There was a certain poetry in watching Richard Ashcroft take the stage before Oasis this past Saturday. It served as a reminder of when the two forces last shared a bill back in 1997 at Earls Court, during the height of the Britpop era. Nearly three decades later, Ashcroft returned as the perfect support act for Oasis’s much-anticipated UK stadium tour, and not just for reasons of nostalgia.

Ashcroft’s set at Heaton Park on July 19 was short, focused, and powerful. Backed by a tight band and a confidence that comes from years of honing his craft, he delivered a performance that reached into the past while feeling fully in the present. From the hypnotic pulse of “Weeping Willow” to the stadium-sized catharsis of “Bitter Sweet Symphony,” this was more than an opening act; it was an opening statement.

For longtime fans, his inclusion on the tour feels like a full-circle moment. Noel Gallagher once wrote “Cast No Shadow” as a tribute to Ashcroft, calling him a “genius” in the liner notes of What’s the Story (Morning Glory?). Ashcroft, in turn, dedicated the track “A Northern Soul,” from The Verve’s seminal 1995 album, to Noel. The mutual admiration has never faded, and on this tour, it feels both personal and fitting.

“I told Noel, I’m the only solo artist who could open for Oasis,” Ashcroft has said, referring to their shared audience and the kind of musical artillery needed to launch a stadium show. Watching his performance on Saturday, it was hard to argue with that sentiment.

Ashcroft kicked off with “Weeping Willow” and “Space and Time,” both The Verve-era cuts that immediately locked into a hazy, dreamlike rhythm. The intimacy of his early acoustic guitar work gave way to a slow-building momentum that felt perfectly tailored for the huge outdoor crowd.

He included “Break the Night With Colour,” one of his strongest solo tracks, before diving into a trio of The Verve classics that truly showcased his vocal command. On “The Drugs Don’t Work,” it was as though the crowd collectively leaned in. When he launched into “Lucky Man” and “Sonnet,” his voice carried a new kind of weariness: raspier and rawer, but no less affecting. These were the standouts of the night, emotionally resonant, vocally powerful, and delivered with understated confidence.

The closing moment, of course, was “Bitter Sweet Symphony.” There’s almost nothing left to be said about the song itself. It remains a defining anthem of British music. But hearing Ashcroft sing it live, supported by thousands of voices, proved its enduring power.

What struck me most was how understated Ashcroft has become over the years. He no longer postures as the wild-eyed shaman of Urban Hymns fame. Instead, he walks the line between modest performer and vocal powerhouse, leaning into the emotion of each song rather than showmanship.

It made me revisit old The Verve tracks afterward and realise how easy it is to take Ashcroft’s songwriting for granted. In a time when many artists rely on layers of production, Ashcroft still relies on the strength of the song and his voice. Live, his vocals were clear but coarse, unpolished but powerful. It’s the kind of voice that feels lived-in.

With Oasis’s reunion tour commanding the spotlight, it will be interesting to see where this tour takes Richard Ashcroft. Will it reignite interest in new solo work? Lead to a reissue or retrospective? Maybe even something unexpected?

For now, he is doing exactly what he needs to: reminding fans and first-timers alike that his voice, his catalogue, and his presence are still worthy of the biggest stages.

Setlist

Lover (played from tape)

Weeping Willow (The Verve song)

Space and Time (The Verve song)

Break the Night With Colour

The Drugs Don’t Work (The Verve song)

Lucky Man (The Verve song)

Sonnet (The Verve song)

Bitter Sweet Symphony (The Verve song)

Author: Andrew Braithwaite

Andrew is the founder and chief editor of Music Talkers. He's also a keen music enthusiast and plays the guitar.