Review: Richard Hawley brings a northern charm and soulful optimism to O2 Apollo

A good friend of mine once described listening to Richard Hawley’s music as like ‘getting underneath your favourite blanket’. It’s a line that stuck with me.

Manchester is in luck with Hawley arriving to cast his spell across the O2 Apollo Manchester on Wednesday (June 12). A fitting venue. Full of plenty of northern charm in its own right.

Hawley’s career has steadily grown in stature, built on 23 years of hard work and solo adventure. His shapeshifting from 50s and 60s balladry though cinematic romance, to heavy, psychedelic rock has positioned him as a firm favourite of the 6 Music generation.

READ MORE: Review: Chromeo deliver a two-stepping good time with electro-funk beats at New Century

Recent release, In This City They Call You Love, his tenth studio release, has been well received. Another release that pays homage to former heroes of the mid 20th century, whilst at once entrenched in 21st century South Yorkshire, a point hit home further with Hawley taking the stage in front of a ‘Welcome to Sheffield’ sign.

She Brings the Sunlight is a loud start. An ethereal, one chord drone with feedback drenched guitars whistling away in crescendo to an abrupt ending.

Two new tracks quickly follow. Two for his Heels is a bluesy stomp that sways hips across the floor. Prism in Jeans a beautifully affecting 50s ballad, with the band feuding flickering acoustic guitars across the stage.

Hawley then digs back into the archive, with fans favourite Open Up Your Door, from 2009’s Truelove’s Gutter, showcasing his deep baritone delivery perfectly. It’s a voice sounding better than ever. So rich that it sounds almost pastiche, whilst at once treading the side of the line making it wholly original.

Standing At The Sky’s Edge, from the 2012 album of the same name, is a knowing change of pace. The stage is flooded with ominous red light, with a menacing edge driven along by a brilliant double snare riff. Less lush cinema, more film noir. It’s Stooges feedback underpinning a lyric drenched in South Yorkshire social realism.

Deep Space allows his band to play with textures, as they drop in and then rock out. Hawley looks to be enjoying himself.

Hawley introduces Just Like the Rain, as a ‘song I wrote when I was 16’, with a quip that it ‘proves I must have been a miserable b******, even then’.

It’s the first track from 2005’s Mercury nominated Coles Corner, and is welcomed accordingly. A wonderful folk lament, all Johnny Cash energy alongside that classic Hawley love-lorn phrase.

Hear that Lonesome Whistle Blow is very late fifties Elvis. His recent shows for Manchester International Festival alongside John Grant, covering the songs of Patsy Cline, have clearly had an influence. Barbershop harmony backing vocals and a country guitar that seemingly strums towards a Tennessee starry night.

In recent weeks, Hawley’s interviews have been increasingly political, and he wastes no opportunity tonight to nail his colours firmly to the mast. An affirmative ‘F*ck the Tories’ follows with an exclamation of ‘it’s time for change’, before sweeping into the appropriately revolutionary Tonight the Streets Are Ours. It makes for somewhat of a centrepiece. Full of Morrissey and Marr majesty, its soulful optimism causing couples across the floor to share a treasured knowing glance.

And that’s what Richard Hawley seems to perfect. For all of the gruff social comment, and working mens club like banter, he is the master of prompting that nostalgic romanticism that one can’t help but be drawn in by. ‘These lights in our hearts they tell no lies’. The song’s strings swirl and the chorus wraps up all around them.

For Coles Corner, a string soaked twinkling intro provokes a warm and welcoming cheer. Its orchestral waltz sets to a Scott Walker like sway. Hawley’s croon at the forefront. “Going downtown where there's music, going where voices fill the air” - a fitting refrain for a midsummer Ardwick night.

The second half of the set thereafter leans more towards the heavier corners of Hawley’s back catalogue. The band of rockabillys are tight, trim and canter along at pace, with very little time wasted between songs.

Don’t Stare at the Sun, is a dreamy 12 string post-rock psychedelia, with Is There a Pill? striking an anthemic and arresting chorus..

Then comes Heart of Oak, the first and last addition tonight from 2015’s Hollow Meadows. It’s an upbeat finish. Like Roy Orbison singing over The Velvet Underground, rattling along to a raucous finale.

For the encore, People Is an affectionate note to his home city of Sheffield. ‘Folks work so hard and they stay all their lives. And people in this city, call us love’

It’s soft and poetic, yet set to a gentle tapped beat and a delicately picked guitar, it’s at times haunting, fixing the room into silence. The crowd fully back in the palm of his hand.

Hawley then proclaims that he’s treating Manchester to an extra number, with the band launching into Time Is, from 2019’s Further. It’s a lively, harmonica driven singalong.

I’m Looking for Someone to Find Me draws back from 2007’s Lady’s Bridge. A lively, skiffle number before The Ocean brings the evening to an introspective, poignant and fitting close.

So 3500 people cast under the spell of that favourite blanket, and tonight, these streets are very much his.

Setlist

• She Brings the Sunlight

• Two for His Heels

• Prism in Jeans

• Open Up Your Door

• Standing at the Sky's Edge

• Deep Space

• Just Like the Rain

• Hear That Lonesome Whistle Blow

• Tonight the Streets Are Ours

• Alone

• Coles Corner

• Leave Your Body Behind You

• Heavy Rain

• Don’t Stare at the Sun

• Is There a Pill?

• Heart of Oak

• Encore

• People

• Time Is

• I’m Looking for Someone to Find Me

• The Ocean