Tracks - Metacritic
May 8, 2016 · 40 Positive Ratings 93% ; 3 Mixed Ratings 6% ; 0 Negative Ratings 0%.
[136]
Radiohead Sucks - Something Awful
Oct 26, 2003 · Their Internet fans are legion, their pretentious and egotistically dull albums continue to sell, and the people who malign the good name of ...
[137]
Are Radiohead Overrated? : r/Music - Reddit
Mar 21, 2015 · Also, a lot of their music after Amnesiac strikes me as very pretentious. Radiohead's image has always revolved around the fact that they were ...Since when did the stigma that Radiohead fans are pretentious starttell me why you don't like radiohead : r/Music - RedditMore results from www.reddit.com
[138]
Radiohead - Metacritic
Radiohead ; positive. 52 (84%) ; mixed. 9 (15%) ; negative. 1 (2%).
[139]
Radiohead best-selling album sales: How many records? - Accio
Aug 28, 2025 · Total albums sold: Over 21.4 million (including 9 million in the U.S. and 5.32 million in the U.K.) 7 . Another source estimates 30 million ...
[140]
https://musicgoldmine.com/products/radiohead-ok-computer-riaa-platinum-album-award
[141]
RIAA Gold & Platinum Awards on Instagram: " Don't leave me high ...
Apr 4, 2025 · 30 years ago, @radiohead released their RIAA Platinum-certified album #TheBends ✨ #RIAAArchives @capitolrecords. more. View all 3 comments.<|separator|>
[142]
Today in Music History: Radiohead's 'Kid A' goes No. 1 in the U.S.
Oct 15, 2019 · To date, the album has sold more than four million copies worldwide. Also, Today In: 1955 - At a concert in his hometown of Lubbock, Texas, a ...
[143]
Radiohead Publishers Reveal “In Rainbows” Numbers - Rolling Stone
Oct 15, 2008 · In all, there have been three million purchases of In Rainbows (including CDs, vinyls, box sets and digital sales) since the band began selling ...
[144]
10 Years Ago: Radiohead's Big 'In Rainbows' Gamble Pays Off
Jan 9, 2018 · ... sales of In Rainbows reached three million copies. The official data shows Radiohead moved 1.75 million CDs globally making approximately ...
[145]
Radiohead's Early-Career Masterpiece Leads A Sale Surge - Forbes
Aug 1, 2025 · A viral TikTok surge pushes Radiohead's “Let Down” and albums like OK Computer and The Bends back onto U.K. charts in a rare sales boost.
[146]
Radiohead Is Back on the Hot 100 With This 28-Year-Old Song
Aug 27, 2025 · Radiohead's "Let Down," from 'OK Computer,' becomes the band's fourth chart entry, and first since 2008.
[147]
https://www.grammy.com/artists/radiohead/8042
[148]
Radiohead - The Ivors Academy
Mar 23, 2019 · The Ivor Novello Award for International Achievement recognises UK or Irish songwriters or composers who have written an exceptional body of ...
[149]
Mercury prize 2023: Arctic Monkeys tie Radiohead's record for most ...
Jul 27, 2023 · There are first-time nods for the likes of Fred Again, Lankum, Jockstrap and Raye, and repeat recognition for acts including J Hus and Jessie Ware.
[150]
Radiohead | Rock & Roll Hall of Fame
Radiohead pushed the boundaries of rock and roll. Never settling for genre archetypes, they incorporated a wide variety of musical influences.
[151]
Radiohead - Best Ever Albums
Radiohead best albums · 1. OK Computer. United Kingdom Radiohead · 2. In Rainbows. United Kingdom Radiohead · 3. Kid A. United Kingdom Radiohead · 4. The Bends.Best albums · Best songs · Ratings
[152]
Radiohead revolutionized 90s alternative culture | The East Carolinian
Jan 31, 2023 · As a result, Radiohead served as a major influence for other bands, inspiring them to push boundaries and challenge the status quo. To many ...
[153]
33 Musicians Discuss Their Favorite Radiohead Songs - Stereogum
Mar 10, 2015 · From star-studded guest lists to an audible influence on several generations of bands, Radiohead's fan base has always included quite a few ...<|separator|>
[154]
Fitter, Happier, More Innovative… The Legacy of Radiohead's “OK ...
"OK Computer" challenged music as art, shook the industry, upended alternative music, and was a commentary on human nature, with a unique, unorthodox approach.
[155]
The Whispered Warnings of Radiohead's “OK Computer” Have ...
Jun 23, 2017 · “OK Computer” was inspired by the dislocation of non-stop travel, it's now understood as a record about how overreliance on technology can lead to alienation.Missing: influence | Show results with:influence
[156]
Radiohead's OK Computer: An Overrated Pretentious Mess - DeBaser
Rating 1.0 · Review by NouQuitoSep 25, 2006 · A scathing critique of Radiohead's OK Computer as a pretentious, cliché-ridden album with no standout songs except for 'No Surprises'.
[157]
Why do critics love Radiohead so much? - Quora
Mar 18, 2015 · Radiohead's alleged brilliance is a complicated and polarizing subject. They are a band in a unique position. They have received almost no blatantly negative ...
[158]
Read User Reviews and Submit your own for Kid A - Metacritic
this is some bullshit. radiohead is a pretentious, overrated band, and thom yorke is a class A douche. 1.
[159]
most overrated/pretentious bands - Head-Fi
Dec 19, 2003 · Here is my list of the most pretentious/overrated bands 1. Radiohead. I've been a huge fan since hearing "High and Dry" on MTV when I was 12 ...
[160]
Thom Yorke's Voice: Classic or Dud - ilXor.com
The most overrated thing I've heard in years, whiny, gratey and very, very annoying. Plus if ever a singing voice is pretentious, this is it. ... Radiohead ...<|separator|>
[161]
Would you like Radiohead if Thom Yorke stopped his whining?
Jun 23, 2009 · Hard to say, they're not as bad as Coldplay and although yeah he does whine all the time and he has that awful weepy voice, in a way it's what ...
[162]
Why do some people despise Radiohead? What reason do they give?
Aug 11, 2013 · Liking Radiohead makes you 'intellectual' which comes out as pompous and pretentious to some people. Others hate the mood that Radiohead brings ...
[163]
Why do people hate Radiohead? : r/Music - Reddit
Jul 2, 2014 · Not many people hate Radiohead in my opinion. But those who do, probably because their music is too depressive and lifeless for many people. You ...I finally listened to The Smile and now I understand what Radiohead ...tell me why you don't like radiohead : r/Music - RedditMore results from www.reddit.com
[164]
Hail To The Thief is a very disappointing Radiohead album
Oct 1, 2005 · I bought this album last Saturday, and I still think it's the worst album they've ever made. Then again I don't own Pablo Honey, ...
[165]
Is Thom Yorke An Elitist? | U2 Feedback
Nov 18, 2002 · Radiohead (Thom York especially) are elitist. They have this holier-than-thou, arthouse I'm-so-deep-and-groundbreaking-woe-is-me attitude that ...
[166]
A Perhaps Unnecessarily Comprehensive Attempt to Finally Like ...
Aug 21, 2014 · I've found most of their music chilly, impersonal, and at worst, just plain boring. To sum it up, Radiohead's music has never moved me in any significant way.Missing: counter narratives acclaim
[167]
EMI stab Radiohead in the back catalogue | Music | The Guardian
Nov 8, 2007 · After watching their former charges Radiohead give content away for (nigh-on) free and sign with a rival, EMI are hitting back by re-releasing ...
[168]
Chasing rainbows: inside the battle between Radiohead and EMI's ...
Feb 18, 2019 · A new book details the saga of private equity company Terra Firma acquiring EMI in August 2007 for £4.2bn. This extract details the battle over Radiohead's ...
[169]
Radiohead's 'In Rainbows': A Pragmatic Experiment - NPR
Dec 30, 2009 · In 2007, Radiohead shocked music fans and the industry alike by releasing its record In Rainbows without a label, via its own Web site, and for whatever price ...
[170]
Radiohead Didn't Change the Music Industry, But at Least They Tried
Jan 21, 2017 · As the band's first foray into self-release after departing with their former label, EMI, Radiohead was freer than ever to explore what they ...<|separator|>
[171]
Love, others may follow Radiohead's no-label lead | Reuters
Dec 30, 2007 · Rock band Radiohead's decision to release its new album "In Rainbows" by itself -- online, without a record label's help and at any price ...
[172]
Radiohead sign 'conventional' record deal - NME
Oct 31, 2007 · Radiohead have signed a deal with British indie label XL Recordings for the physical release of 'In Rainbows'.
[173]
Radiohead's music distribution - DIY Music Guide
Jul 29, 2025 · They sign a 6 album deal with EMI. 1993: Radiohead tours worldwide with the support of major label EMI. After signing with the majors, EMI helps ...Missing: Parlophone date 1992-1994
[174]
XL Recordings begin transferring Radiohead's catalogue from ...
Apr 5, 2016 · XL recordings has taken the first step in the transfer of Radiohead's catalogue from Parlophone to the Beggars imprint, a spokesperson for the label has ...
[175]
Radiohead's Early Catalog Moves From Warner Bros. to XL - Billboard
Apr 4, 2016 · The Radiohead catalog pre-dating 2004, sold to the Warner Music Group as part of its acquisition of the Parlophone label, now is credited to XL Recordings.
[176]
Why Radiohead set up a new company each time they release an ...
Jan 12, 2016 · Before the King of Limbs was released in 2011, Radiohead set up Ticker Tape Limited (originally called Make Bread Limited). Even earlier, there ...Missing: ownership | Show results with:ownership
[177]
Radiohead's corporate empire: inside the band's dollars and cents
Apr 29, 2016 · The band have proven themselves shrewd businessmen, forming some 20 companies since their inception – including LLLP LLP and Random Rubbish Ltd.<|control11|><|separator|>
[178]
Study: Most Paid Nothing For Radiohead Album - Billboard
Nov 6, 2007 · ... price" gamble with the digital release of the new album "In Rainbows," 38% paid an average of $6.Missing: empirical outcomes
[179]
Study: Free beats fee for Radiohead's 'In Rainbows' - CNET
Nov 5, 2007 · Of those who downloaded Radiohead's digital album, In Rainbows last month, about 62 percent walked away with the music without paying a cent.<|separator|>
[180]
How much did Radiohead make from In Rainbows? - Radio X
Oct 10, 2025 · It was reported that Radiohead made an "instantaneous" $3 million on In Rainbows despite the number of free downloads.
[181]
Radiohead Online Experiment and Offline Sale: In Rainbows Sells ...
Oct 16, 2008 · Radiohead's pioneering pay-what-you-like In Rainbows album was bought 3 million times and sold more physical CD copies than the band's last two records.<|control11|><|separator|>
[182]
Radiohead's In Rainbows Successes Revealed | Pitchfork
Oct 15, 2008 · Radiohead's In Rainbows Successes Revealed ... Three million in sales! 100,000 discboxes shipped! 1.75 million physical CDs sold! ... Over the next ...
[183]
Radiohead's Innovative Approach Paid Off...Or Did It?
Oct 15, 2008 · But, the digital experiment wasn't an unqualified success. As expected with any Internet release, Bit Torrent downloads cut into legal sales.Missing: metrics | Show results with:metrics
[184]
The King of Limbs Remains a Crucial Piece of the Radiohead Puzzle
as only Radiohead could — by eschewing more conventional notions of songwriting ...
[185]
Radiohead's 'A Moon Shaped Pool' Album Analysis - The Orion
Apr 10, 2025 · In the U.S., the album sold 181,000 copies in its first week, making it the biggest sales week since their 2003 album “Hail to the Thief.” This ...
[186]
Radiohead's A Moon Shaped Pool debuts at no. 3 on album chart
May 16, 2016 · Billboard reports that the album sold the equivalent of 181,000 albums this week, of which 173,000 were pure album sales. Beating out Radiohead ...
[187]
The 10 most collectable Radiohead vinyl editions - The Vinyl Factory
May 18, 2016 · With The Moon Shaped Pool destined for a deluxe edition, we take the opportunity to roundup 10 of the most interesting objects from Radiohead's ...
[188]
Radiohead catalogue moves to XL, suggesting Warner's offload of ...
Apr 5, 2016 · Radiohead's first six albums were part of the Parlophone catalogue. The band's relationship with EMI soured after its 2007 acquisition by ...Missing: leaves | Show results with:leaves
[189]
https://www.discogs.com/artist/3840-Radiohead
[190]
Radiohead to bypass record labels, letting its publisher handle rights
Dec 12, 2007 · The band has retained ownership of the recordings and compositions, and have no major label behind them, Warner/Chappell has devised a scheme for licensing the ...
[191]
A Lesson In Long-Term Branding From Radiohead - Forbes
Jun 24, 2019 · Radiohead was protecting their brand's longevity by sacrificing short-term gains. Who does that anymore? It only works if your brand can hear you.
[192]
What is Radiohead's business model? - Vizologi
Radiohead generates revenue through a multifaceted model that combines album sales, digital downloads, streaming royalties, live performances, and merchandise.
[193]
The Lana Del Rey and Radiohead Plagiarism Case
Radiohead – “Creep” · The Hollies – “The Air That I Breathe”. Hammond and Hazlewood sued Radiohead for plagiarism and won. Radiohead claimed that the ...
[194]
Turns Out Radiohead's 'Creep' Was Lifted from a 1972 Song by The ...
Jan 8, 2018 · First of all, The Hollies didn't write “The Air That I Breathe”. It was written by songwriters Albert Hammond and Mike Hazlewood. And secondly, ...
[195]
The Hollies "The Air That I Breathe" (1974) vs. Radiohead "Creep ...
The Hollies “The Air That I Breathe” (1974) vs. Radiohead “Creep ... sued Thom Yorke et al. for copyright infringement. The liner notes ...
[196]
Influence or Plagiarism? Legal Battles in Music
Jan 12, 2018 · ... Radiohead themselves had to credit The Hollies as writers of Creep, due to the similarity of their 1974 track 'The Air That I Breathe'. In ...
[197]
Radiohead's Copyright Dispute With Lana Del Rey, Explained
Jan 11, 2018 · A guide to Radiohead's copy dispute with Lana Del Rey over “Creep” and “Get Free.” Where precisely do things stand?
[198]
Lana Del Rey Claims 'Lawsuit' With Radiohead Is 'Over' (Watch)
Mar 26, 2018 · Lana Del Rey says the lawsuit between herself and Radiohead over similarities between her song “Get Free” and their hit “Creep” is “over.”
[199]
Nine most notorious copyright cases in music history - BBC
Jun 5, 2019 · The irony is that Radiohead was themselves accused of plagiarism over Creep, due to a similar chord progression to The Hollies' 1974 song The ...
[200]
How an Israel Army Radio Station Made Radiohead International ...
Nov 5, 2023 · Between rehearsals, Radiohead spontaneously performed another song ... They've performed in Israel a total of 9 times, including most ...Missing: performances | Show results with:performances
[201]
Radiohead's Relationship With Israel Goes Way Back - Vulture
Jul 17, 2017 · This Wednesday, Radiohead will perform in Israel for the first time since 2000, having played there eight times over the band's long career.<|separator|>
[202]
With longest concert in 11 years, Radiohead shows it does belong ...
Jul 20, 2017 · The legendary British rock group performed 27 songs from across its 25-year history, including the one that launched it to stardom in Israel: “ ...
[203]
Palestinians call for boycotting Radiohead concerts - BDS Movement
Singer Thom Yorke recently attempted damage control against the growing rejection among Radiohead fans of Jonny Greenwood's shameful artwashing of genocide, ...Missing: response | Show results with:response
[204]
Thom Yorke Breaks Silence on Israel Controversy - Rolling Stone
Jun 2, 2017 · Thom Yorke breaks his silence over the controversy surrounding Radiohead's upcoming show in Israel.Missing: campaign | Show results with:campaign
[205]
Radiohead's Thom Yorke 'offended' by appeal from fellow artists
Jun 5, 2017 · He doesn't seem to appreciate that Radiohead's concert is itself a political statement, and a deeply divisive one. It's telling the Israeli ...
[206]
Thom Yorke Sets the Record Straight on 'Extremely Upsetting' BDS ...
Jun 5, 2017 · The Radiohead frontman gave an impassioned, profanity-laced interview to Rolling Stone, calling supporters of a boycott against Israel 'mind-boggling'.
[207]
Thom Yorke on Israel boycott pressure: 'I don't agree ... - The Guardian
Jun 2, 2017 · Radiohead frontman Thom Yorke has responded to the pressure being put on the band to pull out of a scheduled gig in Israel because of a cultural boycott.
[208]
When music becomes a battleground - Index on Censorship
May 7, 2025 · From Kneecap to Jonny Greenwood, recent gig cancellations reveal how fragile free expression has become in the shadow of war.
[209]
Radiohead on Israel gig: "Playing a country isn't the same as ... - BBC
Jul 12, 2017 · Radiohead have performed in Israel eight times - most recently in 2000 - but next week's show is the first time they've visited since the BDS ( ...Missing: history | Show results with:history
[210]
Radiohead's Thom Yorke Releases Statement on Israel and Gaza
May 30, 2025 · The musicians also recently had two UK concerts canceled after pressure from the the Boycott, Divestment and Sanctions (BDS) campaign. Find ...The Smile · Jonny Greenwood · Shouted at him about the war
[211]
BDS calls for boycott of Radiohead as band announces first tour in 7 ...
Sep 4, 2025 · “Palestinians reiterate our call for the boycott of Radiohead concerts, including its rumoured tour, until the group convincingly distances ...
[212]
Radiohead to Return After Seven Years as BDS Urges Boycott Amid ...
Sep 4, 2025 · Radiohead to Return After Seven Years as BDS Urges Boycott Amid Guitarist's Shows With Israeli Singer. The Palestinian Campaign for the Academic ...<|control11|><|separator|>
[213]
RADIOHEAD'S THOM WANTED TO QUIT - Mirror Online
Jan 30, 2012 · RADIOHEAD singer Thom Yorke has said he wanted to quit the band - because he was fed up with fame. The 37-year-old Oxford-based rocker said ...
[214]
Radiohead's Rhapsody in Gloom: The Story Behind 'OK Computer'
May 31, 2017 · “I walked out of soundcheck, disappeared, lost the security and then was trying to get out of the building,” says Yorke. After wandering for a ...
[215]
NME, May 19th 2001 - Citizen Insane
May 19, 2001 · The 18-month recording session which produced Kid A and Amnesiac nearly split Radiohead up. They nearly split up over the running orders alone.
[216]
Thom Yorke: 'It's not my job to do business with politicians'
Jun 17, 2006 · In his most personal interview ever, Thom Yorke talks about how Radiohead nearly split, their carbon footprint, the death of David Kelly, and his first solo ...
[217]
The closest that Radiohead were on breaking up? - Reddit
Oct 4, 2024 · The last time I met Thom Yorke he said There There ... r/radiohead - Ed discusses how the band very nearly split up over the tracklist.Radiohead Screenplay help - Kid A/ Amnesiac track listing processWhen the Kid A tracklist goes from The National Anthem to ... - RedditMore results from www.reddit.com
[218]
Radiohead Unplugged (From the Music Industry) - Observer
Jul 17, 2006 · Yorke, who's as combative as he is talented, was responsible for much of the band's internal strife. ... THE OTHER MAJOR EVENT IN RADIOHEADLAND is ...
[219]
Have any of the members ever had “beef” so to speak? : r/radiohead
Nov 2, 2023 · But there was definitely tension towards the end of the OK Computer tour, that's evident on Meeting People Is Easy, but thats what happens when ...The closest that Radiohead were on breaking up? - RedditPSA: Radiohead has not "broken up" contrary to the recent articles ...More results from www.reddit.com
[220]
Are Radiohead Fans as Miserable as Their Stereotype, and Is That a ...
pretentious, depressed loners — may be cruel, but they can also be accurate. Those descriptions, for ...
[221]
A SCENE IN RETROSPECT: Radiohead - "Kid A" - Everything Is Noise
Nov 21, 2020 · Others claim it to be overrated, pretentious, annoyingly artsy. In German, you would say 'verkopft,' which basically means all mind, no ...
[222]
The Radiohead Hit Song That the Band Refused To Play Live Again
Jun 28, 2024 · Pressure And Tension Ruined Radiohead's Love Of “Creep”. Radiohead's label at the time was pushing the band to release something as successful ...
[223]
Why do some people criticise Radiohead's music as being ... - Quora
Apr 13, 2018 · 1) They were arrogant, their music was too "complex", too pretentious. So precious in fact, they had never set foot in Mexico, so yeah.
[224]
With Radiohead, and Alone, the Sweet Malaise of Thom Yorke
Jul 2, 2006 · Inner tension reigns in Radiohead songs, as the rhythms undermine rock's standard 4/4, melodies are assaulted by intrusive noise, and the sweet ...
[225]
Colin Greenwood: 'I never let Jonny forget it was me who got him ...
Oct 20, 2024 · Radiohead bassist Colin Greenwood reflects on teenage enthusiasms, questionable fashion choices and landmark shows.
[226]
Radiohead hometown, lineup, biography | Last.fm
Members. Colin Greenwood; Ed O'Brien; Jonny Greenwood; Philip Selway; Thom Yorke. Radiohead are an English rock band formed in Abingdon, Oxfordshire, in 1985.Missing: core | Show results with:core
[227]
Radiohead Members, Gear & Sound - Equipboard
The group consists of Thom Yorke (vocals, guitar, piano), Jonny Greenwood (lead guitar, keyboards), Colin Greenwood (bass), Ed O'Brien (guitar, backing vocals) ...
[228]
https://www.instagram.com/p/DQINf38DQSH/
[229]
Is there a comprehensive guide that reveals what instruments band ...
Jan 18, 2023 · No, because they all play multiple instruments, they swap instruments a lot, what each member plays live is not necessarily the same as what ...Roles and prominence of bandmembers : r/radiohead - RedditWhat instrument do you think shines most on each Radiohead ...More results from www.reddit.comMissing: roles | Show results with:roles
[230]
https://theguardian.com/music/2011/oct/14/radiohead-king-limbs-follow-up
[231]
Clive Deamer - Tour Dates, Song Releases, and More
Portishead drummer Clive Deamer to join Radiohead for 2016 world tour. Deamer previously accompanied the band for their King of Limbs Tour.
[232]
Radiohead kick off A Moon Shaped Pool world tour in Amsterdam
May 20, 2016 · The on-stage lineup featured core members Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, and Phil Selway, along with Portishead ...
[233]
ABOUT | clive-deamer
Clive has been recording and touring with Radiohead since 2011 as the second drummer alongside Phillip Selway. As well as touring with the band he also featured ...
[234]
Drummer - Grammy/Mercury Prize - Clive Deamer - SoundBetter
Rating 5.0 (18) Clive has been recording and touring with Radiohead since 2011 as the second drummer alongside Phil Selway. As well as touring with the band he was also ...
[235]
Life In a Glasshouse (Full Length Version) - YouTube
Dec 18, 2019 · ... Humphrey Lyttelton Studio Musician: Jimmy Hastings Studio ... Life In a Glasshouse (Full Length Version) · Radiohead Knives Out ...
[236]
The only time Radiohead has played "Life in a Glasshouse" live
Mar 2, 2017 · Only one track, "Life in a Glasshouse", was recorded after Kid A was released. In late 2000, Greenwood wrote to jazz trumpeter Humphrey Lyttelton to ask the ...Listen to “The National Anthem” and then listen to “Life in a ... - RedditJust finished listening to Amnesiac, this song is so beautiful - RedditMore results from www.reddit.com
[237]
A Collaborative History with Radiohead - Consequence of Sound
“Please welcome the band that needs no introduction!” shouts the diminutive Professor Flitwick, before shooting a beam from his magic wand that brings up the ...
[238]
The Essential Guide To Thom Yorke's Solo Work - Clash Magazine
Mar 11, 2024 · After an eight-year period that saw Thom Yorke involved in two Radiohead albums and the Atoms For Peace project, the singer finally got round to ...
[239]
Watch Atoms For Peace's Surprise Reunion At Thom Yorke Solo Gig
Dec 20, 2018 · Thom Yorke was nearly done playing a solo show at the Orpheum Theater in Los Angeles last night when a surprise Atoms For Peace reunion materialized.
[240]
Composer Jonny Greenwood's Score to Paul Thomas Anderson's ...
Sep 26, 2025 · Greenwood won Best Film Score at the Evening Standard British Film Awards, and Critics' Choice Award for Best Composer by the Broadcast Film ...
[241]
Philip Selway - Bella Union
Following the acoustic Familial, his first solo album, then Weatherhouse (slightly more fleshed-out, as he puts it, working with Adem Ilhan and Quinta) ...
[242]
Radiohead's Ed O'Brien Talks 'Earth,' His New Solo Project As EOB
Apr 17, 2020 · The Radiohead guitarist tells us about taking a break to spend time with his family, finding community at Glastonbury and drawing ...
[243]
Radiohead Recently Reunited for Rehearsals, Per Colin Greenwood
Sep 9, 2024 · ... side projects. Greenwood will continue on as a touring member of Nick Cave's Bad Seeds band in the next few months in place of Martyn Casey ...
[244]
Radiohead's Colin Greenwood to play bass on Nick Cave's ...
Mar 24, 2023 · Colin Greenwood is set to play bass on Nick Cave's forthcoming solo tour across the US later this year. The dates kick off in Asheville, NC on September 19.