The Last Shadow Puppets - Live

The Last Shadow Puppets
Hammersmith Apollo, London
Sunday 26th October 2008

In the week when rock stars play at making grown up music at the Electric Proms, Alex Turner bids a bombastic farewell to his own triumphant pet project. However, The Last Shadow Puppets work regardless of Turner's standing, not because of it and it shows tonight. He's the draw, the face that most faces are facing, but is happy to be a part of this victorious venture rather than its sole focus.

The stage is filled with a 16-piece orchestra, a keyboardist, bassist, drummer and Turner's songwriting partner, Miles Kane. Any ideas this isn't a joint enterprise are soon extinguished by a thundering open rendition of In My Room. Kane is to the fore, a tour de force of snarling vitriol, as rough as Turner is smooth. By the time it gets to his own showcase, Separate And Ever Deadly, Kane's cutting delivery bites as sharp as the searing strings that underpin it.

Before this, there is the small matter of the year's most unfeasible sing-along. Album title track The Age Of The Understatement is aired second and its blazing backing and riff heralds a change in backdrop and a statement of towering intent. Its convoluted rhythms and pernickety rhyming aren't built to be a conventional rabble-rouser but manage it anyway. The duo trade lines while the orchestra caresses beneath, creating a masterful tapestry that is never quite lost regardless of the raucous reaction it triggers.

In slower moments, the strum of Turner's acoustic guitar and flow of his mellow drawl can be spellbinding, particularly on My Mistakes Were Made For You. While Kane's guitar reminds of his psychedelic day job in the Rascals, Turner croons with masterful nonchalance, his suited features nailing the line between smugness and incredulity at the surreal situation he has manoeuvred himself into. Arctic Monkeys fans stand silent as Leonard Cohen tracks air, nodding knowingly. When two blokes behind who couldn't string a sentence together without numerous profanities join in the chorus to Lee Hazlewood and Nancy Sinatra's Paris Summer, which supporting band Ipso Facto's singer Rosie returns to provide a sultry vocal for, it's clear to see the impact the band is having.

The influences that went into making the album are apparent as more covers fill the set. The Beatles' I Want You (She's So Heavy) is delivered with flair, Bowie's In The Heat of The Morning with swagger and style. But it's the gall of Cohen's Memories that steals the show. They're in full Rat Pack mode as jokes regarding some biscuits thrown onstage ensue and this continues as Kane swings the mic around and parades a bra tossed his way from the audience.

The sheer comfort in which they present themselves and their seemingly fanciful musical ideas is refreshing. Turner's success provides a platform from which to elaborate and experiment, but the gig is a resounding success because the songs are as well crafted as they are indulgent. Attention turns to Turner's next move with the Monkeys now, but the ringing applause that greets closer Standing Next To Me's climax suggests a revisit for the Last Shadow Puppets could prove just as popular in the future.