takes the world at his own pace. 2022 up-for-the-cup full length ‘The Theory Of Whatever’ was chock full of anthems, a revitalised and urgent statement that led to the Wimbledon songwriter headlining London’s mammoth Finsbury Park to 40,000 people. Five years later and he’s back, with a statement that revels in subtlety, it’s under-the-radar thrills tapping into a rowdy sense of maturity.

Never one to let his pen dull, new album ‘Ghosts (100 Days Of Morning)’ launches into the fray with a rugged, heartfelt indie anthem. Opener ‘3310’ is a full throttle, fully throated introduction, the kind of bawdy street romanticism only Jamie T can truly provide.

Yet the album as a whole leans towards the understated. The clipped minimalism of ‘Cocktail’ is reminiscent of early Cure, ‘The Won’ is a sombre treat – “life is a losing game” – while rousing late album ode ‘Crucible’ moves from a whisper to a shout at a moment’s notice.

But this remains a Jamie T album, and the mosh pit starters are in full effect. The kineticism of ‘Waist 36 Leg 32’ bleeds into the sharp new wave thrills of arena-worthy ‘All I Wanna See Is Now’’ or the rabble rousing chorus of ‘Crime & Clover’, but these are still etched with maturity.

Indeed, almost 20 years on from seminal debut album ‘Panic Prevention’ it’s an older, if still devilish Jamie T who greets us. ‘Caught Cheating’ is oddly touching, the electro-flecked ‘Chelsea Girls’ has a wry sense of humour and Pet Shop Boys in its DNA, while closer ‘Tallahassee’ pairs Jamie T alongside Leif Vollebekk to supreme impact.

A curious sidestep in place, ‘Ghosts (100 Days Of Morning)’ refuses to sit in one place, making it absorbing, infuriating and impishly entertaining.

7/10