So yes, Taylor Parkes on Britpop really is very good, whispering some poisonous truths into a few deserving ears. Whether you love it or loathe it, it's pretty fair to cast the entire scene as basically uninterested in innovation or politics; fiercely protective of a '60s musical legacy that didn't much require protection in the first place and about as threatening as a cup of tea and a biscuit on a rainy Tuesday afternoon.
I can't say I was much of a fan , the odd single here and there aside, but it does strike me as odd that TP hangs so much blame around Britpop's skinny shoulders for its own immediate co-option and commodification; for the countless sins of Blairism and the hedonistic fuck-everyone attitude that slowly solidified around it.
After all, it strikes me that insofar as there had previously been a marriage of rock or pop and politics, it had more or less died out in a fireball of its own preciousness come the mid-eighties. If there was a lot of politics in music by 1994, it was mainly coming from the music press itself, usually in the form of angry arguments over Morrissey's latest damnfool pronouncement, or just letters pages stuffed to the arse with well-educated, white middle-class people angrily denouncing each other for being well-educated, white and middle class.
The Rock Against Racism stuff was still going in the early 90s IIRC, but I don't remember many Clash albums being fired around, or anything in a similar vein. I'm too young to recall now, but it strikes me that the whole Free Nelson Mandela/Racist Friend thing was wildly popular for all of five minutes, then sealed away in Room 101 never to be mentioned again except in cringey, you-had-to-be-there tones.
There was a lot of greenie activism around groups like the Levellers, but all of that was squarely and serially shat on as horrible crusty nonsense by the UK music press, with a lot of jibes about dreadlocks and dogs-on-strings that would probably get funny looks these days .
The incipient horrible-rap-rock fusion bands - I'm thinking Rage Against The Machine and Senser in particular - were overtly and angrily political, and instantly dismissed as hypocrites for railing against the, like, capitalist machine of selling records etc, amongst other sins. 
And there was still a lot of Criminal Justice Bill activism in the dance music scene, even if I recall it mainly concerning itself with the right to get blammed out of your head on powerful pharmaceuticals and play really loud music in fields. I recall attempts to dragoon the Britpop crowd into this, to no avail.
Elsewhere... Well I'd remind you that Britpop wasn't really the soundtrack of the mid-nineties. Maybe it was different down south  but a walk through a student halls in 94-96 was as likely to turn up Whigfield, Alanis Morrisette or Sheryl Crow as it was anything by Blur or Oasis. Remember the horror, brothers and sisters: the Outhere Brothers; Michael Jackson's hideous Earth Song; Babylon Zoo; Mark Morrison; endless fuck-awful Rhythm-Of-The-Night four-chord dance shitefests; Bryan fucking Adams still having hits. Boyzone. 
There was a lot of bizarre, off-beat electronica around but even hip-hop was well on its way to becoming the farcical, comedy-capitalist cavalcade of bitch-slapping, gold-flaunting cash-cows that it is today. That Wu-Tang clothing label may not have started the rot, but it wasn't exactly a predictive stretch from there to Daddy Day Care - slim pickings for your enterprising, heavily-politicised music hack, even if it's a comparative feast to what followed.
Anyway, it's quite sad that a lot of journalists in a dying form decided to pin a lot of hope on Britpop as a saviour, because they might as well have prayed for a cultural revolution led by Gina G. It was pretty obvious even in 1994 that the sum total of a cobbled-together, aren't-we-just-great bout of British self-love was going to be Let's get pissed, shout at each other about whether the Beatles or the Kinks were better and make a shitload of cash off advertising.
Realistically, the only phenomenon in the music scenes of the era that scared parents and politicians was the possibility that they'd end up on the front page of the Sun, sobbing about Our Rave-Drug Hell next to photos of their kid on a ventilator.
It seems to me that maybe there was a period in history when music could be a galvanising force in politics; when a teenage statement like men growing their hair long or women shoving safety pins through their hooters was enough to make the whole system shiver with horror. That period's called "The Distant Past" and in all likelihood, any attempt to recreate it is going to be buried under a thousand pop-culture printed lunchboxes and ironic T-shirts before you can say "iTunes".
I'm open to correction here, but I recall most of the UK's music scenes being thoroughly depoliticised and hedonistic long before e.g. Suede hoved into view, and this particular crowd's figureheads were singularly ill-equipped to carry flags for anything other than pouting, competing to see who could shove the most drugs up their stupid faces and wibbling about their favourite records.
So it's kind of odd to see Taylor lamenting a grand missed opportunity in Britpop to create some kind of artistic/political national consciousness when in all likelihood, there was no opportunity of the sort. If Britpop was all lager and pouting and taking nothing seriously, well, so was everything else, and it'd have taken a lot more than her out of Echobelly in a tight top to change it.
As far as I can tell, the true topic of Taylor's long lament isn't so much the end of an era in music, as it is the end of the relevance of music journalism. And that's a bit of a shame, but we all got to go some time.
1. Put it this way - I was seventeen in 1995. At the time, my favourite album was Led Zeppelin II and I wasn't much receptive to any new artists who dared to try anything more ambitious than really angry songs about being really pissed off about nothing in particular. If this strikes you as the initial warning signs of a perpetual adolescence, then you can pat yourself on the back for perceptiveness.
2. I recall the Melody Maker belabouring the Levellers for Hope Street, a song which was meant to be about the false promise of the National Lottery: "Well, guess what? More people want to be millionaires than want to be crusties, you soap-dodging c*nts", was the response, or words to that effect. So maybe not that surprising that politics wasn't high on the agenda.
3. Bands who are not only responsible for their own offences, but those of the horrific pack of meat-headed, ham-fisted Nu-Metal cretins who followed in their footsteps.
4. And it should be recalled that, as TP observes, Britpop was really all about London. I can't say the endless Mockney bollocks or flag-waving much stirred me, but then I was every bit as arsey then as I am now, if not more so.
5. If any of the acts mentioned in this post are favourites of yours, there's no need to defend them here. Trust me: whatever you were listening to at the time, I was probably totally gung-ho about something much, much worse.