York’s Museum Gardens made history this weekend with the arrival of former Pulp guitarist, Richard Hawley, for a show unlike any other. Joining the Sheffield crooner on the 20th-anniversary show of his seminal record, Coles Corner, were Hamish Hawk, BC Camplight, and English Teacher.
Set in the Roman city’s most stunning park, adorned with ruins of the city’s extensive history, the sun was out in full force to welcome the 4,000 patrons joining the final night of gigs hosted throughout the weekend. From Elbow to Nile Rodgers and CHIC, the new series of daytime events, under the label of ‘Live at Museum Gardens’, has attracted significant attention for its ambition to bring major artists to a city often overlooked by the music industry.
The first act of the evening was Hamish Hawk, a Scot packing a punch with a unique chamber rock sound and ensemble. A highlight within his short but sweet set included the tongue twister of a track, ‘The Mauritian Doubles Badminton Champion, 1973’—a gothic, yet pop sounding, story that has become a fan favourite within his discography.
Delivering some humour and vigour to the otherwise serene and picturesque setting came Brian James Christinzio, also known as BC Camplight. From the punchy ‘Kicking Up A Fuss’ to ‘I Only Drink When I’m Drunk’, the New Jersey-born singer elevated the energy while smoothly guiding the crowd through what may have been unfamiliar musical territory for some.
As the summer sun began to illuminate the remnants of St Mary’s Abbey behind the stage and the venue shone with golden hues, the eagerly anticipated English Teacher graced the stage, entering to Oasis’ ‘Supersonic’—a timely ode to the string of reunion tour dates that have dominated the headlines in recent weeks.
The band, fronted by Lily Fontaine, quickly broke out with their biggest hits to date in a short but remarkably successful career, including ‘World’s Biggest Paving Slab’, ‘R&B’, and ‘Nearly Daffodils’, with short pauses in between hits alluding to how they were so happy to be in their neighbour city.
As 9 o’clock neared, the crowd filled out with all ages and a handful of diehard fans dressed in the old-school Americana attire and quiffs that have come to characterise Hawley’s image over the years.
Playing the entirety of his much-loved fourth studio album, the setlist followed a lineup and pace that felt familiar to the crowd, but this time with the added anecdotes, and South Yorkshire humour that Hawley exudes so effortlessly.
Some standout tracks from the first half of the hour and a half long set included the folky singalong ‘Just Like The Rain’, Elvis-inspired ‘Hotel Room’, and of course, Hawley’s most-known—and perhaps most emotive—number, ‘The Ocean’, a near six-minute long extravaganza that saw the singer joke about how they would usually finish a show with such an emotionally taxing, grande piece.
In between tracks, Hawley honoured the late Liverpool player, Diogo Jota, who tragically passed away alongside his brother only a few days before the gig—a moment that garnered a long, emotive, and unified response from the crowd, serving to highlight the togetherness that went on to characterise the evening.
Resuming his set, Hawley remarked “This one’s for my father”, before performing ‘Born Under A Bad Sign’, a soft-sounding but in equal parts sorrowful track that navigates the themes of wasted potential and personal struggle: “What are you like? You’ve had a right life / And taken a long ride, but oh what a cost”.
But this darker theme of familial complexity was quickly juxtaposed with the stunning number, ‘Who’s Going to Shoe Your Pretty Feet’, a song the singer-songwriter said had been passed down through generations in his family and one he used to sing to his two sons at bedtime. Not wanting to tug too hard at the crowd’s heartstrings, he then joked that his now-grown sons used to fall asleep not because of the song’s comfort, but because he was simply “boring.”
Following a short interval to the playback of ‘Last Orders’, Hawley and his accomplices returned to the stage once again for the final hurrah. A string of romantic ballads followed, such as the gorgeously written ‘She Brings The Sunlight’ and ‘Heart of Oak’ – the latter seeing the stage illuminated under a screen of shooting stars, only amplified in the dark moonlight that shone over the botanic grounds.
In a night that bridged the themes of devotion, heartbreak, and humour, Hawley proved once again why he deserves a place in the UK’s Music Hall of Fame.
“Love from Sheffield” was the parting message that closed the show, a heartfelt nod that made York’s long-awaited event feel equally as appreciated by one of the North’s most iconic musical exports, and one that summed up the feeling of solidarity and harmony that can still be found amongst us even in unprecedented times.
Words by Ruby Brown
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