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Graham Leslie Coxon (born 12 March 1969) is an English guitarist, singer and songwriter who came to prominence as a founding member of the British rock band Blur, of which he was the lead guitarist and secondary vocalist.

Coxon is featured on all of Blur's studio discography (although 2003's Think Tank only features his playing on one album track and two B-side tracks due to his temporary departure from the band during recording sessions for the album). He has also since 1998 led a solo career in which he produces and plays all instrumentation. As well as being a musician, Coxon is a visual artist: he designed the cover art for all his solo albums as well as Blur's 13 (1999).

Coxon plays several instruments and records his albums with little assistance from session musicians. Q magazine critic Adrian Deevoy has written: "Coxon is an astonishing musician. His restless playing style – all chord slides, rapid pulloffs, mini-arpeggios and fractured runs – seems to owe more to his saxophone training than [to] any conventional guitar tuition."[2] An innovative lead guitarist,[3] he has been described by Noel Gallagher, lead guitarist of the band Oasis, as "one of the most talented guitarists of his generation."[4] Coxon was voted the 15th greatest guitarist of the last 30 years in a 2010 BBC poll.[5]

Early life

[edit]

Graham Leslie Coxon was born on 12 March 1969 in Rinteln, West Germany,[6] where his father, Bob Coxon, was stationed as a clarinet player and band leader in the British Army. As a child, he moved first to Spondon, Derby, England, a period during which he became a fan of Derby County. He then moved to Colchester, Essex, England, where he grew up and met fellow Blur member Damon Albarn at The Stanway School, then known as Stanway Comprehensive, at the age of 11. At the beginning of their relationship, Coxon would play the saxophone on Albarn's original songs before playing the guitar in several small Colchester bands. He appeared on the popular BBC children's show Blue Peter twice.

Music career

[edit]

Blur

[edit]
Main articles: Blur (band) and Blur discography

Coxon studied fine art at Goldsmiths College, London, for two years, where early on he met bassist Alex James. In his time there he mixed with upcoming talents such as Damien Hirst, Michael Landy, Sam Taylor-Wood, and Abigail Lane, some of the future leading lights of the Britart movement. His musical interests were heavily influenced by Pink Floyd founder Syd Barrett, whose work he had discovered by 1986.[7][8]

He quit college due to the increasing success of his band at the time, Seymour, which later changed its name to Blur because the recording company, Food Records, thought Seymour was too 'student-ish'. They presented a list to the band of preferred names which included "The Shining Path" and "Blur". As well as providing all guitars, backing vocals, and occasional drums, Coxon's lo-fi and alternative musical style and tastes influenced the band's less commercial music in the late 1990s. He sang lead vocals on songs including "Red Necks", "You're So Great" from the album Blur, and "Coffee & TV", as well as a section of the chorus of "Tender", the bridge of "Lonesome Street" and a section of "Thought I Was a Spaceman" on The Magic Whip.

During the 1995 period of the media-dubbed 'Battle of Britpop', Coxon became increasingly weary and suspicious of the music industry. His behaviour was occasionally awkward, such as refusing to appear in the video for Blur song "Country House" unless he could dress as a milkman and take no part in any action with which he felt uncomfortable.[citation needed]

In November 2001, Coxon was admitted to the Priory Hospital for 28 days to be treated for alcoholism. During this time, Blur began the recording sessions that would produce the material for their next album, Think Tank. In February 2002, Coxon rejoined the band in the studio for the rest of the recording of Think Tank but after five days was asked by then manager Chris Morrison not to go back into the studio as the other members of the band had reported that the session was not going too well with him present. Coxon took this as a sign and left the band. As he stated in an interview in 2006, "I had a breakthrough, I think my life just became calmer, I gave up drinking. My priorities changed as I had a young daughter. The group didn't want me to record for the Think Tank album, so I took it as a sign to leave". His last contribution to Blur was a song called "Battery in Your Leg", the closing song on Blur's 2003 album Think Tank, before leaving the line-up. Damon Albarn later revealed that the song "Sweet Song" was written after he had been looking at a photograph of Coxon.

After Damon Albarn's revealing that he and Coxon had rebuilt their relationship, on 9 December 2008, Blur announced that the whole band would reunite for a show at Hyde Park on 3 July 2009.[9] More dates were announced and the band played festival dates at Glastonbury, T in the Park and Oxegen 2009 as well as headlining shows in Manchester, Newcastle, Wolverhampton, Goldsmiths College and the East Anglian Railway Museum in Colchester. Blur also played one show in Lyon, France.

On 17 April 2010, the band released their first single since 2003, "Fool's Day", for the Record Store Day event as a 7" limited to 1000 copies.[10] The band released the single as a free download on their official website the next day.[11][12] More recently Blur announced via the NME website that they would reunite every so often and record more singles, preferably on 7 inch. However, Damon also stated that an album was not on its way as they were all too busy with their own individual projects.

On 19 February 2015, Coxon and the band announced on social media that they would be releasing their eighth studio album on 27 April, titled The Magic Whip, Blur's first album in 12 years and first in 16 years in their original lineup.[13][14]

After 8 years, the band released their ninth studio album, The Ballad of Darren. The band went on an international tour, during which they performed in various festivals, including Coachella, and two sold out concerts at Wembley Stadium. On 19th July 2024 the band released a documentary about their latest reunion and tour, blur: To The End.[15]

Solo work

[edit]
Coxon performing in 2007[16]

Coxon had already released three solo albums while a member of Blur before his 2002 departure. His first, The Sky Is Too High was released on his own Transcopic label in 1998. This was followed by The Golden D in 2000 and Crow Sit on Blood Tree in 2001. After going solo full-time, he released The Kiss of Morning in 2002. The album was promoted with the single "Escape Song". In 2004, Coxon released his fifth solo album Happiness in Magazines, produced by ex-Blur and The Smiths producer Stephen Street. This proved to be his most successful album to date, and he received the NME Award for Best Solo Artist in 2005. [citation needed]

In March 2006 he released his sixth solo album, called Love Travels at Illegal Speeds, again produced by Stephen Street. It marked Coxon's first album away from his now-defunct indie label 'Transcopic'. The LP was preceded by the singles "Standing on My Own Again" on 27 February and "You & I". Coxon embarked on a tour of the UK, starting at Newcastle University. He was also involved in a single supporting the England national football team at the 2006 FIFA World Cup. The song was a re-working of the Sham 69 hit "Hurry Up Harry", and was released as "Sham 69 and The Special Assembly" (as well as Coxon and Sham 69, Virgin Radio DJ Christian O'Connell, who had run a competition on his show to find a band to record a song in support of the team, was involved in the recording of the song). "Hurry Up England" entered the UK Singles Chart at No. 10.

In October 2006, Coxon released a double live album Burnt to Bitz: At the Astoria immediately after his sold-out London Astoria show. The album features 27 songs, with at least one song from each of his albums. In July 2007 Coxon released a single with Paul Weller, called "This Old Town". The single peaked at No. 39 in the UK Singles Chart.

Coxon's seventh 15-track studio album titled The Spinning Top, produced again by Stephen Street,[17] was released on 11 May 2009. Coxon stated that the LP, which is primarily acoustic, followed a narrative – the story of a man from birth to death. "The album is mainly an acoustic journey although there is, of course, some explosive electric guitar action," he explained. "There are some guests too! Robyn Hitchcock supplies some counter-attack guitar, Jas Singh plays dilruba and jori with his friends Gurjit Sembhi on taus and Jaskase Singh on esraj. Danny Thompson plays the legendary Victoria, Graham Fox gives plenty of swing on the drums and sizzle cymbals and Louis Vause tinkles the ivories."[18] Pre-release response had been positive, with Monday Field of Frank Booth Review dubbing the album "a staggering artistic achievement, and Coxon's best solo release to date."[19]

His eighth solo album A+E was released in April 2012.

Coxon wrote and recorded the score for the 2017 Channel 4 / Netflix television series The End of the F***ing World; it was his first original score.[20] The soundtrack was released in January 2018.[21] In September of the same year, Coxon embarked on a solo tour in North America that featured some of the songs from his score.[22]

Later he co-composed an original score for the 2019 comedy-drama film Fighting with My Family with Vik Sharma.

In February 2020, Coxon released an album for the fictional band Bloodwitch, to be a part of the soundtrack of the Netflix series I Am Not Okay with This, featuring singer Tatyana Richaud.

In 2021, Coxon published Superstate, a graphic novel accompanied by a studio album of the same name, bringing the concept of a dystopian futuristic universe. The cover art, much like most of his solo works, was illustrated by himself.

Following in 2023, the folk rock band the Waeve, consisting of Graham Coxon and Rose Elinor Dougall as members, released their debut self-titled album, with an England-wide tour. The duo released their second album, called City Lights, in September 2024.[23]

Transcopic and other contributions

[edit]

Coxon's independent label, Transcopic, was co-managed with his friend, and then business partner, Jamie Davis. Davis now runs Independent label Ark Recordings. Coxon illustrated and designed all of his own album art, and collaborated with his friend Nick Craske creating abstract digital work for the release of The Spinning Top; they also filmed two music videos, "Sorrow's Army" and "'In The Morning". Coxon also continued painting a series of personal work, most of which remained unseen until 2004, when he exhibited at the ICA in London.

Coxon has also been involved in remixing other peoples tracks, including Idlewild[24] and Lowgold[25] both of which were released as B-sides and the latter remix was later re-released on the band's anthology release Keep Music Miserable.

In September 2006, Coxon revealed a musical soundscape, "english shoes squeek," created especially for "Verheaven" an exhibition at London's Riflemaker Gallery of the work of artist Julie Verhoeven.

Coxon appeared on John McCusker's Under One Sky, providing the song "All Has Gone".

In 2009, Coxon played on all but one track of the Pete Doherty solo album Grace/Wastelands. Doherty lived with Coxon to work on the album, which was released 24 March 2009.

Coxon at the 2005 Leeds Festival

Coxon has also produced albums by Mower and Assembly Line People Programme from his Transcopic label.

In 2013, Coxon was involved in a musical project where artists re-recorded the classic Beatles album Please Please Me.[26] He recorded the song "Baby It's You" live as part of a 10-hour recording session hosted by BBC Radio 2 to mark the 50th anniversary of a challenge set by recording company EMI to The Beatles to record a whole studio album in one session.

In February 2019, Coxon became involved with the writing process of the Duran Duran album Future Past, which reached No.3 on the UK Album Charts and No.1 on the UK Independent charts. He told the UK Independent Newspaper that Duran Duran are "All really nice and they’re not, as individuals, dissimilar to Blur."[27] Coxon performed with Duran Duran at the 2021 Billboard Awards Show.[28]

In 2025, Coxon contributed both vocals and guitar on 2 songs (Fun People and Ad Astra) on Ash's Ad Astra album.

Instruments and equipment

[edit]

Coxon has primarily used Fender Telecasters throughout his career, particularly a '52 reissue and a customised 1968 model with a Gibson PAF humbucker in the neck position, the latter was reissued by Fender as the Graham Coxon signature model although with some minor changes. Since the Blur reunion in 2009 he almost exclusively used a vintage Telecaster Deluxe. During the Leisure era Coxon also used Gibson Les Pauls and a Fender Jaguar, whilst on some later songs, such as No Distance Left to Run and This Is a Low, Coxon uses a Gibson ES-335. He has occasionally used a heavily modified Fender Musicmaster which can be seen in the Coffee & TV and Beetlebum videos. Coxon plays all the instruments featured in his solo work, and has used a variety of guitars, notably Gibson SGs, and a Burns London Sonic. He has been recently seen playing a Telecaster Custom.

Graham recently received a custom-made guitar from Gray Guitars; it is a Telecaster-type instrument and features a semi-acoustic body and P90 style pickups.

Coxon's playing makes significant use of effects pedals such as distortion, delay (a significant example being "Essex Dogs") and flange (as heard in the pre-chorus of "Girls & Boys"). He uses a custom made Mike Hill pedalboard which over the years has included: Akai Headrush E2, Boss BF-2 Flanger, Boss CS-3 Compressor/Sustainer, Boss DD-3 Digital Delay, Boss DM-2 Analogue Delay, Boss OD-3, Boss NS-2 Noise Suppressor, Boss PN-2 Tremolo/Pan, Boss RV-5 Digital Reverb, Boss TR-2 Tremolo, Boss TU-2 Tuner, Boss VB-2 Vibrato, DOD Punkifier, Electro-Harmonix HOG, Electro-Harmonix Holy Grail, Line 6 FM4 Filter Modeller, ProCo RAT, Shin-Ei FY-2 Companion Fuzz, T-Rex Mudhoney Distortion.

For amplification, he uses two Marshall 1959 SLP heads going in to individual 1968 4x12 cabinets.

A detailed gear diagram of Graham Coxon's 1993 Blur guitar rig is well-documented.[29]

Other artistic endeavours

[edit]

Coxon is a visual artist and designs all his album sleeves. He has also designed album sleeves for other artists. In July 2006, he wrote and had published a foreword for a new edition of Hermann Hesse's Narcissus and Goldmund novel. His work also featured on the cover of English folk singer Kate Rusby's album The Girl Who Couldn't Fly.

In October 2022 his memoir Verse, Chorus, Monster! was published by Faber and Faber.[30]

Personal life

[edit]

During a celebratory event for Blur's "Battle of Britpop" victory in 1995, Coxon considered suicide by jumping out of a sixth-storey window, but was talked out of it by Damon Albarn.[31][32]

Coxon became a teetotaller as a recovering alcoholic.[33] Having previously been married, he is now in a relationship with his Waeve collaborator Rose Elinor Dougall, with whom he has a daughter.[34]

Solo discography

[edit]
Further information: Blur (band) and Blur discography
Main article: Graham Coxon discography
Solo studio albums

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Graham Coxon

View on Grokipedia
from Grokipedia
Graham Coxon (born 12 March 1969) is an English musician, singer-songwriter, multi-instrumentalist, and painter best known as the founding member and lead guitarist of the band Blur. Born in Rinteln, , to a father who was a saxophonist in bands, Coxon spent his early childhood moving between army bases before relocating to in at age five and later to Colchester, , at age eight. There, he met future Blur frontman at , and the two bonded over music, with Coxon discovering his passion for guitar after hearing The Jam's "Start!" at age 11. He trained initially on before focusing on guitar and pursued studies at , where he reconnected with Albarn and met bassist Alex James. In 1988, Coxon co-founded the band Seymour with Albarn, James, and drummer Dave Rowntree; it was renamed Blur in 1990 after signing with Food Records, launching a career that defined the Britpop era. As Blur's lead guitarist and secondary vocalist, Coxon contributed to all nine of the band's studio albums, including seminal works like Parklife (1994) and The Great Escape (1995), which propelled Blur to global fame amid the Britpop rivalry with Oasis. His innovative, experimental guitar style—blending indie rock, noise, and art-punk influences—earned him acclaim, with Oasis's Noel Gallagher calling him "one of the most talented guitarists of his generation" and a 2010 BBC poll ranking him 15th among the greatest guitarists of the previous 30 years. However, Coxon's introverted nature clashed with the band's rising stardom and his struggles with stage fright, leading him to rely heavily on alcohol; this culminated in his departure from Blur in 2002 during the recording of Think Tank, though he provided some guitar parts remotely. He rejoined the band in 2009 for reunion performances and contributed to their 2015 album The Magic Whip and 2023 album The Ballad of Darren, as well as a major 2023 tour. Parallel to his Blur tenure, Coxon launched a solo career in 1998 with The Sky Road, releasing eight studio albums, culminating in A&E (2012), which explored folk, indie, and experimental sounds influenced by artists like Bert Jansch and Martin Carthy. Post-rehab in 2002, after addressing his alcoholism, he toured smaller venues and delved into folk music, marking a shift from Britpop's gloss to more personal, raw expression. Coxon has also collaborated extensively, including contributions to Damon Albarn's Gorillaz project, composing the soundtrack for the Netflix series The End of the F**ing World* (2017–2019), and forming the band the Waeve with vocalist Rose Elinor Dougall, whose 2023 album The Waeve, 2024 album City Lights, and 2025 EP Eternal blend art-rock and psychedelia. A trained visual artist, Coxon has maintained a parallel career in since his Goldsmiths days, drawing inspiration from expressionists like and ; he designs all his solo album covers and Blur's 13 (1999), viewing art and music as intertwined outlets for his self-doubt and experimentation. In 2022, he published his memoir Verse, Chorus, Monster!, a candid account of his anxious upbringing, fame's toll, addiction recovery, and sobriety, reflecting on Blur's legacy from his perspective as the "unlikely lad" of . Coxon had a long-term relationship with Anna Norlander, with whom he has a daughter, Pepper, born in 2000; they separated around 2012, and he resides in rural , pursuing interests in vintage motorbikes and spiritualism.

Early years

Childhood and family

Graham Leslie Coxon was born on 12 March 1969 in , to British parents; his father, Bob Coxon, served as a saxophonist and band leader in the . In 1974, at the age of five, the family returned to due to his father's military posting, settling in Spondon, near in . Coxon's early exposure to music came primarily through his father's record collection and musical background; he remembers experimenting with the stereo's balance knob to isolate vocals on albums like Rubber Soul by , as well as being sung to sleep by his father with various tunes. Influential tracks from this period included "" by , "" by , and "" by , evoking strong emotional responses during his preschool years. The family later relocated to , , in 1977 at age eight, where, at age 11, Coxon met his future Blur bandmate .

Education and early musical interests

Coxon attended in , , where he first met future Blur collaborator at the age of 11. During his school years, Coxon developed an early interest in music, initially playing before transitioning to guitar, which he learned to play in a largely self-taught manner by emulating recordings of his favorite artists. His interest in guitar was specifically sparked at age 11 after hearing The Jam's "Start!". This period marked the beginning of his musical explorations, as he bonded with Albarn over shared tastes in music and fashion rather than sports, fostering a creative friendship that influenced his artistic development. In his late teens, Coxon formed and participated in several short-lived bands in , including The Aftermath and The Carp Eaters From Hell, allowing him to experiment with guitar playing and songwriting in local settings. These early groups provided a platform for honing his skills amid his growing passion for both music and visual , reflecting a dual interest that would shape his career. Following , he pursued formal , first earning a National Diploma in general art and design at Institute from 1987 to 1989. Coxon then enrolled at , around 1988 to study , a program he attended until 1991, though he ultimately left early to focus on music. At Goldsmiths, he met bassist Alex James, and the two, along with Albarn who was also in London studying music part-time, began sharing a flat and engaging in informal jam sessions that blended their artistic and musical pursuits. This environment allowed Coxon to balance his studies with burgeoning musical activities, integrating influences from and experimental sounds into his self-taught guitar techniques.

Blur career

Formation and breakthrough

Blur was formed in late 1988 when vocalist , who had been performing with drummer in a band called Circus, reconnected with childhood friend and guitarist Graham Coxon at Goldsmiths College in ; bassist James soon joined to complete the lineup. Initially named Seymour—inspired by J.D. Salinger's novella Seymour: An Introduction—the group performed their first gig in summer 1989 and caught the attention of A&R executive Andy Ross by late that year. The band signed with the label in early 1990, but Ross disliked the name Seymour and requested a change; from a list of alternatives, they selected Blur for its brevity and visual impact, marking the official renaming in March 1990. As Blur's lead guitarist, Coxon played a pivotal role in defining the band's early sound, delivering noisy, angular riffs influenced by and on their debut Leisure, released in August 1991. Produced by Chris Ostlund, the peaked at No. 7 on the and featured singles such as "There's No Other Way," which reached No. 8, establishing the band's presence in the British music scene despite a shoegaze-heavy style that drew mixed reviews. Coxon's raw, distortion-laden playing—often described as "shambolic" and on the verge of breaking—added urgency and texture to tracks like "She's So High," helping to differentiate Blur from contemporaries. The band's true breakthrough arrived with their second album, , released in May 1993, which shifted toward a distinctly British aesthetic and is widely regarded as a foundational record. Coxon's contributions on guitar and backing vocals brought melodic rawness and dynamism to songs like "For Tomorrow" and "," expanding the band's sonic range beyond 's monotony. This momentum carried into 1994's , their third album, which featured the hit single "Girls & Boys"—powered by Coxon's deliberately awkward, spring-loaded riff that cut through the mix and epitomized the angular energy of emerging . Parklife achieved massive commercial success, debuting at No. 1 on the in April 1994, selling over one million copies in the UK alone, and spawning four Top 20 singles including "Girls & Boys" (No. 5). The album won the BRIT Award for Best British Album in 1995 and received a nomination, solidifying Blur's status as a leading act in the movement. However, their accompanying tour faced significant challenges, as the grunge-dominated American market largely dismissed their quintessentially British sound, resulting in limited commercial traction stateside.

Key albums and tensions

Following the success of Parklife, Blur's 1995 album The Great Escape marked a period of heightened commercial expectations and internal strain, with Graham Coxon contributing distinctive guitar parts that blended orchestral pop with experimental edges. On the lead single "Country House," Coxon's bouncy, tongue-in-cheek riffs, played on a Fender Telecaster with effects, propelled the track to No. 1 in the UK, outselling Oasis's "Roll With It" in the infamous Britpop chart battle. Coxon co-wrote several tracks, infusing the album with his unique style influenced by woodwind instruments from his background, which added textural depth to songs like "The Universal." However, the era's commercial pressures, including the rivalry with Oasis, exacerbated band tensions, as Blur navigated expectations to replicate their prior breakthrough while maintaining creative integrity. By 1997, Coxon's influence drove Blur's self-titled album toward a lo-fi, American indie rock sound, a deliberate shift from amid growing creative clashes. Drawing from bands like Pavement encountered during a 1996 U.S. tour, Coxon pushed for grittier production, evident in the raw guitar tones and punk energy of tracks like "." He co-wrote and shaped the iconic "," a grunge-inspired with its explosive and "woo-hoo" chorus, which became the album's international breakthrough, contrasting the poor U.S. sales of The Great Escape. This evolution highlighted Coxon's resentment toward Damon Albarn's songwriting dominance and Alex James's celebrity distractions, leading to his heavy drinking and a pre-recording letter demanding a "scarier" direction that nearly dissolved the band. The experimental phase peaked with 13 in 1999, where Coxon's guitar textures defined the album's noisy, introspective sound under producer . On "," which Coxon wrote and sang about his , his improvised solo—created spontaneously with layered effects pedals like and distortion—delivered discordant, feedback-laden bends inspired by , filling sonic gaps with . Throughout the record, Coxon's , , and manipulated guitars added layers to tracks like "Tender," emphasizing emotional vulnerability over pop accessibility. These contributions coincided with escalating personal struggles, as Coxon's anxiety-fueled intensified; he later recalled drinking to numb nerves during relentless touring and the Oasis rivalry's fallout, including a after "Country House"'s "hollow" victory. Commercial pressures and creative differences, including ignored needs, further strained dynamics, with Coxon feeling worked "to death" in an era lacking support.

Departure and reunion

In 2002, during the recording sessions for Blur's seventh studio album , guitarist Graham Coxon left the band amid personal struggles with and broader creative differences, which had been building since the experimental tensions surrounding their 1999 album 13. His contributions to were minimal, limited to a few guitar parts, as his issues led to the band's manager informing him that his services were no longer required. Following Coxon's departure, Blur completed Think Tank as a trio and entered an extended hiatus, during which the band members pursued individual projects with little collaborative activity involving the full lineup. Coxon's involvement remained sporadic until 2009, when Blur reunited for a series of high-profile shows, headlining London's Hyde Park in July, marking the first performances with all four original members since 2002. The 2009 reunion coincided with the release of Midlife: A Beginner's Guide to Blur, a two-disc that surveyed 's career up to that point, featuring Coxon's guitar work from earlier recordings but no significant new contributions from him on the project. This period revitalized interest in , leading to further tours, though full studio collaboration was delayed. In 2015, Blur returned with , their first studio album featuring Coxon's complete participation since 13, recorded spontaneously during a five-day session in and emphasizing reconciled dynamics within the group. The band's momentum continued into 2023 with a major revival, including the release of their ninth studio album The Ballad of Darren in July, which explored themes of nostalgia and maturity through tracks like the lead single "The Narcissist." This was supported by two sold-out shows at Wembley Stadium on July 8 and 9, drawing over 150,000 fans and capturing the quartet's enduring chemistry in a set blending classics and new material. The performances kicked off an international tour spanning Europe, North America (including Coachella), and beyond into 2024, reaffirming Blur's live prowess. Culminating the revival, the documentary Blur: To the End, directed by Toby L and released in 2024, chronicled the album's creation, Wembley concerts, and tour, offering an intimate look at the band's friendships and creative process over three decades. In 2025, Blur members commented positively on Oasis's reunion tour, with Albarn stating Oasis had "won" the Britpop rivalry, reflecting on the bands' shared history.

Solo and collaborative work

Solo albums and style evolution

Coxon's solo career began with the limited release of his debut album, , in 1998 on his own Transcopic label, featuring a raw sound that contrasted with Blur's polished aesthetic. This initial effort, produced and performed largely by Coxon himself, laid the groundwork for his independent explorations, emphasizing lo-fi production and introspective songwriting. Following this, his early albums continued in a similar vein: The Golden D (2000) delved into experimental lo-fi elements, blending distorted guitars with ambient textures; Crow Sit on Blood Tree (2001) shifted toward acoustic-driven, introspective folk-rock; and The Kiss of Morning (2002) introduced more melodic structures influenced by pop and folk traditions. After departing Blur in 2002, Coxon committed fully to his solo endeavors, marking a transition to more structured and accessible sounds. His fifth album, (2004), adopted a poppier tone with polished arrangements and catchy hooks, reflecting a brighter, more radio-friendly evolution from his earlier rawness. This was followed by Love Travels at Illegal Speeds (2006), which recaptured raw energy through guitar-heavy , channeling urgent, driving rhythms and noisy distortions reminiscent of his roots but with greater personal intensity. Subsequent releases further diversified Coxon's palette, incorporating folk influences and experimental breadth. The Spinning Top (2009) embraced eclectic folk-rock with intricate fingerpicking and orchestral flourishes, showcasing a mature blend of beauty and eloquence in its 15 tracks. By A&E (2012), his eighth solo album, Coxon returned to gritty, punk-influenced , characterized by abrasive textures and hyper-melodic vocals that spiraled into thrilling, wilfully unconventional territory. This progression highlighted his shift from guitar-centric rock to broader explorations, prioritizing conceptual depth over commercial polish. In later years, Coxon's style evolved toward instrumental scoring and projects, exemplified by his work on the series The End of the F**ing World* (2017–2019), where he composed original soundtracks blending gentle acoustic plucks, country-tinged twang, and subtle electronic elements to evoke suburban noir atmospheres. In 2021, he released , a of 15 original songs accompanying a sci-fi he co-created, incorporating disco-prog elements, dystopian themes, and collaborative vocals to explore futuristic narratives. These scores underscored his growing affinity for minimalism and narrative-driven composition, extending his solo legacy beyond traditional albums into .

The Waeve and recent projects

In 2021, Graham Coxon formed the band The Waeve with his partner, singer-songwriter , creating a collaborative project that merges rock instrumentation with electronic and synth elements to explore new sonic territories. The duo's partnership draws on their shared musical backgrounds—Coxon's guitar-driven roots and Dougall's pop and art-rock influences—resulting in a distinctive sound characterized by layered textures and introspective lyrics. The Waeve released their self-titled debut album on 3 February 2023 via , featuring tracks such as "Can I Call You," "," and "Drowning," which highlight the band's blend of melodic hooks and atmospheric production. The album received positive reviews for its emotional depth and innovative arrangements, with critics noting its evolution from Coxon and Dougall's individual styles into a cohesive duo identity. To promote the release, The Waeve embarked on a tour in 2023, performing at venues including London's Lafayette, Manchester's Band on the Wall, and Brighton's , where they showcased material from the album alongside live improvisations. Building on this momentum, The Waeve issued their second album, , on 20 September 2024, delving into themes of urban isolation, love, and existential drift amid cityscapes, as evident in songs like "City Lights," "Moth to the Flame," and "Broken Boys." The record incorporates lo-fi intimacy with bolder and folk-rock elements, earning acclaim for its multifaceted production and lyrical vulnerability, with outlets praising its cinematic quality and the duo's chemistry. In March 2025, they released the Eternal EP via , featuring three tracks that continue their art-rock and psychedelic explorations with introspective lyrics and layered instrumentation. Amid these band efforts, Coxon published his memoir Verse, Chorus, Monster! on 6 October 2022 through Faber & Faber, offering a candid reflection on his experiences with fame, addiction, and musical evolution during his time in Blur and beyond. He has maintained ties to Blur through their 2023 reunion activities, including headline shows at Wembley Stadium and a performance at Coachella in 2024, while expressing optimism about future band endeavors without committing to immediate plans.

Other collaborations

In 1998, Coxon founded the independent record label Transcopic, primarily to release his own solo material but also to support other experimental and left-field artists. The label operated until around 2004, distributing works through partnerships like and Vital, and exemplified Coxon's interest in nurturing underground talent during his early solo phase. Coxon has frequently lent his guitar work to projects by fellow British musicians. In 2009, he provided guitar contributions across multiple tracks on Pete Doherty's debut solo album Grace/Wastelands, including the single "Last of the English Roses," adding his distinctive noisy textures to the frontman's raw, introspective sound. This collaboration stemmed from informal sessions and live appearances, such as a joint performance of Blur's "You're So Great." Throughout the 2010s, Coxon extended his involvement in Damon Albarn's broader ventures, notably contributing to . He played guitar and provided additional elements on the 2012 Converse collaboration track "DoYaThing," featuring , which blended his angular style with the band's animated hip-hop aesthetic. Coxon also appeared on later efforts, including guitar on "Submission" from the 2017 album , and joined live performances like a 2018 rendition of Blur's "" at the Demon Dayz Festival. More recently, Coxon has embraced high-profile guest roles. On Duran Duran's 2021 album Future Past, he served as the primary guitarist across the record, co-writing several tracks and infusing the new wave veterans' sound with his raw, edge during sessions that began in 2018 with producer . In 2025, he featured on Ash's album , contributing guitar to select tracks including the title song "Ad Astra" and "Fun People," enhancing the Northern Irish band's energetic with his signature distortion and melody.

Musical style and equipment

Guitar techniques and influences

Graham Coxon's guitar playing style is defined by angular riffs, syncopated rhythms, and a deliberate emphasis on dissonance through chromatics and diminished chords, creating a "wonky" and atonal edge that contrasted with the cleaner sounds of contemporaries. His technique often involves physical intensity, where he applies stress to the instrument to generate controlled chaos, favoring short, riff-centered solos that prioritize emotional urgency over virtuosic display. In Blur's early work, such as on , these elements manifested in noisy, feedback-laden solos that injected raw energy into pop structures, elevating the band's sound beyond conventional guitar rock. Coxon's influences stem heavily from American , particularly the Pixies and , whose dynamic riffing and noise experimentation shaped his approach during Blur's formation. He has cited Joey Santiago's inventive, surf-inspired guitar work with the Pixies as a key inspiration for tracks like "," praising the band's "brilliant" ability to blend melody with abrasion. Similarly, 's and influenced his embrace of feedback and irregular rhythms, as heard in Blur's self-titled 1997 album, where lo-fi aesthetics drawn from Pavement and marked a shift toward rawer, less polished production. In his solo career, Coxon's techniques evolved further, incorporating folk elements like fingerpicking and melodic arpeggios on albums such as The Spinning Top (2009), reflecting influences from acoustic pioneers like . Early solo efforts emphasized experimental noise and lo-fi textures, while later works balanced these with introspective, jazz-tinged phrasing, showcasing his versatility. This progression has earned him recognition as a pivotal figure in indie guitar, with his style cited by modern players for its role in bridging and innovation.

Signature instruments and gear

Graham Coxon has long favored guitars as his primary instruments, particularly a '52 reissue model used extensively during Blur's early career and recordings. His signature Fender Graham Coxon Telecaster, released in 2011, is based on a modified '68 Telecaster featuring a Gibson in the neck position for added versatility. He also incorporates models, including a Custom Shop Goldtop with pickups, which provides a warmer, thicker tone suited to his solo work. Additionally, late-'60s Specials with s appear in his setups for their distinctive bite. For amplification, Coxon relies on Marshall 1959SLP Plexi heads, valued for their high output and characteristic rattle that enhances his aggressive playing style across Blur albums and live performances. These 100-watt stacks deliver the essential to his sound, often paired with Celestion-loaded cabinets. His effects chain emphasizes and modulation, featuring pedals—including originals, Fat RAT variants, and JHS-modded versions—for gritty overdrive on tracks like those from Blur's . Fuzz pedals, such as the BAE , contribute saturated tones, while compressors like the Origin Effects Cali 76 help maintain dynamics. In his solo career, Coxon has shifted toward digital options, incorporating the Line 6 Helix for modeling amps, delays, and looping during rehearsals and recordings. Other staples include the Boss PH-3 Phaser and TR-2 for textural effects. Coxon's Telecasters often undergo custom modifications for live reliability, such as reinforcing the '68 model with nails and bolts internally and swapping pickups to blend single-coil with sustain. These alterations reflect his experimental approach, prioritizing durability and tonal experimentation over stock configurations.

Artistic endeavors

Visual arts and design

Coxon pursued formal training in fine art at Goldsmiths College starting in late 1988, where he studied for approximately one year under tutors and Jim Thompson. His time there placed him among contemporaries such as , Sam Taylor-Wood, Abigail Lane, and , immersing him in the emerging scene. Drawing from the English art school tradition, Coxon's influences extended to figures like and , blending conceptual and expressive elements into his practice. His visual style often incorporates naive, doodle-like drawings and paintings reminiscent of unpolished, childlike expression, prioritizing raw creativity over technical refinement. This approach is evident in his abstract and pop-inflected works, which explore themes of whimsy and through including oils, sketches, and digital manipulations. Coxon has maintained a parallel career in alongside music, producing pieces from as early as age 17 that reflect personal and artistic evolution. Coxon's contributions to album artwork highlight the intersection of his visual and musical pursuits. He designed the cover for Blur's 1999 album 13, featuring a glowing, ethereal digital rendering derived from larger oil paintings, along with artwork for related singles such as "Tender." For his solo releases, he created the artwork for all of them, including the vibrant, illustrative cover for Happiness in Magazines (2004), which captures a playful pop aesthetic aligned with the album's eclectic sound. These designs often stem from his personal sketches and paintings, emphasizing thematic continuity between his visual output and songwriting. In the exhibition realm, Coxon held a significant retrospective at the Institute of Contemporary Arts (ICA) in in October 2004, showcasing illustrations, album covers, and paintings spanning his career up to that point, presented non-chronologically to emphasize artistic breadth. The show included early works from his Goldsmiths period and newer pieces, underscoring his ongoing commitment to visual expression. His art has also appeared in collaborative contexts, such as a 2006 exhibition alongside works by and , further integrating his designs into broader artistic dialogues. Coxon's visual themes continue to inform his recent musical projects, including The Waeve, where abstract and illustrative elements echo the experimental ethos of his paintings in album packaging and promotional materials.

Writing and memoir

In 2022, Graham Coxon published his Verse, Chorus, Monster!, an intimate reflection on his life as a musician, visual artist, and Blur co-founder. Released by Faber & Faber on October 6 in the UK and February 21, 2023, in the US, the book traces his journey from a nomadic childhood as an dependent to the heights of fame and the challenges that followed. The candidly explores Coxon's experiences during Blur's rise, including the pressures of , his evolving role in the band, and struggles with and personal reinvention through sobriety. It emphasizes his artistic growth, from early anxieties channeled into music and to finding solace in folk influences and solo experimentation. Reviewers praised its honest, unpretentious style, with calling it a "disarmingly candid" account that captures the "madness of fame" and Coxon's discomfort with Britpop's excesses, while the highlighted its sharp portrayal of survival amid rock stardom. The book received positive critical reception, earning accolades for blending humor, vulnerability, and insights into creativity under duress. Beyond the autobiography, Coxon's non-musical prose includes for his solo albums, where he often provides personal context for the recordings. For instance, in the sleeve notes for his 1998 debut , he described the album's raw, lo-fi creation process as "bashing the songs out in five days," reflecting his impulsive approach to songcraft. Similar annotations appear in releases like Love Travels at Illegal Speeds (2006) and A+E (2012), offering glimpses into his thematic inspirations and production choices. These writings serve as concise essays that complement his musical output without delving into full narratives. While Coxon is recognized as a key lyricist for Blur—particularly on guitar-centric tracks like "," which he wrote and sang—his prose work prioritizes reflective, non-lyrical expression. He has occasionally contributed to music publications, though such pieces remain secondary to his and annotations. As of 2025, no further books or major writing projects have been announced.

Relationships and family

Coxon was in a long-term relationship with Swedish photographer Anna Norlander during the 1990s and early 2000s. The couple had a daughter, Pepper, born on 7 March 2000, and shared custody following their separation in 2001. Later, Coxon married Soraya "Essy" Coxon (née Syed). They have two daughters together, born in 2012 and 2016, and maintained a relatively private family life during their marriage. Their marriage dissolved around 2020, with divorce proceedings ongoing in the as of October 2024. Since the early 2020s, Coxon has been in a relationship with musician , his collaborator in the band The Waeve, which they formed in 2020. The couple welcomed a daughter, Eliza May, in 2022. Coxon has prioritized a low-profile approach to across his relationships, shielding his children from public scrutiny. He has discussed the challenges of balancing family duties with professional commitments, particularly during Blur's 2023 reunion tour, including the shows, where he composed music late at night in hotel rooms to remain connected to home life.

Health challenges and recovery

During the height of Blur's fame in the 1990s, Graham Coxon developed alcoholism, primarily as a means to cope with undiagnosed anxiety that intensified amid the pressures of constant touring and public scrutiny. The ready availability of free alcohol on tour further exacerbated his drinking, leading to a dangerous escalation that affected his personal and professional life. Coxon's struggles reached a nadir in 2002, when his contributed directly to his departure from Blur following a period of heavy drinking that strained band relations. He had entered rehab at The Priory clinic in November 2001 for a 28-day treatment program addressing both alcohol dependency and depression, marking a after multiple hospital visits the previous year. Coxon achieved sobriety shortly thereafter, maintaining it since early 2002 through participation in Alcoholics Anonymous's 12-step program and therapeutic interventions, including drawing therapy to manage anxiety. Although he experienced occasional relapses, such as a brief binge in 2017, he has remained sober overall, a journey he detailed candidly in his 2022 memoir Verse, Chorus, Monster!. In the years following his recovery, Coxon has become an advocate for awareness in the music industry, sharing his experiences with anxiety and in numerous interviews to highlight the lack of support available during Blur's era and encourage others seeking help. He has emphasized the effectiveness of AA for him personally and discussed ongoing anxiety management as recently as , underscoring 's role in his well-being.

Discography

Solo studio albums

Graham Coxon's solo discography comprises eight studio albums, released between 1998 and 2012, showcasing his evolution from lo-fi and to more polished power-pop and folk narratives, often self-produced in his early years before collaborating with producer on later works. His debut, , released on 18 May 1998, marked an exploration with raw, bedroom-recorded tracks emphasizing loneliness, rudimentary post-grunge, and wistful acoustics influenced by artists like . Self-produced by Coxon using minimal equipment like a , the album's DIY aesthetic reflected his maverick spirit amid Blur's fame, peaking at number 31 on the . The Golden D, issued on 22 May 2000, delved into hardcore and lo-fi , grappling with themes of desperation, fatherhood, and disillusionment with modernity through sinewy riffs and sampled glitches. Coxon handled all production duties, drawing from mid-1980s underground influences like (whose tracks he covered), resulting in a regressive, nihilistic sound completed in just one week of studio time. The album charted modestly at number 81 in the UK. In 2001, Crow Sit on Blood Tree arrived on 6 August, embracing a lo-fi acoustic style with meandering folk elements and shouty outbursts, critiquing while blending structured songs like the modern folk of "Thank God for the Rain" with melody-free experiments. Entirely self-produced and mastered by Coxon over two weeks, it highlighted his multi-instrumental prowess but failed to enter the UK Top 100. The Kiss of Morning, released on 14 October 2002, shifted toward a blend of folk, , and infused with punk and edges, confronting emotional turmoil through introspective ballads and neo-Hendrix guitar bursts reminiscent of and Nirvana. Coxon produced the album himself, incorporating pedal steel from BJ Cole for a warm, dusty texture that balanced rage and reflection, achieving a peak of number 51 on the charts. Coxon's fifth album, Happiness in Magazines, came out on 17 May 2004, his most commercially successful solo release at number 19 in the UK, revitalizing power-pop and blues-rock clichés with ironic love songs and dexterous multi-tracked guitars in a minimalist setup. Produced by Stephen Street, known for his work with Blur and The Smiths, it featured radio-ready ballads and post-punk nods, marking an upbeat pivot post-Blur hiatus. Love Travels at Illegal Speeds, dated 6 March 2006, continued the accessible guitar-pop vein with retroturf punk energy and clichéd love themes, including sober drinking songs and jagged riffs echoing The Who and the . Again helmed by , the production highlighted big organs and accents across its power-pop framework, reaching number 24 on the . The 2009 release The Spinning Top on 11 May presented a tracing a man's life from birth to death, steeped in bittersweet English folk traditions akin to and , with acoustic drowsiness occasionally spiked by fuzzy psych elements. Produced by , its polished 70-minute runtime included guest and repetitive motifs, charting at number 36 in the UK. Coxon's eighth and final solo studio album to date, A+E, emerged on 2 April 2012, reviving his experimental Blur roots with raw punk-rock aggression, primitive electronics, and dark themes evoking British hospital chaos through buzzsaw guitars and drum-machine beats. Self-produced for a visceral, sparse sound blending , dub, and country-funk, it peaked at number 39 on the charts, underscoring his edge.

Singles and compilations

Graham Coxon's solo singles span from 2000 to 2017, with notable chart success in the mid-2000s during the promotion of his studio albums (2004) and Love Travels at Illegal Speeds (2006), often featuring eclectic B-sides that highlighted his lo-fi and experimental guitar work. Earlier singles include "Oochy Woochy" (2000, no chart) and "Thank God for the Rain" / "You Will Never Be" (2001, #92). "Escape Song" / "Mountain of Regret" (2002, #96) preceded his post-Blur departure releases. The lead single "Freakin' Out," released in March 2004 via Transcopic/, peaked at number 37 on the UK Singles Chart and included the B-side "All Over Me," a raw, introspective track emphasizing Coxon's multi-instrumental production. Later that year, "Bittersweet Bundle of Misery" (May 2004) reached number 22, showcasing a more melodic sound with B-sides like live recordings and instrumentals that captured his evolving stage presence. "," issued in August 2004, charted at number 32 in the UK and served as the album's third single, with B-sides "" and a cover of "That's When I Reach for My Revolver," blending pop hooks with Coxon's signature distorted guitars. An additional release of "Freakin' Out" / "All Over Me" remix peaked at #19. "Standing on My Own Again" (February 2006) from Love Travels at Illegal Speeds reached #20, noted for its power-pop drive. In 2006, "You & I" debuted at number 39 on the chart, accompanied by B-sides "Click Click Click" and "Light Up Your Candles," which explored ambient and folk influences. Later singles include "In the Morning" ( 2009, no chart) and "Sorrow's Army" ( 2009, no chart) from The Spinning Top, featuring acoustic folk arrangements and B-sides like "The Truth About What You Are." From A+E, "What'll It Take" (March 2012, no chart) highlighted raw punk energy with electronic B-sides. His most recent solo single, "Falling" (December 2017, no chart), was a charity release covering a song by Luke Daniel, addressing male , with proceeds benefiting the CALM charity. Coxon's extended plays included the Live at the Zodiac EP (2005, Transcopic), a digital-only release capturing performances from his June 2004 show at Oxford's Zodiac venue, featuring live renditions of "Freakin' Out," "That's All I Wanna Do," and "No Good Time" to document his rising solo touring energy. His live albums centered on Burnt to Bitz: At the Astoria (2006, Go! Beat), a limited-edition double CD recorded during a sold-out performance, compiling 27 tracks from early solo efforts like The Sky Is Too High (1998) through , emphasizing his raw, guitar-driven live dynamic without extensive overdubs. Compilations of Coxon's solo material are limited, with B-sides often circulating via promotional releases; a 2004 promo CD compiled non-album tracks such as "I Wish" (live), "My Little Girl," and "Life, It Sucks," offering fans deeper cuts from his mid-2000s sessions. Video releases include the Live at the Zodiac DVD (2005, ), his first concert film documenting the full performance with behind-the-scenes footage, highlighting Coxon's solo stage persona and guitar techniques. Additionally, the deluxe edition of A+E (2012, Vertigo/) featured a bonus DVD with live tracks like "What'll It Take" from ' Cockpit, a , and photoshoot insights, providing visual context for his output.

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  97. https://www.nme.com/news/music/graham-coxon-rose-elinor-dougall-interview-debut-album-the-waeve-blur-reunion-3304889
  98. https://thenewcue.substack.com/p/the-new-cue-395-graham-coxon-and
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  102. https://www.express.co.uk/life-style/health/1588662/graham-coxon-health-alcoholism-anxiety-health-effects-treatment
  103. https://nypost.com/2015/10/16/how-one-band-battled-back-from-addiction-and-bloody-in-fighting/
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  107. https://louderthanwar.com/verse-chorus-monster-by-graham-coxon-book-review/
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  109. https://www.gq-magazine.co.uk/article/graham-coxon-blur-interview
  110. https://www.albumoftheyear.org/artist/2329-graham-coxon/
  111. https://www.allmusic.com/album/the-sky-is-too-high-mw0000042529
  112. https://www.nme.com/reviews/album/reviews-nme-29-353962
  113. https://www.officialcharts.com/artist/5040/graham-coxon/
  114. https://www.allmusic.com/album/the-golden-d-mw0000093592
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  116. https://www.theguardian.com/lifeandstyle/2001/aug/03/shopping.artsfeatures1
  117. https://www.allmusic.com/album/crow-sit-on-blood-tree-mw0000455708
  118. https://www.allmusic.com/album/the-kiss-of-morning-mw0000741294
  119. https://www.nme.com/reviews/reviews-nme-6771-317549
  120. https://pitchfork.com/reviews/albums/1645-happiness-in-magazines/
  121. https://www.allmusic.com/album/happiness-in-magazines-mw0000708349
  122. https://pitchfork.com/reviews/albums/1646-love-travels-at-illegal-speeds/
  123. https://pitchfork.com/reviews/albums/13047-the-spinning-top/
  124. https://www.allmusic.com/album/the-spinning-top-mw0000819860
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  126. https://www.allmusic.com/album/a-e-mw0002302328
  127. https://www.musicvf.com/Graham+Coxon.songs
  128. https://www.discogs.com/master/370685-Graham-Coxon-Freakin-Out-All-Over-Me
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  132. https://www.discogs.com/release/11296238-Graham-Coxon-Luke-Daniel-Falling
  133. https://www.discogs.com/release/3711235-Graham-Coxon-Live-At-The-Zodiac
  134. https://www.allmusic.com/album/live-at-the-zodiac-ep-mw0001955480
  135. https://liveherenow.co.uk/products/graham-coxon-burnt-to-bitz-live-at-the-astoria
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  137. https://www.amazon.com/Deluxe-GRAHAM-COXON/dp/B006VSLOA0
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