Miles Kane treated Nottingham to a night of his explosive indie rock in an intimate sold out gig at Rescue Rooms.
Pints in hand, the bustling crowd of Rescue Rooms eagerly waited for Miles Kane to take to the stage. Warming everyone up first however was Cardiff four-piece Buzzard Buzzard Buzzard, bringing some heavily classic rock inspired tunes to the evening. Watching their set, you could pinpoint their musical influences exactly; riffs reflecting The Who, AC/DC-esque chants and showmanship from frontman Tom Rees akin to a Mick Jagger performance – scissor kicks and all. Late Night City being a personal standout, a song floating somewhere inbetween the early Beatles and the 70s glam rock of T. Rex.
Despite these indisputable influences, Buzzard Buzzard Buzzard are anything but stuck in the past, creating fresh, vibrant music which makes a mark in the oversaturated alternative rock scene. It’s refreshing to see a modern rock band not purely rely on big, heavy, loud sounds to grab audiences’ attention. Catching them after the gig inbetween constant praises from people on their set, they hailed Nottingham for always putting on a dynamic show. They also expressed an interest in returning next year to tackle some smaller venues singlehandedly, so fingers crossed for seeing them perform again in the not-so-distant future.
"[Kane's] mesmerising presence and ability to transcend his music to another level through live performance is what musical entertainment is all about."
With the crowd beginning to become restless, the atmosphere only built and built in the main room of Rescue. Not keeping the crowd waiting in anticipation for too long, Miles Kane took to the stage opening with Coup De Grace. The room lit up, a sea of fans both young and old soaking up Kane’s unmistakable sound. Tracks such as Too Little Too Late and LA Five Four (309) notably kept the energy of the room at an all-time high - it was flailing arms, sweaty bodies and banging heads galore.
Slowing down the pace slightly and trading out for an electric-acoustic guitar, Killing The Joke and Telepathy gave the crowd a much-needed breather. Even during the lower energy songs, they still held the same punch, with Kane’s stage presence being simply captivating. Kane's backing band were also tight, magnetic and electric on stage. Refreshingly, it was inspiring to see a female drummer perform, something scarcely seen within the music world and particularly impressive considering the high level of technique and flair needed to perform alongside and keep up with such a performer as Kane. The band were the perfect backdrop for Miles Kane – allowing him to thrive and flourish on stage. Lighting up the room with sultry guitar solos, prominent in Come Closer and Colour of the Trap, the audience were putty in Kane’s hands, hanging off his every note.
Image courtesy of Sam Dye
Yearning for the crowd-pleasing banger Don’t Forget Who You Are, midway through the set the room universally began chanting for the song. Persisting on with the set, Kane left the crowd hanging until the final song. Latest release Blame It On The Summertime went down a treat, with one girl proudly supporting the bright orange bucket hat as featured on the single’s cover, which made itself up to Kane himself at one point. ‘Finishing’ the set, before the inevitable encore, was Inhaler, bringing with it, big energy and an even bigger crowd reaction. Even some who chose to avoid the moshers throughout the gig made their way to heart of the Rescue Rooms floor; not wanting to miss out on the final few moments of madness. Returning to the stage for an exhilarating rendition of Don’t Forget Who You Are, the night ended on a high with the crowd carrying the song on even after its final note, prompting Kane to extend his show, even if only by a minute or two.
Miles Kane is a showman through and through, embodying the spectacle of live music itself. His mesmerising presence and ability to transcend his music to another level through live performance is what musical entertainment is all about.