Bright and early to support tonight is Michael Gallagher, a Hartlepool indie-rocker, who showcases an impressive track lineup, including ‘Pour Me Another’ and ‘Wonderstruck’. His catchy numbers prove he’s a rising star worthy of praise and deserve a good listen.
Villanelle are also here tonight, fronted by Gene Gallagher with Ben Taylor (guitar) and Jack Schiavo (bass) they play a seven-track set including ‘Hinge’, ’Lazy’ and ‘Placebo’. The latter two remain unreleased and presumably appear on their upcoming debut album, undoubtedly in high anticipation following their stint. Gallagher’s voice is uncannily similar to his father Liam Gallagher’s, but they don’t mimic Oasis’ fuzzy aggro, they take a grungier, Nirvana-esque route.
‘Electric Flower’ commences Miles Kane’s set just after 9pm. It’s a newbie with a glam-rock kick and T-Rex reminiscent vocals; the perfect gateway for him to introduce his fresh, sonic spirit. ‘Love Is Cruel’ proves his new stuff’s popularity: once Kane sings ‘’Cause I always find...”, the crowd hit him right back with “Love Is Cruel”. The same goes for “To a heart like mine...” with “Loving you”, as the singer induces an aching call-and-response for a moment of collective empathy and slightly off-tune wailing from the crowd.
For anyone who hasn’t had the chance to take in the album yet, the immaculate vocals and infectious funk radiating from the stage is enough to ensure people listen post-gig.
‘One Man Band’, the title track from his 2023 release, ironically sees Kane and his troupe join together for heroic chants of “Hey! Hey!”. That album was more symbolic of the usual feel of Kane’s music, known for its invigorating, sometimes anthemic, energies. ‘Inhaler’ and ‘Rearrange’ (both from his 2011 solo debut) also solidify that bonding atmosphere with their rallying lyrics and plucky riffs.
For an artist who consistently lauded crowds with feisty energisers, it’s nearly surprising that his catalogue holds moodier tracks like ‘Colour of the Trap’ that command the room to sing along to a sweet melody, but it’s really no shock at all when it slows the crowd down. What could be an opportunity for a standstill breather turns into an affectionate sing-along. He pairs this with another slow song, and a new one, ‘My Love’, oxymoronic in that it feels affectionate on its surface but reveals itself as anti-romantic.
‘Walk On The Ocean’ appears to be a Kane favourite tonight. It’s not often he stops to introduce a song in the set, but for this one, he announces, “We’re going to put you in a trance. If you feel it, just go with it” as he swaps back to his electric guitar and wails over reverberated vocals for a psychedelic sweep.
“So come on, Coup De Grace”. This moment is one that’s unmatched at the Merseyside rocker's gigs as he gets on the floor and twangs his guitar, dragging out the suspense before the final chorus sees the title words (“Coup De Grace, Coup De, Coup De”) erratically cheered to a crowd of jumping, clear cups and pointed fingers.
Despite not including tracks like ‘Heal’, ‘Ransom’ (or any of his work with The Last Shadow Puppets at that), Kane still provides a panoramic span of his impressive discography.
The last time he played Newcastle in 2024, also at this venue, Kane was all electrified screams, intensely white lights and sweat-soaked crowd-stirring. Now, the leopard-print coated stage oozes with the mellow poise that symbolises his new era: Motown beats, funky grooves, and old school attitude.
Donning the gritty, indie-showstopper persona on stage has always done him well. ‘Sunlight In The Shadows’ has brought new overtones that add a little nuance to what we know of him. Along with all the other hits he’s effortlessly put out along the way, Miles Kane has made sure there’ll always be demand to see him live on stage.
Kai Palmer
Image: ‘Sunlight In The Shadows’ Official Album Cover
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