Heaton, Downey & Bragg: Songs of Wit, Heart and Protest in Halifax

★★★★★ (5/5)

PAUL HEATON & RIANNE DOWNEY PERFORMING AT TK. MAXX PRESENTS… THE PIECE HALL HALIFAX 2025
PHOTOCREDIT: JOHN HAYHURST

Paul Heaton and Rianne Downey delivered a confident and crowd-pleasing performance at The Piece Hall in Halifax, reaffirming Heaton’s status as one of Britain’s most underrated songwriters and highlighting Downey’s emergence as a vocal force in her own right.

Set in the Georgian grandeur of The Piece Hall’s open-air courtyard, the venue offered an atmospheric and fitting backdrop. With its tiered stone terraces and enclosed square, the hall naturally amplifies sound while allowing an intimate connection between artist and audience. Several thousand fans gathered for what would become a carefully curated evening of hits spanning decades.

However before Heaton & Downey, Billy Bragg began his set with a reflective version of “St Swithin’s Day,” setting a thoughtful, melancholic tone to open the evening. Stripped back to just voice and guitar, the song’s delicate phrasing and introspective lyrics drew the crowd in gently. It was a bold choice to start with something so understated, but it worked perfectly in the open air of The Piece Hall, allowing Bragg’s storytelling to take centre stage from the outset.

“Sexuality” lifted the energy further, prompting some of the first real crowd movement of the night. Its upbeat rhythm and inclusive message resonated just as strongly today as when it was released in the early ‘90s. Bragg introduced it with a few words on acceptance and solidarity, underlining the song’s relevance in current times without becoming heavy-handed.

“Greetings to the New Brunette” followed much later in the set and showcased Bragg’s ability to blend personal narrative with a wry sense of humour. Bragg’s delivery was confident but relaxed, giving the lyrics room to breathe while still keeping the momentum of the set moving.

He closed it with “Waiting for the Great Leap Forward,” a rallying anthem that had the whole courtyard singing along. With its shifting verses updated for the times and its driving, optimistic chorus, it was a powerful and fitting end. It was a well-judged finish from a seasoned performer who knows exactly how to leave a lasting impression.

Heaton opened with “Just Another Family” from The Mighty Several – the latest album that they will only play 4 tracks from as they have a 26 song setlist to get through. “Bow Down,” is next and the first of many nods to the early days with The Housemartins. Its pointed lyrics and simple arrangement set the tone: this would be a night of strong songwriting and direct delivery, without unnecessary embellishment. From there, the set leaned heavily into The Beautiful South’s extensive back catalogue, much to the delight of the crowd.

Standout moments included “Bell Bottomed Tear,” “I’ll Sail This Ship Alone,” and “Perfect 10.” These songs demonstrated not only the depth of Heaton’s writing but the strength of Downey’s vocal abilities. Not only taking on parts originally sung by Jacqui Abbott, Downey impressed throughout with taking the lead in “Song For Whoever” and her rendition of “Rotterdam” in particular drew attention—she didn’t merely cover the song; she redefined it, bringing clarity and control that made it feel fresh while still faithful to the original.

The pair shared vocals smoothly, with Heaton offering dry humour between songs and solid performances throughout. His voice remains strong, if a touch weathered, which only adds character to songs steeped in working-class observation and wry social commentary. Downey provided contrast and balance, her tone cleaner and more melodic.

Instrumentation was kept tight and unfussy, allowing lyrics and vocals to take priority. The band were all introduced with their instrument and football team they supported. “Guitar and Leeds United” got the biggest cheer of course. The arrangements respected the original recordings while making small adjustments to suit the current lineup.

Towards the end of the set, the duo returned for a well-earned encore. “You Keep It All In” retained its biting tone and catchy simplicity, and after “Rotterdam”, the final song was “Caravan,” closing the night with a warm, familiar rhythm that sent the crowd away totally satisfied.

Overall, the show was a reminder of Heaton’s enduring skill as a lyricist and performer. His ability to write clever, emotionally resonant pop songs remains underappreciated in broader music circles. Rianne Downey, meanwhile, proved that she’s not just filling in for Abbott—she’s staking a claim in her own right, capable of handling the vocal demands and emotional range of these classic songs.

The Piece Hall provided the ideal setting for a night that blended nostalgia with fresh energy and confirmed the ongoing relevance of one of Britain’s most consistent songwriters.