There was smoke, there were mirrors - but there was no smoke and mirrors at Miles Kane’s Sheffield show at The Leadmill

Miles Kane might be a former Rascal, but there was no con taking place at The Leadmill on Friday night - just pure, unadulterated showmanship.
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After support from Sunderland singer Tom A Smith and Brooke Coombe, Miles Kane powered through a high-energy setlist comprising solo material, The Last Shadow Puppets songs and even a pretty decent cover of The Beatles’ ‘Don’t Let Me Down’.

Touring his January release Change the Show, the additions from the new record were met with nearly as much excitement from the baying crowd as setlist stalwarts such as ‘Rearrange’ and ‘Don’t Forget Who You Are’.

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Miles Kane's Change the Show tour came to Sheffield on Friday night.Miles Kane's Change the Show tour came to Sheffield on Friday night.
Miles Kane's Change the Show tour came to Sheffield on Friday night.
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Highlights from the new release included the title track, ‘Never Get Tired of Dancing’, and ‘Caroline’ - although there’s no way that many people in the audience were called Caroline. Then again, who can blame the crowd for wanting to capture the attention of this charismatic singer?

Sheffield barely noticed the absence of Alex Turner onstage next to Kane during The Last Shadow Puppets hits ‘Aviation’ and ‘Standing Next To Me’; people were there for Miles, as much was evident from the shouts of “Miles, Miles, Miles f***ing Kane!” which reverberated through the venue between songs.

The success of Miles Kane lies in the relative simplicity of his discography - with catchy, repetitive choruses crowd participation is at one of the highest levels I’ve seen in this popular venue - matched only perhaps by similarly frenetic artists such as The Pigeon Detectives, or Reverend & the Makers.

But while these acts are somewhat laddish, drawing crowds of weekend offenders and football fans, there’s more going on musically at a Miles Kane show; there’s elements of R’n’B, Sixties swing, and even a dash of Glam throughout his set. At one point, there’s even a saxophone.

Pausing only occasionally to switch his guitar or shout ‘Sheffield’ in his Merseyside drawl, Miles Kane knows exactly when to work the crowd and when to stand back and let the music speak for itself.

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