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Born the son of a guitar-playing steel worker, Richard Hawley’s earliest musical inspiration came from folk-rock acts Roy Orbison and Elvis Presley. The Sheffield-native soon learned the play the guitar during school, and later formed the fringe Britpop band the Longpigs in 1993. From 1995 to 1999 Hawley issued a pair of albums with the group, “The Sun Is Often Out” and “Mobile Home”, both of which charted within the UK Top 40, and a successful run of singles. Following Longpigs’ dissolution, the singer and guitarist joined friend and fellow Britpop musician Jarvis Cocker’s band Pulp as a touring musician, who ultimately persuaded Hawley to release solo material.
The alt-rock infused singer-songwriter subsequently issued his eponymously-titled debut mini-album in 2001 on Setanta Records. In October that year Hawley built on his success by issuing the brooding, melancholic debut full-length album, “Late Night Final”. Earning more than favourable reviews, Hawey supported the record opening for Pulp and Coldplay and released the single “Baby, You’re My Light” in promotion. Reaching No. 169 on the UK Albums Chart, Hawley’s sophomore studio album “Lowedges” arrived in 2003 marking his last proper release on Setanta. Noted as his most successful album to date, 2005’s “Coles Corner” rose to No. 37 on the UK Albums Chart, earned a Mercury Prize nomination and widespread critical acclaim.
Going from strength to strength and making his way towards the heights of the charts, the singer’s fourth full-length album peaked at No. 6 on the UK Albums Chart. Spawning the singles “Tonight the Streets Are Ours”, “Serious”, and “Valentine”, the album showcased Hawley’s resiliently melancholy lyrics with timeless, genre-defying accompaniment. The live album “Live at the Devil’s Arse” followed in January 2009, after which he reached No. 17 on the UK Albums Chart with his full-length “Truelove’s Gutter”. Proving his highest-charting album to date, “Standing at the Sky’s Edge” arrived in May 2012, peaking at No. 3 on the UK Albums Chart, aided by the single “Leave Your Body Behind You”.
Watching Richard Hawley at the Philharmonic Hall was like traveling back in time, in a sense. His music is incredibly melodic and his voice has this beautiful haunting, echo-like quality to it.
A lot of the acoustic sound had to do with the venue, of course; the Hall is a very open space that lends to almost an outdoorsy sound to the music, while still echoing back like surround sound. There’s also a very intimate feeling at a Hawley concert, in terms of the crowd and the proximity to the artist. Unlike many musicians who just come on and play, Richard engages with the audience frequently throughout the show, thanking people for arriving, encouraging people to take photos, and even stopping during his songs to let the fans sing along. It reminds me of a much larger hard rock show with music that’s a lot tamer and subtler.
Hawley has a Roy Orbison-like look and a good, old-fashioned Rock-a-Billy appeal, which is unique to the music scene in Liverpool. Songs like “Don’t Stare at the Sun,” “Open Up Your Door,” and even his classic covers like “I’m So Lonesome I Could Cry” really evoke a lot of emotion from the audience. There’s no screaming fans or loud chatter. You can actually hear the music that’s being played, and the total ambiance of the melodic music and dim lighting create a very surreal feeling that creates goosebumps from start to finish.