WHEN I interviewed Miles Kane a few weeks ago for Weekend, he told me performing live is what really makes him tick.

So, despite having seen him perform on two previous occasions (including a stellar set last year at Glastonbury), expectations before he came on stage at the Parr Hall last week were higher than usual.

The most unsurprising thing is that he delivered on those expectations with what appeared minimal effort.

Effort was there of course, by the bucketful, but Kane is such a natural showman, it seemed the gig came so easily you suspect he could do it in his sleep.

Take the opening aggressive adrenalin of The Inhaler,asingle from Kane’s first solo album Colour of the Trap.

The Liverpudlian signer songwriter’s energy is almost angry, demanding the Parr Hall crowd let loose from the off. And that is why Kane shines when playing live.

Your enjoyment is not a by product of the music he produces, but a commodity he covets, feeding electricity that makes him gripping to watch.

Basically, he loves the theatre, the interaction, and wants you to love it too.

The single from second album Don’t Forget Who You Are follows Kane mimicking a tactic used by friend, former bandmate and Arctic Monkeys frontman Alex Turner, in incorporating the titles of an imminent song into conversation with fans.

When he asks how everyone is feeling, he answers ‘Better Than That’, and you know the song of the same title is on the way.

It’s a small thing that polishes the performance, and not the only one.

When the Liverpool fan launches into ‘Give Up’, the first single to be released from his second album in March last year, it ismashed up with a Rolling Stones cover, Sympathy for the Devil.

A second pause and we in the audience are asked to join in with the rousing finale of the song, and no one thinks twice as hundreds of voices sing back at Kane.

He applauds, and you knowhe is having fun as well, not least when fans treat him to an impromptu round of Happy Birthday, marking that Kane turned 27 on the day of the Parr Hall show.

Perhaps his two biggest songs are used towards the end of the gig, Come Closer and Rearrange drawing the biggest singalong of the night.

Either could have been used fittingly in the encore, but Kane’s choices work better.

He first appears minus his band for an acoustic version of Colour of the Trap, which is particularly well received by the watching ladies.

Don’t Forget Who You Are, album number two title track, is left for a poignant conclusion.

In an age of overpaid manufactured popstars, Kane is true to his word, a performer who lives for the stage.

And you get the impression that is because it is exactlywhat he is.

Don’t forget it.