Miles Kane’s fourth studio album is unlike any of his previous solo work; Change The Show is hugely inspired by the '60s and '70s sounds of Motown and Northern Soul, which could be somewhat expected following his work with The Jaded Hearts Club, but a plunge nevertheless.

The album was originally written and ready to go a whole year ago, until Miles met with Oscar Robertson and Dave Bardon of Sunglasses for Jaws, who made him rethink the entire record and the way he wanted it to come across. The three of them, alongside multi-instrumentalist Joao Mello and Holly Quinn Ankrah (a member of Liam Gallagher’s band), re-recorded everything, giving birth to an LP that’s a lot less structured and a whole lot more fun. 

Kane has somehow managed to fuse these Motown and Northern Soul with his usual indie rock sound, which wouldn’t necessarily be thought of as a compatible grouping but, boy, does it work. Opener ‘Tears Are Falling’ is a steady love song infused with harmonies alongside drum beats that make it sound almost theatrical, with lyrics such as “If fortune favours the brave, then I’m heading for an early grave”. Following on from this is ‘Don’t Let It Get You Down’, one of the most adventurous tunes on the album, featuring instruments like the saxophone and djembe drums, as well as a cameo from Lily Savage, Paul O’Grady’s drag queen alter ego. 

Single ‘Nothing’s Ever Gonna Be Good Enough’ featuring Corinne Bailey Rae again encapsulates that '60s/'70s sound. This is an album full of surprises, as this is not a duo you’d ever think to put together either, but the general sound and feel is absolutely perfect for Corinne’s soulful voice alongside Miles’ ever recognisable one.

The album as a whole has a sort of piano bar feel to it; some tunes you can picture someone playing in a hotel lobby or lounge whilst visitors mill about or sit down to eat. Others transport you to night-time; a vision of a dark room with a dancefloor. ‘Tell Me What You’re Feeling’ is reminiscent of The Doors' tones in the late '60s, and ‘Constantly’ is another slower melody, seemingly paying homage to the work Miles did with the band The Last Shadow Puppets. 

You’ll be hard pressed to find someone doing what Kane is with this album within today’s pop music; using instruments thought to belong to other genres of music and then fusing these genres together is nothing short of genius. That’s not to say this hasn’t or isn’t being done in the industry at all, but Kane really hones his craft throughout this record and showcases what he’s capable of creating.