One last trip for Richard Hawley and company to the legendary Leadmill venue. A legacy brought up on the finest stage in Sheffield, perhaps in all of the United Kingdom, given its final bow. An actual finality. Hawley has played here thousands of times and his gig among the sold-out Sheffield crowd will be his last at The Leadmill. What an occasion. Hawley leaves his heart on the stage and his head in the hands of the audience. One last time at Leadmill, and it could not have sounded better. This is Hawley’s finest performance of the year – there is no doubt about that. Spectacle meets quality.
That realisation of finality at a legendary venue is not lost on Hawley and company, who power through a setlist that features his son Louis Hawley, a rare outing of Hotel Room and a flashy jacket to mark the Sheffield legend’s wedding anniversary in a delicate encore. There is an intimacy to a venue like The Leadmill, something not lost on the packed crowd of fans and gig-goers, most marking their final gig of the year. It is always something special when the last gig of the year is also the best of the bunch. Hawley does not disappoint, with some gorgeous renditions of Standing at the Sky’s Edge and Coles Corner. An inevitably strong Tonight the Streets Are Ours is incredible too. His vocal presence is just as important as the guitar work he frequently showcases, a commanding performance that sees There’s a Storm Coming and Heart of Oak extended into beautiful, instrumental explosions.
Impressive as ever about Hawley and his work is his dedication to supporting the venues and artists starting out or surviving. He offers a helping hand to the next generation of musicians. It separates Hawley from others as a definitive example of how live music will survive. Katie Spencer opened at Sunderland’s The Fire Station, and Before Breakfast marks the opening of Hawley’s final Leadmill gig. Both artists are unique, quality and well worth seeking out. That is a quality dedication to the next era of contemporary, exciting artists. No better stage for it, either, than Leadmill. Ed Cosens had opened on the second day of this three-day residency, and that support for those lesser-known, quality artists, flows through Hawley’s set time and time again. He is perhaps freshest and best when he is live on stage, and it is truly uplifting to see an artist maintain consistency of this level for decades.
Consistency like that is moulded well on the stage, with charming renditions of For Your Lover Give Some Time and Galley Girl, mixed in with new album pieces to open up the floor. Further has lingered on as an integral piece of Hawley’s setlist, opening with the likes of Off My Mind and Alone. Clive Mellor once again stuns with his harmonica playing, something that was showcased well at The Fire Station in a spotlight-stealing moment. Quality like that is tucked onto The Leadmill’s stage nicely. It is a shame to think this may be the last time Hawley graces the historic venue, but his reasoning is firm. “I will not be a collaborator or a traitor to the city,” he said in an interview earlier this month. With morals like that, it is only fair that Hawley goes out on a high, and that he does, with his final Leadmill gig.
Discover more from Cult Following
Subscribe to get the latest posts sent to your email.
