Written by Billy Edwards

Miles Kane was not afraid to be fine-tuned to his crimson-red guitar, his band and his audience in a stunning show inside CardiffÔÇÖs Tramshed. Acutely aware his audience were hungry to see and hear him live following a few postponements due to the pandemic, he put forward what must be his finest showmanship.

The Tramshed was filled with mods, indie fans and rockers kitted out to welcome Kane to Cardiff. There were two impressive opening acts to savour before, however. The first was Tom A Smith, an impressive youngster who served up spiky guitar as the assembling crowds began to sip at their first drinks. He sported the ÔÇÿNew York CityÔÇÖ t-shirt made famous by John Lennon, apt for a set that evoked the edginess of his Plastic Ono Band solo record ÔÇô Kane would later raise a hat to his fellow musical Liverpudlian in the main act. Scottish soul singer Brooke Combe followed with a rousing set, including a cover of Arctic MonkeysÔÇÖ ÔÇ£Why Do You Only Ever Call Me When YouÔÇÖre HighÔÇØ ÔÇô this indie classic was a likely nod to their lead singer Alex Turner, who was KaneÔÇÖ collaborator in The Last Shadow Puppets.┬á

The theme tune to Rocky signalled KaneÔÇÖs set was about to begin – perhaps a little pompously – yet the crowd were proficiently roused by the time the band entered the stage to new song ÔÇÿDonÔÇÖt Let it Get You DownÔÇÖ. They were immediately impressive for being particularly well-dressed ÔÇô the keyboardist Jo├úo De Macedo Mello however stole this fashion show with his velvet smoking jacket and trilby, which had a feather tucked in. Kane wore a smart red shirt and narrow blue trousers as well as an armband, which was aptly emblazoned ÔÇ£Change The ShowÔÇØ. Although he wasnÔÇÖt wearing the pair of boxing shorts available to purchase at the merchandise stand, MilesÔÇÖ love for the sport was reflected in his great performances as he returned round after round with big hitters from his considerably large catalogue. After increasing the pace even more with ÔÇÿInhalerÔÇÖ, imploring ÔÇ£letÔÇÖs have itÔÇØ, he turned to a few tracks from 2018ÔÇÖs Coup De Grace, such as the pounding funk of the title track and the glam-infused clap-a-long ÔÇÿCry on My GuitarÔÇÖ. 

Miles relished the wonder of being close to his fans, very much enthused by the very warm reaction to his latest tunes, whilst proving they couldnÔÇÖt have possibly forgotten the older ones ÔÇô a few such as ÔÇÿDonÔÇÖt Forget Who You AreÔÇÖ created moshpits amongst the audience to match the bandÔÇÖs wall of sound. When other players would take over in a solo, Kane would gingerly approach the front of the stage and a swarm of raised hands would rise in admiration; he would then crouch down to the audience and study their faces as if committing them to memory. 

The turns into the work of The Last Shadow Puppets were very much welcomed – the performance of the snappy ÔÇÿBad HabitsÔÇÖ was an edgy major-chord bonanza which proved Alex Turner wasnÔÇÖt necessary to have around to make these songs sound great. MilesÔÇÖ voice was impressively still not letting up after many yelps, cries, and screams, illustrating he was feeling his music just as much as his audience was. Kane was so enthused to be playing these songs that it implied the setlist was a summation of the favourites. The new tracks were becoming anthems in their own right, evident in how the audience rejoiced in the infectious chorus to ÔÇÿNever Get Tired of DancingÔÇÖ. His bundles of attitude commanded you to join in the dance. Their power seemed almost superhuman – for ÔÇÿChange The ShowÔÇÖ, the keyboardist took out a saxophone and joined the band at the stageÔÇÖs front akin to the suitable formation of a superhero team.

Around halfway through, Miles introduced a personal stand-out from the new record, the jaunty ÔÇÿNothingÔÇÖs Ever Gonna Be EnoughÔÇÖ ÔÇô with RAHH fitting comfortably into the duet with a cheerfully cosy rapport with Miles. They appeared to have a strong rapport which made the songs even more likeable, whilst Kane swang on the spot and grasped his hands towards the roof in the songÔÇÖs most impassioned moments. He seemed to enjoy the moments of classically soulful pleading to the heavens the most, such as on heartfelt ballad ÔÇÿColour of The TrapÔÇÖ. He had perfect pitch on the higher tones of ÔÇÿSee Ya When I See YaÔÇÖ, likely inspired by one of his heroes, John Lennon. Kane had previously launched into a surprise cover of ÔÇÿDonÔÇÖt Let Me DownÔÇÖ by The Beatles, currently in vogue due to the recent ÔÇÿGet BackÔÇÖ TV series. The band ensured the crowd sang along wonderfully to the classic and daresay improved upon it with a blistering guitar solo by McClorey, who bragged a curtain down on a winning tribute. The show then on was a gleeful victory lap, resulting in ÔÇÿCome CloserÔÇÖ as a clean-cut closer to an excellent gig, a song that is likely his most well known as it is a great summation of Kane – bouncy, infectiously entertaining and cheekily seductive. Due to his excellent star power, Kane certified his audience not only went home with tired dancing feet but his classic tunes rattling around their heads.