Richard Hawley – ‘In This City They Call You Love’ album review: a romantic album built on longing
THE SKINNY: Richard Hawley has a presence which is built into the rubble of Sheffield. Any walk you take around Hillsborough, Kelham, Abbeydale and through the centre is accompanied by him, one voice in multiple that have collated into the current music scene this city is proud to call its own. Sound follows you everywhere; generations of musicians pile on top of one another to create the sweet twang of the accent, the birdsong of the peaks and the roar of the traffic. In this city, Hawley is an intrinsic part of everything, and in this city, they call you love.
There aren’t many people making music like Richard Hawley. He has the ability to evoke emotions you didn’t know you had, making you pine for a moment that never occurred. His music sounds like roses in water, romance of the highest degree, one of deep longing, sadness and community all at once. This new album stays true to that sound, as Hawley maintains his sweet vocal tone over a backdrop of varying styles of music.
In This City They Call You Love has several different influences, as the songs alternate from the minimalist serenity of ‘People’ to the upbeat rock-infused theatrics of ‘Deep Space’. Regardless of the sound that Hawley is trying to achieve, though, the constant is his voice and ability to hold everything together in the most delightful way.
Hawley continues to prove himself to be one of the most prolific songwriters and deep romantics to come out of Sheffield. Throughout an album with love at its centre, we experience a range of emotions dictated by him, each sweet and sad and everything in between. Ultimately, the conceit is simple: He’s Richard effing Hawley, and here’s another great record by him.
For fans of: Drinking during sunsets, waltzing the kitchen and candlelight over 40W.
A concluding comment from the mayor of Sheffield: “He’s one of our own. Tha knows.”
Richard Hawley – In This City They Call You Love track by track
Release Date: May 31st | Producer: Richard Hawley, Colin Elliot, Mark Sheridan | Label: BMG
‘Two For His Heels’: Hawley shows his intention right from the start of this record. With an upbeat sound, exciting effects, and a country-like narrative, we are in for an unrelenting album that is serene, tranquil, and vibrant throughout. [4/5]
‘Have Love’: Mod-like instrumentation paired with Hawley’s chilled-out voice is a beautiful combination. The chorus is relatively haunting, as what is a sweet message is delivered in a borderline commanding way. The layering of this song and the unrelenting nature of the overall sound are a joy. [4/5]
‘Prism In Jeans’: The song sounds of moonlight; it is romantic in every second, sweet and steady but sincere in every word. Hawley has the power to do this, as he evokes a nostalgia that nobody lived through, Casablanca-like, one of roses, wine and I love you. [4/5]
‘Heavy Rain’: Another slowed-down and romantic number. It’s not a surprise Hawley’s music was used as the backdrop for a West End play, as it is incredibly cinematic in how it builds atmosphere. Truly beautiful. [3.5/5]
‘People’: An ode to the small town. Its instrumentation is incredibly stripped back, but it doesn’t need to be anything more than that. The important thing is the words and Hawley’s voice as he evokes a beauty that can only be found in the cracks and crevices of home. [5/5]
‘Hear That Lonesome Whistle Blow’: Hawley dips into a deep western sound with this song. All that’s missing is a cigarette and an out-of-towner to question in a nearby saloon. Though the instrumentation might have a cowboy feel, the lyrics and tone of the tune are relatively solemn. [3.5/5]
‘Deep Space’: A great song to dance to. Doing just as the lyrics suggest, those who listen certainly “need space,” as this is the first track on the album that needs to be moved to, begging for dance floors and togetherness; this tune is pure rock n roll. [4.5/5]
‘Deep Waters’: In contrast to the song above of a similar name, we return to a slower tone that is much more persistent throughout the album. Harmonies back up the track, which feels like a period where the listener is allowed to step back in time for a moment. [3.5/5]
‘I’ll Never Get Over You’: If “don’t be sad it’s over, be happy it happened,” could be condensed into a song, it would sound like this. Hawley’s voice has a deep longing, but the backing music is upbeat, hopeful and quietly optimistic. [4/5]
‘Do I Really Need To Know?’: This track sounds like the kind you would hear on holiday. With a bossa nova feel, it begs for foreign moonlight bouncing off a wine glass. In the piece, Hawley thinks of a previous lover, wondering what they’re up to while questioning why he thinks of the same. [4.5/5]
‘When The Lights Go Out’: This track again has a slightly country twang, but it has a consistent, beautiful instrumentation backing it, as it has throughout the entire album. [3.5/5]
‘’Tis Night’: The album ends with a minimalist number, where the star of the show, Hawley’s voice, is given one more chance to stun the listener to silence. Fragile and vulnerable, we listen to every word, hooked on each syllable. [4/5]
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