Miles Kane: Don’t Forget Who You Are


THERE’S a line on Give Up, the February single with which Miles Kane unveiled Don’t Forget Who You Are, that seems to sum the Birkenhead singer-songwriter up quite nicely.
‘You always get what you want, just by strutting your stuff,’ he sings, neatly encapsulating what’s both good and bad about the former Rascal and Last Shadow Puppets man.
Kane’s live shows are electrifying, capable of both winning over the unconvinced and thrilling the converts.
Problem is, they’re extraordinarily male affairs, full of the type of beered up lads who were capable of ruining Oasis gigs for the less rowdily inclined.
I bring up the ‘O’ word because Kane’s music is capable of appealing to the mass market that the Gallaghers conquered so marvellously in the 1990s and he and this album deserve far wider attention than he has hitherto received.
The title track, premiered on the NME tour earlier this year, is a euphoric singalong par excellence boasting a splendid “la-la-la-la-la-la” chorus which you will not be able to get out of your head.
Out of Control, Fire in My Heart, Darkness In Our Hearts and Give Up itself are other stand-out tracks but there is not a duff tune to be found in the LP’s refreshingly tight 33 minutes.
Where Kane is not at his strongest – and what made his joining forces with Arctic Monkeys mainman Alex Turner for the Last Shadow Puppets project such a good idea – is on the lyric front.
One overlooked factor in Oasis’ success was Noel Gallagher’s often tender and almost always memorable way with words. By contrast, there’s a real anger and malice to Kane’s lyric-writing, while he is guilty of slipping into cliche (“We rock and we roll, get out of control”) a little bit more than is altogether comfortable.
That aside, Don’t Forget Who You Are is a splendid record, his most enjoyable yet (including those collaborations) and one which with the right choice of singles will hopefully catapult Kane into the national consciousness for some time to come.


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