Seeing Richard Hawley live is always a pleasure, and his return to The Fire Station in Sunderland was no exception. Over the years, I’ve watched him evolve from a support act for Nancy Sinatra in 2005 to one of Britain’s most treasured songwriters, capable of selling out venues and captivating audiences with his unique blend of rockabilly, crooner ballads, and twangy guitar work.
I last saw him here at The Fire Station in December 2022, and again in 2023 for his collaboration with John Grant, performing “Richard Hawley and John Grant Play Patsy Cline.” Each time, he brought something special, and this night was no different. Touring in support of his latest album, In This City They Call You Love, Hawley took to the stage with his usual understated charm. His presence is effortless—there’s no need for theatrics or drama, just impeccable musicianship and that rich, velvety voice that seems to have been made for venues like this.
Support came from Bernard Butler, “who formed the group Suede co-writing and playing guitars on every recording until 1994,1992’s classic debut “The Drowners”, followed by hits “Metal Mickey”, the top 10 “Animal Nitrate” and the number 2 epic “Stay Together”. “(From his website). I have happy memories of seeing Suede with Laura in Manchester Ritz nightclub. (Back to the website) “The Mercury Prize winning debut Suede became the fastest selling record in years. The defining Dog Man Star, a sprawling concept of rare ambition culminated in Butler’s exit. The group continued but Butler’s contribution will remain the defining moment in the band’s history.” Bernard is now an accomplished solo artist who warmed up the crowd well for the main act.
Hawley opened the night with “She Brings the Sunlight,” a highly atmospheric track that immediately drew the audience into his world. From there, the set wove between new material and old favourites, showcasing the depth of his songwriting. As always, Hawley sounded great and his warm baritone added weight and depth to every lyric. Whilst I cannot claim to be a huge Hawley fan, in so much as that I have not listened to a lot of his recorded music, I never fail to be impressed and entranced by his live performances, and hearing it in such an intimate setting was a reminder of just how timeless his work is.
His vocals and swirling guitars filled the venue with a dramatic energy. Richard dresses almost as a rockabilly dude complete with cowboy shirt, jeans, winkle picker boots and quiff. My favourite song is “Where The Streets Have No Name” which has a 50s/60s feel about it. He also treated us to a Johnny Cash cover, “Hear That Lonesome Whistle Blow”, proving once again how well his voice lends itself to the country greats.
Hawley has a wry sense of humour, and his interactions with the crowd were as enjoyable as the music itself. There’s no pretence with him, just an easy, down-to-earth charm that makes every gig feel personal. Whether he was introducing a song with a self-deprecating joke or sharing a story from the road, he had the audience completely onside. As the main set came to a close with “Heart of Oak,” the applause was thunderous.
He returned for a three-song encore, closing the night with the breathtaking “The Ocean”—a song that swells and soars, perfectly capturing the grandeur and romance that defines so much of his music. Richard Hawley has a way of making every show feel intimate, whether he’s playing in a packed theatre or a smaller venue like The Fire Station.
His ability to craft songs that feel both nostalgic and timeless is rare, and his live performances are always great fun. Walking out into the cold December night, I was once again reminded why I kept coming back to see him. Whether it’s 2005 at The Sage Gateshead, 2022 at The Fire Station, or tonight in 2024, Hawley’s music has a way of sticking with you—like an old friend whose stories you never tire of hearing.
Many thanks to Jackie for the photographs and to Laura and Chris for helping me construct the blog entry.
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, I’m Looking for Someone to Find Me, The Ocean.
Another exciting concert at the local venue, 
In this special performance, modern-day icons 
Drawing from a songbook full of classics like ‘Walkin’ After Midnight’ and ‘Crazy’, you’ll hear the crème de la crème of country pop from some of the finest performers around. With songs spanning romance, heartbreak and drama – with a good dollop of joy – this is set to be a real sonic and visual feast. Cowboy boots optional.” (Drat I forgot to wear my cowboy boots: and I have a pair in the cupboard!)
This was an eclectic mix of artists and music. I am a big fan of Richard Hawley having seen him perform at the same venue a few months ago. I have heard of John Grant but I can’t claim to know much about the man or his music. And of course, I am very aware of the legacy of the legendary Patsy Cline and her country songs, many of which are tinged with sadness.
The venue was full as is often the case these days, and John Grant took centre stage with Richard Hawley and his band providing the music. Richard played some tremendous twangy, rock ‘n’ roll guitar; reminding me a little of Dick Dale and his surf guitar.
John Grant is a truly entertaining front man and did justice to Patsy Cline’s wonderful repertoire. I recognised many of the songs including the well-known “Crazy” which John reminded us was written by Willie Nelson. I had somehow forgotten that fact, but it jogged my memory of witnessing the great Willie perform the song. He also did a heartrending version of Hank Williams’ “Your Cheating Heart”. I also recognised quite a few of the songs, in particular “Blue Moon of Kentucky” and “I Fall to Pieces”. Richard was very much the consummate side kick, effortlessly providing superb guitar accompaniment to the songs. A lovely evening with two true artists in a venue which is rapidly becoming extremely popular.
Setlist: (something like this): These Crazy Arms; Never No More; Walking After Midnight; There He Goes; Just Out Of Reach; Loose Talk; I Fall to Pieces; Yes, I Understand; Heartaches; Strange; Sweet Dreams (Of You); You’re Stronger Than Me; So Wrong; Your Cheatin’ Heart; Leavin’ On Your Mind; Crazy; Seven Lonely Days; Blue Moon Of Kentucky.
Now this guy is a bit of an enigma. I guess you would say he has a very dedicated cult following. And rightly so. However, everyone I told I was going to see 
The last time I saw Richard Hawley was probably over 10 years ago when he was the support act for one of my personal heroes (and his apparently), Nancy Sinatra at the Sage Gateshead. I have missed the last few times he has been in the north-east and I thought it was about time that I picked up on him again, particularly when the show was local and in such an intimate, new, lovely, purpose-built concert venue. We arrived in time to catch the support act 
“Uk progressive folk singer-songwriter & guitarist. And using the words of others: 
But there is much, much more to this guy than a simple 50s/60s influenced singer. Sure you can hear those influences now and then, but Hawley has his own style transcends easy description and blends rockabilly, 60s music and blues, with more modern sounds. 
Now with collaborators like that, you really can’t go wrong, can you? The only song I really know is “Tonight the Streets Are Ours “, but the rest of the set is excellent. Hawley has surrounded himself with an excellent band including a second guitarist who complements Richard’s own style and a great blues harp player who emerges from the side of the stage at various times to add his rasping harmonica. Some of the songs are quite dark and the lighting in the venue is set up well to emphasise this. My carer for the evening, Jackie, sees some of Nick Cave in Hawley. I don’t disagree. Hawley, like his support act, is a true northern guy, wearing his Sheffield style and accent proudly on his chest.
On the way out I buy some merchandise which is also quite individual and quirky. As you can see, I get a tea towel, a couple of badges and a natty little musical box which, when turned, plays a Richard Hawley tune (you can choose which one). No programme or T-shirt for this guy. Too conventional, I guess! A great show by a wonderful artist whose cult following is no doubt growing and at one stage we may see him break through to the mainstream. But maybe Richard Hawley is just fine the way with things the way they are.
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