One thing that artists have come to expect from a Glasgow gig is that your crowd aren’t going to be average. And while competing with the equally sartorially flamboyant Rod Stewart who was across the city opening the new SSE Hydro, that’s just what Miles Kane was hoping for.
Considering the crowd were on shoulders, throwing beer and causing a general ruckus to What’s The Story Morning Glory before Kane was even in sight, he didn’t have much to worry about. Swaggering on wearing tight white trousers and a high-collared shirt with two black stripes (which from the back possibly might’ve looked like braces), he yelled his opening words “Glasgow, you’re gonna get it!” before thundering into a song co-written by Paul Weller, aptly titled You’re Gonna Get It.
No sooner than the crowd had whooped and clapped after the last bar, had they started forming their own circle pit in anticipation for what was to come next. In succession, Kane provided flawless renditions of Taking Over and Quicksand, allowing revellers to run into each other at their own will, and occasionally fire beer at Kane and his band. Not that such a thing put any of them off.
Although older songs like Rearrange and the gung-ho Kingcrawler may have attracted more sing-along moments, it was tracks like the r’n’b laced Better Than That and Darkness In Our Hearts that received a better crowd reaction. Though the highlight of the night was definitely Kane’s blistering rendition of Give Up. As usual he started off spitting the words out like venom, but then broke the song down after verse 2 into a surprisingly good version of Sympathy For The Devil. Between “woo woos” and chants of “you’re pretty good looking/but I’m looking for a way out” the crowd were mesmerised and eating out of the palm of Kane’s hand.
Finishing the set pre-encore with new album titler Don’t Forget Who You Are, fans were left chanting “aaaah ooooh” as there was definitely one song they weren’t prepared to go home without hearing. Though Kane kept them hanging on for it as he returned to the stage solo for an acoustic rendition of Colour Of The Trap. A smart move, giving the crowd a chance to catch their breath as they waved their arms and lighters, before urging them to Come Closer and leaving them to sing their “aaahs” and “ooohs” into the night.