INTERVIEW
MILES KANE
Whether you know him from his origins with The Rascals and The Little Flames back when indie ruled the waves, as the more mischievous half of baroque super-group The Last Shadow Puppets with a certain Alex Turner, or as a solo artist in his own right with three acclaimed albums to his name, Miles Kane is one of Britain’s musical men of the moment. From a coffee shop in Italy, midway through the campaign in support of his latest long-player ‘Coup de Grace’, a bristling half-hour effort which takes its name from a wrestling move, we got him on the phone for a chin-wag.
Photos: Lauren Dukoff
Hey Miles. What are you up to in Florence? I came over here to do a video for the next single, Killing the Joke. It’s slightly like the video I did for Don’t Forget Who You Are years ago in Liverpool, but a Florence version! There’s moments of me in a car, walking round the streets… in the song [I’m] reflecting on things and thinking of someone, so it’s that sort of vibe. Since we last heard from you, you’ve done a big old Shadow Puppets tour with your pal Alex Turner. What were some of the best bits? For me it was Glastonbury. I had a lot of anxiety before that gig because I had to play that ten second saxophone part on the Bowie song [the band covered Moonage Daydream; it was epic – so once that was out of the way I could breathe again! I dunno, we did so many cool things.
I liked the Ally Pally gigs we did in London, they were really rockin’. When did you decide you wanted to do another solo record – was it before the Puppets revival? Yeah, I did start writing this before the Puppets one. And then me and Al started writing tunes together again, and it became clear [the best thing was] to do a Puppets one, so it just got put on hold. Then when we finished with the Puppets it was like, back to the day job.
Did any songs from the Puppets sessions get carried onto this record? No they didn’t. There was a couple that were knocking about that I’ve thought about recently, a couple of old ones, but no, all the ones that made the album were written pretty much from January to October last year. Coup de Grace and Silverscreen
10 / OCT-NOV 2018 /
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"It’s kind of like George Michael doing Fatboy Slim! Such a bonkers tune, it’s amazing."
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