Last Shadow Puppets ooze 60s glamour in their live show
LAST SHADOW PUPPETS have taken their place with the elite since the release of the debut album The Age of The Understatement in April. The band is a side project for Arctic Monkeys frontman Alex Turner and Miles Kane of The Rascals, and it’s certainly a departure from the gritty and anthemic indie rock they are use to.
Coming on stage dressed in a sharp mod suits and turtle neck sweaters, with a red velvet curtain draped as backdrop and surrounded by a 16-piece string and brass orchestra that would leave the Royal Philharmonic seething with envy, you were instantly transported to the sixties, when rock ‘n’ roll was new, experimental and romantic. The band opened with the album’s title track, rhythmic guitar tones soared through the crowd and the trumpets bounced off every corner as the violins soothed and fused together the cacophony of noise, blending together to produce a long forgotten sound.
The two sang most of the songs together, complimenting each others signature voice, in a harsh northern accent. Despite only doing a handful of shows in the UK and America, the set was well-rehearsed and tight, showcasing their talent for song-writing and love of music, pulling influences from David Bowie, The Beatles and Scott Walker. The entire crowd was mesmerized, transfixed on what was happening on stage and occasionally rupturing into shouts of approval, applause and whistles.
Despite the duo trying to keep a cool façade, their po-faced stance would sometimes lapse into beaming smiles, as the nerves subsided and the overwhelming response from fans yelping for more, as they finished with single Standing Next To Me.
Unsure of how Last Shadow Puppets could pull off an entire gig, when they only have one album and a couple of singles under their belts. The fear was that they would simply play the album, giving the crowd nothing other then a disappointed feeling that they parted with hard earned cash to do something they could have done in the comfort of their homes and a CD. The lads pulled it out of bag, both doing the Mercury nominated album justice and giving the audience an unrivalled, truly retro experience. Although they have taken indie music backs to its roots, reviving a creatively frustrated and newly liberated British working class spirit, they have push the boundaries into uncharted waters for a lot of people who have only known the saturated and tired sound of Brit Pop – taking a risk that paid off and offering a more sophisticated indie-rock.
First published Aug 2008
Coming on stage dressed in a sharp mod suits and turtle neck sweaters, with a red velvet curtain draped as backdrop and surrounded by a 16-piece string and brass orchestra that would leave the Royal Philharmonic seething with envy, you were instantly transported to the sixties, when rock ‘n’ roll was new, experimental and romantic. The band opened with the album’s title track, rhythmic guitar tones soared through the crowd and the trumpets bounced off every corner as the violins soothed and fused together the cacophony of noise, blending together to produce a long forgotten sound.
The two sang most of the songs together, complimenting each others signature voice, in a harsh northern accent. Despite only doing a handful of shows in the UK and America, the set was well-rehearsed and tight, showcasing their talent for song-writing and love of music, pulling influences from David Bowie, The Beatles and Scott Walker. The entire crowd was mesmerized, transfixed on what was happening on stage and occasionally rupturing into shouts of approval, applause and whistles.
Despite the duo trying to keep a cool façade, their po-faced stance would sometimes lapse into beaming smiles, as the nerves subsided and the overwhelming response from fans yelping for more, as they finished with single Standing Next To Me.
Unsure of how Last Shadow Puppets could pull off an entire gig, when they only have one album and a couple of singles under their belts. The fear was that they would simply play the album, giving the crowd nothing other then a disappointed feeling that they parted with hard earned cash to do something they could have done in the comfort of their homes and a CD. The lads pulled it out of bag, both doing the Mercury nominated album justice and giving the audience an unrivalled, truly retro experience. Although they have taken indie music backs to its roots, reviving a creatively frustrated and newly liberated British working class spirit, they have push the boundaries into uncharted waters for a lot of people who have only known the saturated and tired sound of Brit Pop – taking a risk that paid off and offering a more sophisticated indie-rock.
First published Aug 2008
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