![]() ![]() “Take me with you when you go, it’s the only place I know,” Hawley speaks of the landmark bridge, symbolizing the crossing between childish dreams and imminent realism. ![]() “Tonight the Streets Are Ours” sparkles in elegance under layers of keys, strings, and Hawley’s deeply luxurious vocals, while the excellent “Lady’s Bridge” is an masterfully crafted version of twinkling, key-aided folk. Though it serves as a continuation of a style that capitalizes on the pride of working class British life, Lady’s Bridge is Hawley’s best effort to date. Appropriately enough, Hawley seems to be getting better with every release. Instead, he has become recognized as an exquisitely talented solo artist in his own right, with releases like Coles Corner and Lowedges depicting a style that falls somewhere in between folk-rock, rockabilly, and Brit-pop. Though many have surely known him as the guitarist for Pulp during their most successful years, Hawley has slowly but steadily unattached himself from the mere label of “backing instrumentalist” for The Longpips and Pulp. As a longtime (and near obsessive) fan of Pulp, I suppose it is only natural that I admire Richard Hawley’s songwriting prowess with great veneration.
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