If this is what Sam Fender can provoke on a Monday night, then Lord knows the reaction he generates at a weekend. A chart topping album and sold out tour may mean the Geordie is firmly at pop’s top table now, but it was still impressive the sheer delirium his arrival onstage appeared to generate, a status that lasted throughout the brisk hour or so that followed.

Of 2019’s pop culture phenomena, the critical reappraisal of Céline Dion as an international treasure is one of the most delightful. It’s been six years since the Quebecois singer last released an English language album, a period in which she closed out 16 years of Las Vegas residencies, soundtracked both Disney and Deadpool and, most importantly, mourned her husband, René and brother, Daniel.

Pumarosa picked the perfect time of year to launch their second album into the world: its skittish drums, claustrophobic melodies and haunted vocals are the perfect soundtrack to witching season. But the horrors that inspired Devastation are far more personal: frontwoman Isabel Muñoz-Newsome was diagnosed with cervical cancer the week the band’s 2017 debut was released, with the band playing Glastonbury mere weeks after her surgery.

Considered logically, releasing an album as heavy on guest features as Charli XCX’s newest should present particular logistical problems when it comes to recreating the tracks on tour. Charli’s approach is the opposite: no gimmicks or trickery, just minimalist techno hedonism powered by nothing but strobe lights and sheer charisma.

James Blunt loves to joke about how gloomy his songs are and he says Once Upon a Mind is his most depressing collection yet. But the truth is that the album is really just agonisingly safe and painfully middle-of-the-road. (For the most part) Blunt has stared into his dark night of the soul and turned it into something beige and inoffensive.

Partly it's the voice. That thin, strangely inert warble. It's also Blunt's tendency to treat every subject as a melancholy singalong. You might imagine a song about your relationship with your wife, would aim for a close, intimate feel. Instead, "Cold" has a chorus that sounds like it was designed to be sung by 10,000 fans. "Champions" is even huger and more pompous. 

Both tracks have been designed to evoke Blunt's debut, Back to Bedlam. And why not? It is, after all, his biggest hit to date. More surprising are the handful of songs that hark back to 2017's not-so-successful experiment in electro-pop, The Afterlove. Even with Blunt's army of co-writers, these are so anonymous, so lacking in character, they barely exist. The auto-tune on "5 Miles" renders Blunt's voice barely recognisable, and "Younger", with it's EDM beats, talks about growing old gracefully but sounds more like a mid-life crisis

It's only when Blunt sings about his ill father that he finally delivers on his promise of real emotion. "How It Feels to Be Alive" is a sprawling piano-led melodrama, whose verses nod to early Tom McRae. The most affecting track, though, is "Monsters" based on Blunt's experiences sitting by his father's hospital bed. It may be overblown, and hugely sentimental, but when Blunt sings about trying to chase his dad's monsters away, it's also genuinely moving. If only he'd lay himself bare more often.

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@russcoffey

 Overleaf: James Blunt's video for "Cold"