Richard Ashcroft at The Brighton Centre - Review

Even Ashcroft himself would accept this truth, having used any interviewing opportunity since the release of Urban Hymns in 1997 to discuss the album’s brilliance, claiming it to be his first ‘real solo record’ and re-recording a number of the tracks for his latest solo LP – Acoustic Hymns Vol.1.

So yes, there are other brilliant Verve songs and even some passable solo tracks from the 51-year-old’s discography, but if you bought a ticket to see him at The Brighton Centre – you were there for Sonnet, Lucky Man, Drugs Don't Work and Bitter Sweet Symphony.

On the night of the show, the arena was filled with middle-aged, Liam Gallagher look-alikes desperately clinging on to the notion that it will never get better then the age of Britpop, Euro 96 and New Labour at the end of the last millennium.

Not many stayed for the tepid DJ support act, but provided a party weekend atmosphere when Ashcroft first appeared on the stage just after 9pm.

He informs the crowd it was Saturday night to the tune of Whigfield’s Eurodance classic, something which those in attendance did not need to be reminded twice.

Despite the warm reception, the opening song was complete damp squib. Playing the 2016 single Out Of My Body, the Wigan man looks like he has been dragged from the local pub to perform the show, wearing a Chanel t-shirt, with a black jumper wrapped around his waist.

The opening moments feel like watching a Stone Roses tribute act, as Ashcroft bobs around the stage to this limp fusion of house and rock music in a multi-coloured bucket hat and black sunglasses.

The song sucks the life out of the room, it is a poor start, but redemption follows soon after, when he plays the underrated Urban Hymns album track Space and Time.

Ashcroft looks more comfortable with the acoustic guitar in his hand and can now begin to build momentum, with Song For the Lovers - his most popular and strongest solo track - seeing the crowd sing along at full voice to the racing romantic ballad.

There is no denying Ashcroft’s water-tight connection with his fans, while Break The Night With Colour is a tad cheesy, it is greeted with hundreds of flailing arms hoisted to the sky for its wailing chorus.

The former Verve frontman tries to maintain an image of authenticity throughout, thanking those in attendance for coming, joking it ‘probably cost them an hour of heating to do so’ in the current cost-of-living crisis, he would hate you to think he is not still relevant in 2022.

As expected, Urban Hymns is a key motif of the performance, but is carefully used throughout the show, with another hidden gem of Velvet Morning played next, its sweeping melodies and slippery slide guitar notes generate feelings of positive reflection for the audience.

It seems so strange that Ashcroft was capable of a record like Urban Hymns, when he plays uninspired dross like Music Is Power and Glory, providing the perfect moment to grab a drink, have a cigarette or go to the toilet (I'm sure some did all three).

Thankfully, we return to the Verve tracks soon after, with the spacey, drug-infused Life’s An Ocean getting Ashcroft excited, as he has another opportunity to drop the guitar and play the free singer role, offering the enthusiasm and energy of a man half of his age.

The murky psychedelic-essence of Ashcroft’s early sound continues with Weeping Willow, the Wigan man’s voice is captivating on these 1997 songs - its desperation and soberness is cathartic for the crowd.

And then, the opening of the big four starts, as Ashcroft announces the beginning of ‘Sonnet’.

Hundreds stand from the seats at the back of the venue, hugs are handed out to strangers on the arena floor, the sentiment of the song is seismic and is a breath-taking thing to see in the flesh.

The next song was always going to struggle to compete, and the insipid 2016 dance-pop track Hold On had no chance.

Then came big hitter number 2, Lucky Man sees more out-of-body experiences take place and stronger outward releases of joy. Ashcroft need not bother approaching the microphone for this one, the audience have this covered word-for-word.

The crowd is fully invested now and the encore promises to be special, Ashcroft appears by himself with his trusty guitar and leads the crowd in an uplifting rendition of C'mon People (We're Making It Now).

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With no band appearing on stage, heavyweight number three seems obvious but no less desired, the beautifully heart-breaking Drugs Don't Work has brought many a person to tears since it became a UK number one in September 97.

Ashcroft’s near perfect vocal is still achieved 25 years on and as the song reaches its finale, his band re-appear on stage and give the tune a dramatic and ceremonial ending deserving of its brilliance.

Before the night is over, there is one more toe-curling moment for fans to endur, with Ashcroft leading a pub karaoke style cover of Barrett Strong’s 1959 swinging Money (That’s What I Want), failing to deliver the poignant message with which it was ended.

No one in attendance is fussed though, as the modern-day national anthem of Bittersweet Symphony closes the show.

I doubt the Brighton Centre has ever sounded louder, the words are probably still echoing through the corridors and hallways of the venue to this day.

The song is Ashcroft’s magnum opus, he knows it and is an expert at delivering it with the pomp and circumstance it requires to make it a memorable live experience.

So yes, we were all there for those four songs which make up the fabric of modern British rock music and have - as the album title suggests - become hymns to gig-goers and music-lovers of the genre.

Would as many have gone just for Ashcroft’s solo work? probably not. Was it at times a laboured, cringe performance of a man trying to still feel cool in his fifties? Yes. Did people leave singing those four songs word-for-word down the coastline for the rest of the night and create memories that will last a lifetime? Almost certainly.

To many the Verve and Richard Ashcroft are a one-album pony. While this is not true, that one album is still a hell of an album, confirmed by its reception at live events like this 25 years on from its release.