A multi-award-winning experience of what it’s like to live in constant fear, from rookie Hungarian director László Nemes
The Last Shadow Puppets
A suitably monumental setting for a few lessons in rock’n’roll history and their final (for now) shows. New York City (October 30)
Having made the rapid rise from underdog balladeers to a mini-Rat Pack for the MySpace generation, it’s no wonder The Last Shadow Puppets look so confident.
Kane strides onstage tonight with all the poise of a lost Gallagher brother, and while the spectacle of 1,500 rabid fans is small fry to Alex Turner, he’s also enjoying commanding such an audience without being contractually obliged to sing about scummy men and dancefloors. It’s a shared belief that helps openers ‘In My Room’ and ‘The Age Of The Understatement’ sound utterly colossal.
Fuelled by their 16-piece orchestra and James Ford’s galloping drums, these songs roar with a sense of cinematic drama that couldn’t have been harnessed any better if they’d got Martin Scorsese in to do the lights.
It’s no surprise to see them performing every song on the debut album with much aplomb, but the chemistry between Kane and Turner is exemplified by the covers they cherry-pick from the top of the rock history tree. The doo-wop take on Leonard Cohen’s ‘Memories’ is impressive, while Bowie’s ‘In The Heat Of The Morning’ is so convincing even the Thin White Duke himself has publicly extolled it. But it’s the fearless version of The Beatles’ ‘I Want You (She’s So Heavy)’ that truly demonstrates how tall the Puppets stand right now; Kane and Turner take turns crooning beautifully, the band creating the wall of sound behind them and in just a few minutes, they’ve taken us closer to the magic of Lennon/McCartney than Oasis have ever managed.
For now, then, it’s farewell. Suffice to say that next time Arctic Monkeys hit the Big Apple there’ll be plenty of people yelling for ‘Standing Next To Me’.
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