Richard Hawley – Two for His Heels Review

Richard Hawley is back. Four words to delight the ears. He never truly went anywhere – a firm staple of the tour circuit over the last few years. But new material from the man himself has been slim, his focus on picking up Olivier Awards and providing Pulp with some slide guitar magic. Back into the studio he trundles and out pops Two for His Heels, a nice and whining piece of staggered, brooding intent taken from upcoming album, In This City They Call You Love. Unruly card games and references to cribbage slot in nicely as Hawley lingers on those crooner days, the loving lyrics replaced by the stop-start darkness featured on Standing at the Sky’s Edge. It is a blend Hawley has been chasing down intermittently, and Two for His Heels is a solid step for this coupling. 

Sparse is never a word to associate with the often-booming production Hawley offers though this latest piece is stripped-back to the gloomy essentials. It is the intent, after all. After flirting with the influences of his early years on Richard Hawley’s Little Bangers and sifting through the back catalogue of his own impressive works for Now Then, it is no surprise Two For His Heels becomes an effective exploration of his voice. Saddled with some intentional discomfort, the shrieks and blues-like feel of this instrumental intro slide into the background. They feel percussion-heavy instead of guitar-oriented, and it makes for a necessary and fresh take. Electric guitar still features throughout, though it is sparingly used and instead the focus is on the lyrics. Rightly so.  

Hawley has always worked well with his lyrics and a few moments shine through. The heart as an open road feels like a neat nod to Not the Only Road though paradise and the comparison to partnership is lost somewhat. These are not Hawley going through the motions or trying to connect with previous thoughts but a sharp attempt to marry the influences of Duane Eddy with northern rock and soul. Nobody better for it than Hawley. Desperation lingers – an anxiety bubbles to the top as the protagonist found within Two for His Heels seeks out some clamours of love. Heavy dollops of whining synths and a bit of electronic manipulation are a shock to the system – and it makes for a bright and uncomfortable departure from the sounds of old.  

As it should be. Hawley has toiled away for decades and continues with a breath of fresh air to his discography. The heavy pangs of straight guitar rock on Further are moved on to their next and natural step. For the seasoned Hawley fans this may feel quite out there – a departure from what Hawley has successfully done for the last two decades. Everyone needs a slice of something new after a while and where Hawley may convince of this is in the change of instrumental pace. Dark and clanging with a plentiful heap of lyrics, some working away better than others. “…paradise she all alone,” sticks out like a sore thumb but the winding flames and getting yourself on top of the proverbial hill are remarkable. Where In This City They Call You Love goes from here is unknowable – but Two for His Heels will do well to hook veteran Hawley fans and newcomers alike.