Is it just me, or does Kaiser Chiefs' singer Ricky Wilson look like Tory MP Boris Johnson? No? Just me? You never see them in the same room though, do you?

It’s not a thought that had crossed my mind until tonight, but when T’Chiefs take to the stage during a fit causing series of strobes, I started seeing a strong resemblance. But maybe there’s a clue hidden in the early part of that sentence; those initial lights are certainly bright enough to cause a few misfiring synapses.

But more of that later. A lot has been made of the Kaisers’ efforts to help fellow Leeds' bands and tonight they continue the trend: an opening slot for The Duels, who despite the early entrance, draw quite a crowd and have enough to suggest that the place on the bill isn’t just sheer geographical nepotism. The set closer in particular has a weight and heaviness looming behind its angular façade, like The Futureheads being hunted by an army in a thunderstorm.

Next up, and probably less requiring of the Kaisers help, the soon to be next-big-thing Nine Black Alps are solid and convincing. An early, searing run through ‘Cosmopolitan’ sets the tone and the combination of some sharp, hooky melodies followed by big, grungy walls of sound mean they sound like they could yet do justice to those “new Nirvana” comparisons that seem permanently tagged to them.

Good then, but somehow lacking in fun. Which is not an accusation that can be levelled at the Kaisers. Despite this being there first major (UK) headlining tour, and that the tour venues have been upgraded due to sheer demand, there’s no doubt that the Kaisers can play to crowds this size with ease. It’s a beguiling mixture: they’ve got the tightness, the sheer professionalism of stadium filing veterans, but the performance of wide-eyed, enthusiastic new boys, who look like they’re enjoying it as much as the crowd. A feat that can’t be easy after many months of playing the same 12-or-so songs every night.

But what songs: tearing into an opening ‘Na Na Na Na’ they barely pause for breath, causing pogoing and rampant invasion of personal space throughout the crowd. The only brief lapse is saved for a stately swing through ‘You Can Have It All’ bathed in pink-light. 'I Predict A Riot' literally causes the floor to shake, ending with Ricky in the crowd; ‘Oh My God’ is as frenzy-inducing as you’d expect, ending with Ricky in the crowd again, and even two of the uglier ducklings on the album, ‘I Was Born To Be A Dancer’ and the encore opening ‘Caroline, Yes’, are reborn in this setting, spreading their wings to sit more comfortably with their swan like brethren. And appropriately ‘Everyday I Love You Less And Less’ caused the first rumblings of a fight on my right hand side. Presumably it was: “I love you less”

 “No, No I love you less”

*Push*

*Shove*

 “Leave it, he’s not worth it!”

Throughout it all Ricky dodges the odd bottle, doffs a cap thrown on stage and alternately does the robot, mimes being blown backwards by a gale and directs traffic. Oh, and occasionally beats the hell out of a cowbell. We definitely need more cowbell. Employment is such a grin-a-minute record that it was clear the hard work had already been done in  crafting a set of songs so immediately crowd-pleasing that gigs would be a walk in the park, but to see the level of charm and energy put into the live show is mighty impressive. Loaded with charisma, massively enjoyable, hail to the Chiefs, they’re the ones we say hail too…

(4½/5)

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