Impress the unknown eyes

NEWCASTLE CITY HALL is a comforting place to spend a cold Monday evening in October. Unlike the intense atmosphere of the Newcastle Academy or the soullessness of the Metro Radio Arena, the City Hall has a rich history with everyone from the Rolling Stones to Genesis having trod the boards here.

On the 27th October, it was time for one of England’s newest song writing partnerships to take their turn – The Last Shadow Puppets.

With a maximum capacity of only 2,000 people, the City Hall was sold out for months prior to the event and expectations were running high for the show. It is rare for young bands to grace this venue – most will head to the Academy or simply miss out Newcastle all together – The Police, AC/DC, Coldplay and Oasis have all forgotten our favourite northern town on their recent hikes around England.

Entering the grand foyer, the assembled were comprised of ‘indie kids’ and university students like myself, with the odd older person scattered here and there. The appeal of the Puppets seems to be as broad as the Arctic Monkeys before them. Alex Turner, front man and lead guitarist met Miles Kane of The Rascals on the Monkey’s last tour and the two instantly connected. Miles can be heard on the album closer 505 and has performed it several times with the band, including their bombastic set at Glastonbury 2007.

Over the course of the next few months, an album of orchestral rock music was crafted with the help of James Ford (of Simian Mobile Disco fame) and became a hit when released in April 2008. A gap ensued before their acoustic performance at Glastonbury, followed by full orchestral sets for the Leeds-Reading festivals. The Puppets have taken their show on a whistle-stop tour around England, before heading off to America to close this chapter of the story.

The last night of their UK tour began with a support set from Ipso Facto at 8:00pm. A four-piece all female act from Essex, all the members have an uncanny resemblance to Uma Thurman and managed to match the style of the evening with an off-key fusion of surf, punk and power-pop music.

Their sound and style have a resemblance to the Go-Go’s, one of the first all-female groups that wrote, produced and managed their own careers.

Ipso Facto played to a half-empty hall with an upbeat feeling and surpassed my personal expectations, as well as many of those in the audience. After a prompt 30 minute change over set, the 16 piece orchestra mounted the stage to begin their fanfare that signalled the commencement of the show.

Unusually for rock and roll, the show started more or less on time and the core Last Shadow Puppets arrived on stage, Budweisers in hand – Stephen Fretwell, James Ford, Miles Kane and Alex Turner and kicked off the show.

Beginning with In My Room, it was one of the most Bond-esque tracks (a constant theme running throughout the evening) that instantly brought the entire audience of all ages to their feet. A brooding and atmospheric song, it soon swept into the title track of the album The Age Of The Understatement.

With a galloping beat, it has gone through a fantastic live transformation to become one of the obvious highlights of the musical year. Gaining one of the best responses from the audience, it was a brilliant example of the symbiosis of the core band and their orchestra.

One of the fascinating sights was the two young gentleman leading the music ensemble in such a joyful and professional way – two people who are only three years older than you and I. After wandering through the waltzy Calm Like You and string-driven Black Plant we arrived at the first surprises in the evening with Gas Dance, a non-album track in a more sinister mood that was followed by Hang The Cyst, bringing a slightly subdued atmosphere.

With a complete change of direction, Alex queried if anyone liked a certain Liverpool band that was around many years ago. The Puppets battled into I Want You (She’s So Heavy) with a version rivalling the one you know and love from Abbey Road without help from the orchestra. No doubt a future collaboration of Beatles inspired pop would be another hit, as they managed to pull off one of the hardest bands to cover.

Adding the relaxed atmosphere in the evening, Stephen Fretwell’s skills on the bass guitar were showcased proving him to be a competent member of the touring band with a solid low end. The next cover was Paris Summer, a classic collaboration of Nancy Sinatra and Lee Hazelwood.

Taking the female vocal role was the lead signer from Ipso Facto, still dressed and styled in her band’s uniformed way. Mournfully discussing their final performance, the band launched into a wistful story of floating down the Seine, cobbled streets and pavement cafes.

Minutes later, it was back to the Shadow Puppets – another Bond-styled tune of I Don’t Like You Any More, dripping into The Chamber but managing to bounce back with the simple yet effective Time Has Come to wave goodbye to the assembled youth.

The Meeting Place became the send off the tight and well-rehearsed orchestra deserved. When the band wandered off, the yelling and floor stomping began until it became a fever pitch.

Crawling back onto the stage like the troop of Rugrats, the band returned for another cover and a final send off. Miles managed to break one of the lights with his body crawling antics without any of the band noticing – they were all having such a good time.

Memories from the songbook of Leonard Cohen transformed Alex Turner into an evening singer with a tight fitted black suit. Then Standing Next To Me finally took both the band and orchestra on a final train ride home.

Throughout the evening, the entire assembly of band, orchestra, crew and audience had a fantastic time. A slightly sophisticated evening, it managed to keep that air of occasion and was still a rock concert.

The orchestra looked on with fondness as the combo of Alex and Miles belted their way through the rock numbers, while the audience jigged up and down to the bouncer tunes, mainly gazing in awe at the two heroes.

Alex Turner earned many of the wolf whistles and cheers from the assembled females, while Miles entertained himself with his beer. Although the word banter is far too overused, it must be said that it was fantastic banter backwards and forwards with the Puppets and audience – discussing their album and the songs to stripping in Glasgow to The Smiths.

One of the questions I wanted this gig to answer was – is the Last Shadow Puppets an equal partnership or simply an outlet for Turner? After seeing one of the most alive, energetic and sonically enormous gigs of my life, I can say that both frontmen are equal in their contributions.

Especially after listening to the debut album of the Rascals (Rascalize), the rhythmic structures came from his camp with little of the Arctic Monkeys to be heard. The Last Shadow Puppets reinvigorated my hope and passion for modern music, providing something alternative to post-punk-indie-rock that may never be seen again.

Flying off to America to showcase their wares, I can only hope that the partnership will continue in the future, when Alex and Miles take the next vacation from their day jobs.