UK Solo Tour – Lovin’ You
Saturday night, the country’s largest indoor arena—Co-op Live—was alive with anticipation as thousands of voices echoed beneath its vast steel canopy.
Returning to his adopted hometown of Manchester, this sold-out show marked a triumphant moment in support of his seventh studio album, Lovin’ You.
Fans filled the venue from the front barrier to what felt like – the horizon. Ian Brown’s F.E.A.R. plays through the DJ set, while the atmosphere begins to shift—anticipation building. The string section settled in just behind the drum riser, hinting that the night’s sound would have a rich, orchestral vibe.
Richard’s cover of Lennon’s Bring on the Lucie (Freda Peeple) plays faintly in the background, adding a subtle political undertone.
Without warning, the atmosphere exploded. Behind me, cheers surged to a near-deafening roar as the multiple Ivor Novello Award-winning icon strode onto the stage with his powerhouse band. Light beams ricocheted off his signature Ray-Bans as he claimed centre stage, pausing just long enough to salute the electrified crowd before launching into the first track of the evening.
Opening the set with “Hold On”, the guitars were dialled up with a heavier tone, giving the song a rockier edge that added more definition. The extended outro was a nice addition, allowing the band to stretch out musically without losing momentum.
As the final notes faded, the transition into ‘the Verve Song’ “Space and Time” was seamless. The audience reaction was immediate, swept up in the familiar melody and lyrical nostalgia, transporting us all back to the 90’s. I miss the 90’s.
His vocal delivery was flawless. Controlled, expressive, and true to the original recordings. At one point, I tore my eyes off the stage—only to catch the MEN photographer doing the exact same thing. We locked eyes, grinning like guilty schoolkids, as if to say: “Yep… we’re supposed to be working, but wow.”
It was impossible not to; the man has you spellbound.
Before you know it, we’re already into the third song “Music is Power”. His delivery radiated gratitude, buzzing off the energy of the crowd and despite the vastness of the audience, there was a genuine sense of togetherness.
The leather comes off, and two female backing vocalists’ step in, adding warmth and soul to the performance. The lyrics ring out from behind me, sung passionately by the audience, arms stretched wide, eyes closed, embracing every second.
Everyone’s invited to the “party of life.”
Just before the song ends, I leave the photography pit to pack away my gear. As I make my way around the other side of the arena, I hear the clever and catchy sample of Mason Williams’ Classical Gas kicking in, marking the start of the title track “Lovin’ You”.
Feeling a bit like Treasure Hunt’s Anika Rice (showing my age here, sorry), I found myself darting through (what felt like) miles of Co-op Live’s corridors, frantically trying not to miss songs. I was half-running, half-singing “A Song for the Lovers” to myself like some kind of weird musical courier. After a few wrong turns and a near-miss with a lad balancing his beers like it was an Olympic sport, I eventually landed at my seat, just in time for “C’mon People (We’re Making It Now)”.
Slowing things down, Richard introduced “Oh L’Amour” as his ‘Charles Aznavour moment’ – “This is a slower one now, taken from the new album—but don’t worry, it’s a beauty.” He wasn’t wrong. I’d listened to it a few times on the drive in, but hearing it live gave it a whole new dimension. Stunning song.
You always get the classic “I’m just here for the bangers” crowd heading off at this point to grab more booze—which in all honesty, I’ll never understand. Every anthem we call a “classic” was once a newborn track, so the idea of leaving just as fresh songs are taking their first breath feels unimaginable. I can’t help but wonder—how many people slipped out for a pint when that slow burner, The Drugs Don’t Work, first drifted through the speakers?
Up next were the unmistakable opening keys of “Break the Night with Colour”, this time delivered with a noticeably heavier, rock-infused arrangement. Steve Wyreman’s guitar solos were a highlight for me on this. Immersive and totally mesmerising. Richard jumps around the stage, shadowboxing with playful confidence, intermittently gifting the crowd with air punches that they reciprocate with equal passion.
Before the next song, Richard paused and asked, “Where are you, Lottie?”—a genuinely sweet moment that caught the attention of the crowd. Sharing that Lottie ‘used to be his youngest fan, but now she’s all grown up’. Lottie and her friend, Daisy were sitting next to me, singing every word to nearly every song he’d played, reminding me of my younger self, completely absorbed in his music and feeling every word he sang. Pure joy.
Richard took a moment to thank one of his musical inspirations, Joan Armatrading, for her influence on his track “Lover”, which prominently samples the 1976 classic Love and Affection. Since its release, the song has received mixed reviews—but I must admit, I was hooked from the first listen. It’s warm, soulful, and addictive. There’s a groove to it that makes you reach for the repeat button without hesitation and although it feels familiar, it’s been given a make-over that is unmistakably Ashcroft.
I get it—sometimes fans struggle with a new musical direction, and it can feel a bit jarring at first, but as Noel Gallagher once said, “The customer doesn’t know what they want until you give it to them. Then they like it.” (as you can imagine, this statement contained far more expletives, but I won’t add them in.) He’s got a point though. Every classic track was once ‘a new one’, waiting for its moment to connect and I guarantee, this track will be blasting across festival fields next summer.
“History” gets a rare and powerful outing before he launches into the tender and breathtakingly beautiful “Sonnet.” It feels like every one of the 23,500 fans joins in, voices in unison like Richard’s own mass choir.
“I wish my music teacher that said I was “a “cancer in the class”, was here to see this now”.
What a deplorable description for a youngster who shares no musical alignment with piano waltzes and German percussion instruments. Or as Richard put it “All because I didn’t want to play ‘Chopsticks’ on the F***ing Glockenspiel. This made me laugh—mainly because I (like many) also endured the same musical injustice at school. It was the golden age of Britpop and indie guitar bands, yet somehow, the only instruments within reach were triangles and Bavarian xylophones. There’s nothing more “rock ’n’ roll” than being handed a glockenspiel while your heart is yearning to learn ‘Roll with it’.
The energy softened as Richard moved into the deeply emotional “The Drugs Don’t Work”.
It’s a song I’ve never been able to listen to without tears. The lyrics and melody carry a weight that’s deeply meaningful to me for multiple reasons and hearing it live, surrounded by thousands of people, feeling completely alone—was overwhelming. ‘Alone with everybody’ you might say. It’s a reminder of how music can reach places words often can’t. Comforted with a warm hug from the beautiful Lottie, I was back in the room again.
The string section delivered the unmistakable opening of “Bittersweet Symphony” with precision, Richard dedicating the moment to the beautiful Manchester boxing legend Ricky Hatton. “This one’s for you, Ricky,” he shouted, prompting an immediate and heartfelt mass chant of his name from the 23,500-strong crowd. It was a fitting finale to an emotionally charged evening that was indescribably uplifting and unforgettable, thousands joining in the spine-tingling chorus, singing every word in perfect harmony.
Richard Ashcroft was the reason I first picked up a guitar. Obsessed with learning The Drugs Don’t Work, I marched into my local music shop and bought the sheet music—armed with a ‘twenty-quid guitar’ my mum had proudly rescued from the classifieds. Her enthusiasm lasted right up until the moment she discovered that guitar strings shred fingertips like cheese graters. I heroically took it from her and began to shred my own. After (reluctantly) completing my A Levels, the dream of becoming a musician gradually packed its bags while I was encouraged to ‘get a proper job.’ Spoiler: I listened.
Seeing Richard live brought it all back again.
Richard Ashcroft is one of the most distinctive voices in British music. Its rings out with clarity and conviction, carrying decades of emotion, experience, and insight. On stage, he is magnetic. Half rockstar, half shaman, moving with the confidence of someone who knows exactly who he is and what his music means to people.
There are gigs that entertain you and then there are gigs that connect you. At Co-op Live, he delivered the latter in an unforgettable fashion. From the moment he stepped on stage, there was a palpable, unspoken bond between artist and audience that transcended the usual performer-crowd dynamic. You could feel it. I think everyone could.
With his distinguished and commanding presence, he possesses an extraordinary ability to stir emotion while imparting profound wisdom. His words have offered solace and guidance, musically shaping my life for more than three decades.
It’s a crazy world we live in right now, but one thing is for sure, this world wouldn’t be a world without you in it, Mr Ashcroft.
Thursday, 13th November marks World Kindness Day—a celebration of those simple, selfless acts that can spark ripples of positive change.
I’d like to say ‘thank you’ to the kind gentleman who gifted me a ticket, opening the door to an experience that made this review possible.
Your generosity didn’t just grant me entry; it reminded me how powerful kindness can be.
You can see Richard Ashcroft continuing his tour of ‘Lovin’ You’ from March 2026.
Words and Photos by Shavorne Wilbraham
