![]() ![]() “You’ve done it - this is better than last time,” Smith proclaimed before he exited the way he entered. The “love is love” anthem Him was a resonant showstopper, the black-and-white screens smashing to colour as Smith waved a rainbow flag to what may have been the loudest cheer of the night, at least until Too Good at Goodbyes closed the main set with the crowd picking up the vulnerable heaven-bound chorus. (It says something about the eclectic arrangements that country-pop singer Cam’s engaging support set didn’t seem incongruous.) One of the few constants was Smith’s steadfast smile. Latch was stripped and slowed down Money on My Mind escalated from a gentle guitar backing to dance-floor release. The backdrop turned neon to match Omen’s clubland pulse, before Nirvana’s gospel uplift and the unapologetically bombastic 007 theme Writing’s on the Wall. ![]() Pigeonholed as a wounded romantic, Smith offered more variety than he gets credit for. His interactions with the backup singers and musicians managed to look both choreographed and spontaneous when he talked about all the work and the joy that went into the show, you believed him. Smith’s warmth ensured that he sang to everyone at all times, even though the innovative stage design meant he had his back to a good chunk of the audience at any given point. This advertisement has not loaded yet, but your article continues below. ![]()
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