CMYK print won’t make vivid colors except if you use additional tints, which only works if you have separated layers for them, otherwise will be quite difficult to extract plain tints for an image. A trick could be using CMYK print plus 1 silver (or other metallic pantone) tint on concrete areas (over the printed CMYK, this is done with “overprint” method on your compose program). Note that you will need a good printer company for this method.
Another way to trick Photoshop when converting to CMYK is to group all luminance adjustment layers and convert to smart object. Create a new CMYK document and drop and arrange the base design/create a new base design in it. For light effects/filters that you already converted to smart object from the previous RGB document, drag and drop it to the new CMYK mode document. Surprisingly, it will retain a good amount of the vividness and you can still modify it in RGB mode document via the smart object.
^ Never tried that trick, but seems to me that the vividness will only be real while on screen, once you export the PDF or compile the whole work for printing, all RGB will be converted, no matter if they are inside smart objects. But as said, never did it that way.
Printing is our family business , and I can assure you that’s mostly all about the paper choice and mastery of the printing offset , when you convert your work from RGB to CMYK.
This may seem obvious and please forgive me for that , but have you ever printed it with a digital printing machine (just one example to see how colors look) , at least it will give you an idea about the end product like it is printed with an Offset printing machine.