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Für Fans von: Indie & Alternative, Folk & Blues, und Pop.
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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”.
John Grant formed The Czars in 1994 in Denver with Chris Pearson. They released six albums together and despite never really achieving any form of commercial success they gained a cult following for their unique brand of dream pop. Critics also praised John Grant's innovative songwriting style and intelligent lyricism that often changed, developed and evolved from album to album.
The Czars eventually disbanded in 2006 and after this Grant retired short term from the music industry. He took time away to write and decide where he would go next with his artistry, he returned in 2010 with his first solo album 'Queen Of Denmark'. He collaborated with folk band Midlake whilst recording the album in his Texan recording studio and upon release it was hailed as a critical masterpiece. John's lyrics were all incredibly personal with many of the songs describing his battles with alcohol and drug addictions during his life as well as his sexuality and HIV status.
It was named Mojo's album of the year and won praise from esteemed publications including The Guardian, The Independent and The Sunday Times, the latter stating in their review that "One listen to 'Where Dreams Go to Die', for example, and you’ll realise that while Grant can’t attain perfection in his actual life, he gets pretty close in his art." The following album came in 2013 and was titled 'Pale Green Ghosts', it featured backing vocals from Sinead O'Connor on two tracks and was another critical success. It was named Rough Trade's album of 2013 and earned the songwriter a nomination for Best International Solo Artist at the 2014 Brit Awards.
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.
John Grant’s songs are things of great beauty and I can tell you now that no words I write will do justice to how they sound in concert. If I could attach a picture of my tear-stained face in lieu of a review, that’s just what I’d do. Once upon a time, the burley and bearded Grant was the singer in a band called The Czars; they made fairly serviceable rock music before hitting hard times, leading to the band calling it quits, Grant dealing with drug addiction and trying to come to terms with his sexuality proving too much alongside trying to make a living in a band. He took some time out, and returned with a deeply personal record called Queen of Denmark, recorded with the band Midlake. It felt like a lost classic, an album from a 1970s singer-songwriter, a mix of Elton John, Harry Nilsson and the Carpenters, and was truly moving. Following it up with the more electronic and brooding Pale Green Ghosts was a brave move but it’s one that makes his live show one of the most eclectic, emotional and involving experiences you’ll ever have. Grant plays tracks from Queen of Denmark with a full band, the cosmic sweep of ‘Marz’ grander than on record but it’s when he gets behind the piano and sings unaccompanied that the magic happens. ‘TC and the Honeybear’ becomes a fragile thing of beauty, and when he finally unveils ‘Glacier’ (from Pale Green Ghosts) I completely fall to pieces. Singing “this pain…it is a glacier running through me”, the tears start to fall at the sight of this wonderful and brave man sharing his innermost feelings with us. Honestly, there are no words which can capture the raw emotions of a John Grant show. Just prepare to be a blubbering mess and in need of a hug by the end of it.
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