The aircraft hangar that is Earls Court is positively teeming with music lovers happily rounding off an extended Easter weekend.

And just in case anyone is in any doubt, dominating at one end is the simple logo that so effectively symbolises this foursome.

Gallery: See more pictures from the gig here

In massive letters, spelt out in bright bulbs, "RAZORLIGHT" looks more like a newspaper headline than a stage prop.

If it is the headline, the story is that Razorlight have now truly entered the upper echelons of British rock society. Against all expectations, this Anglo-Swedish quartet now share a podium with the likes of Snow Patrol and Keane, and attract a similar crowd.

Cue a mix of swaying couples and flailing beer-boys as the curtains fall away to reveal Andy Burrows and an extended drum intro to In The Morning.

The real moment of truth though, is the roar of approval when the Muswell Hill messiah himself, Jonathan Edward Borrell, struts out in signature white skinny-fits and T-shirt.

Any fears he may have had about playing such a vast stage are instantly vanquished, although considering his ego could easily power the light show, as well as probably the amps and most of the Piccadilly line, he would surely have expected nothing less.

There is little crowd interaction, Borrell and co preferring to keep the audience/band dynamic where it belongs in an arena of this size - they are the stars, playing to their minions.

It's a million miles from the lavatory venues where they built their fan base, riding the post-Libertines wave to perfection and being accepted by even the most discerning on the Shoreditch scene.

It is little wonder that the second album is aired nearly in its entirety; the likes of Back To The Start, Who Needs Love and Before I Fall To Pieces are the sort of catchy pop-rock gems that are easily digested and loved.

Where their debut was a snappy adrenaline rush, the newer material is more accessible and, on record at least, quite inoffensive.

But in the live arena, heavier instrumentation coupled with Borrell's relentless bare-chested histrionics help to bring these tunes to life.

They finish with Somewhere Else, a song about wishing to escape the pressures of fame, but the rapturous applause makes a mockery of this theme.

Razorlight are often hard to love, but here they proved that they are one of the biggest, and possibly best, bands in the country at the moment.