Miles Kane has had a flurry of Liverpool gigs of late.

He has played Zanzibar, Eric’s and Olympia all in the space of ten months, which is noteworthy considering prior to this he went two years without a gig in his home City.

The Olympia is a beautiful, weathered venue that I had never been to before. It is great that, along with Eric’s, Kane is handpicking unique venues with character. It’s like he’s trying to design memorable nights from the sticky floorboards upwards.

Telegram, the Welsh support outfit, left a lot to be desired, but they attracted a good audience for a warm-up and they gave it their all.

Miles walked on to a frenzy, and played to the crowd by opening unusually with fan favourite ‘Inhaler’. The singles inevitably sounded the tightest on the night. ‘Better Than That’ ‘is growing on me due to them playing it so well live. The set had a strong flow to it, but Miles needed to work on his banter in between guitar changes or at least try some.

‘Give Up’ segued into a thumping rendition of ‘Sympathy for the Devil’, but this made me realise how good a song the latter is and how poor the verse lyrics are to the former. ‘The Wirral Riddler’ got a rare outing and I think mistakably so. It is a poor song that feels more at home played whilst inebriated, in the practice room, on a Friday night.

I was also surprised at the omission of ‘Out of Control’. For me it is one of the better songs on the sophomore album, and a song that shows a much-needed, slower and gentler side to Kane.

The encore featured an acoustic ‘Colour of the Trap’ dedicated to “all the beautiful girls I can see tonight.” It was a cheesy touch and the song sounded too stripped down. His vocals sounded tired at this point, and the acoustic didn’t have a great sound. It would have been nice to hear ‘Colour’ with a bit of lead and brushes on the drums.

It was overall, however, another enjoyable Kane gig that got the whole Olympia jumping. I imagine there won’t be another Liverpool gig for some time now, and the third album is a must before playing live his present catalogue becomes tiresome.

The photographs that accompany this article were taken by Marie Hazelwood.

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