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 Down to Earth in Sheffield: An Interview with Richard Hawley Being There talks to Richard Hawley, a talented British musician who is gearing up for the release of his third solo album, Coles Corner, after production and session work with Nancy Sinatra and A Girl Called Eddy. |
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Down to Earth in Sheffield: An Interview with Richard Hawley
by Adam D. Miller
Who’s Richard Hawley, some of you may ask? The answer is the artist responsible for one of the year’s most beautiful records so far, that’s who. And while this interview may be the first you are hearing of Richard Hawley, it certainly won’t be the last.
Richard Hawley was born and bred in Sheffield, England and has been in the music business since the early 1980s, playing guitar in bands included Treebound Story and The Longpigs before being invited to join Britpop icons Pulp in 1998. He says that the group took him in because “I was the commonest person they knew.”
It wasn’t until 2001 with Late Night Final that Hawley embarked on a solo career, something he had never intended for himself. Lowedges followed in 2003, and now Coles Corner, his debut with Mute Records, is set for a September 6 release.
What can you expect from Coles Corner? Music that is nostalgic in tone, but relevant in subject. Richard has a low and confident voice, and is an excellent producer and instrumentalist, something he has already proven on records by Pulp, A Girl Called Eddy, and even Nancy Sinatra, not to mention his own.
At the very last minute, our friends at Mute Records helped us squeeze in a few questions with Richard. As you’ll see, his answers evoke some down-to-earth and insightful qualities rarely found in today’s pop scene.
Being There: The title of your new album, Coles Corner, refers to a popular meeting place in your hometown of Sheffield. Did you have a personal connection to Coles Corner, and could you describe it for those of us in North America?
Richard Hawley: It’s a place that’s in the front of a long-gone department store, where, in the days before cell phones, lovers, friends, and families would arrange to meet. You can’t find it on any map or street sign; it’s a word of mouth type of thing. Thousands of us Sheffield folk exist ‘cause our parents found love on Cole’s Corner.
BT: It seems that a lot of British musicians quickly abandon their hometowns in favor of London. Is there anything in particular about Sheffield that has kept you there?
RH: It’s home, and has been for my family for generations. I’ve been round the world eight times and I could’ve moved to many places over the years, but it’d break my heart to leave; anyway, London is a shit hole. I drive in any direction from the city and in ten minutes, I’m in Derbyshire countryside. What would I be anywhere else? I know who I am here.
BT: Has growing up in Sheffield influenced your songwriting or outlook on music in general?
RH: I like to keep things down to earth. Sheffield is an old steel town, and the people are very down to earth. If you get too big headed, they let you know pretty quick. That’s all right with me.
BT: When you first got into music, you seemed to largely serve in a supporting or behind-the-scenes role. Did you ever envision yourself singing your own songs in front of an audience?
RH: Christ, no … it all happened by accident. I waited a long time, happily, before I took the mike. I enjoy it now, but at first, I’d shit myself before every show.
BT: You co-produced two tracks on Nancy Sinatra’s last album and supported her on a spring tour of Europe. How did you get involved in the project?
RH: Jarvis Cocker wrote some songs for Nancy and asked me to co-produce them. We all got along great … end of story.
BT: Another recent album you were involved with was the debut album from A Girl Called Eddy, one of my favorites of 2004. How did you get involved with that one?
RH: I heard some demo’s she’d done, which were pretty rough, but I heard something in her voice that moved me, and we made an album together. I think she’s really boss.
BT: What has recording and performing with Pulp taught you about the music industry?
RH: Stick to your guns.
BT: Coles Corner is your third solo album and your first for Mute. Your music has been described as very 1950s influenced, and songs like “Hotel Room” in particular evoke a late night radio feeling. Were you into a specific type of music growing up?
RH: My dad has the best record collection ever, and it soundtracks my life to this day. He’s a great guitar player. My whole family is either musicians or bang into boss music.
BT: How do you feel your work as a session musician and producer has affected your own solo work?
RH: It taught me studio know-how and not to dick around too much, but apart from that, not a lot.
BT: Do you see yourself more as a producer/songwriter or as a performer?
RH: All of the above. I do home visits too, closed on Sundays though.
BT: There’s some great upright bass playing on Coles Corner, particularly on “Just like the Rain.” Who is that?
RH: Colin Elliot. He’s a great player. Also, Johnny Wood plays slap bass on “I Sleep Alone.”
BT: Since so many of the tracks on Coles Corner feature heavy production and strings, was arranging them for a live performance a challenge?
RH: Actually, there are only three songs with strings. They are a fucker to re-create, but we’re getting there.
BT: How would you describe the feeling of going from playing to huge audiences with Pulp and R.E.M. to small solo shows like New York’s Joe’s Pub? Is one type of performance more intimidating than the other? Do you feel more at home in front of a big crowd or something more intimate?
RH: Well, they’re both totally different. The big gigs are fun, but you get no connection to the people. I like talking to people, so I think I prefer the smaller gigs.
Look for Richard Hawley’s third solo album, Coles Corner on Mute Records on September 6th. A tour of North America is being planned for September-October. In the meantime, check out www.richardhawley.co.uk for more information.
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