British culture has always had a soft spot for enigmatic eccentrics. The slightly off centre, unpredictable mavericks that may at times bewilder, yet we enthusiastically take to our hearts.
Though despite the scale of his success, it’s perhaps fair to say that Richard Ashcroft still inhabits that space. From his younger days known, controversially, as ‘mad Richard’, the somewhat lost character inspiring Oasis ’ Cast No Shadow, to ‘that’ 2018 surreal appearance on BBC Breakfast, Ashcroft has been an irrepressible force, not shy at making his presence, and his views, known to anyone prepared to listen.
Aside from all of that tabloid bluster, his contribution to UK music over the course of 30 years, should not be underestimated. Two Ivor Novello awards for songwriting, 2019’s Outstanding Contribution to British Music, the UK’s 18th biggest selling album in the form of The Verve’s 1997’s Urban Hymns, and a five album solo career which stands up in its own right. Here lies a back catalogue which stands up amongst the greats.
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So here we are this evening. An October Friday night, in Manchester, at the Arena, with all of the other aforementioned ingredients in the mix. We’re in for a big night.
Striding onto stage, appropriately resplendent in bucket hat, baggy cords and adidas trainers, Ashcroft launches into Surprised by the Joy from 2018’s Natural Rebel . It's a rock stomper, perfectly suited to getting a big crowd up on their feet.
Then, with a raise of his acoustic guitar and with a staccato like strum, Sonnet immediately captures the attention of the venue’s every angle. Two songs in and he already has the crowd under his spell.
‘My friend and me, looking through her red box of memories’. And with an accompanying roar, it feels like that’s what many are here to do. Memories aplenty.
A Song For The Lovers soars. His debut solo single is at once a desperate plea for help, in the next breath a defiant call to arms. Underpinned by those gothic strings and motored along by its punchy percussion, in this setting, it feels like a classic in its own right.
There’s a conviction and honesty to Ashcroft. He believes in these songs, and he’s here to take the audience with him. He bares his soul and his audience are compelled to bare theirs back.
Break the Night with Colour turns into a bluesy, spaced out jam. Velvet Morning is psychedelic grunge, with lights twirling around the arena to add to its atmosphere. Music is Power follows with its reggae tinged funk.
Are You Ready, taken from his 2010 United Nations of Sound project, and Lifes an Ocean from 1995’s A Northern Soul feel like a nod to the hardcore fans, acknowledged by a thank you to ‘those who have stuck with me’.
The Drugs Don’t Work then provides the night’s centrepiece. Gently strummed chords, lifted by Ashcroft’s reflective, country-like verse.
With a refrain everyone here can seemingly relate to in some form or another. It’s an emotional juncture, and Ashcroft harnesses it perfectly, changing volume and pace with the deft hand of an artist very much in charge of his craft.
The title of the album from which these songs were first released is fitting. These really are urban hymns, crafted 25 years ago by 5 lads from Wigan and sung back, at full volume by huge crowds all these years later.
Whilst melancholic, these are songs of hope and optimism. ‘We got a love that never dies’ he sings on Lucky Man, raising the roof in the process.
The encore feels clever. An unexpected acoustic version of C’Mon People (We’re Making It Now), with just Ashcroft and his guitar, provokes a mass singalong. This is quickly followed by a cover of soul toe-tapper ‘Money’ , most famously covered by The Beatles, though tonight given a somewhat different perspective with Ashcroft shadow boxing the microphone stand.
And then to the night’s crescendo…
It can, at times, take seeing a song live for you to really appreciate its greatness. And Bittersweet Symphony is just that. It’s vast.
That string loop, burnt into the consciousness of any Brit above the age of 25, is sweeping. And as you look around there isn’t a soul not singing back the mantra-like lyrics, as pertinent now in 2022 as they were in 1997.
As a consequence, there's solidarity in the air. ‘Trying to make ends meet, you’re a slave to money then you die’. If only those involved in the carnival taking place 200 miles away today in Downing Street were able to channel some of the conviction on show.
And then off we go, singing into the night. ‘Cause it’s a Bittersweet Symphony that’s life…’
Cheers to life’s mavericks.
SETLIST
Surprised by the Joy
Sonnet
Break the Night With Colour
Velvet Morning
Music is Power
Are You Ready
Life’s an Ocean
Weeping Willow
The Drugs Don’t Work
Hold On
Lucky Man
ENCORE
C’mon People (We’re Making it Now)
Money (That’s What I Want)
Bittersweet Symphony
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