The thrilling debut album from this intense New York City trio makes their city feel alive once again
Jamie T: Sheila
Thamesbeat troubador raises a toast to drinkers of London
Meanwhile, should you fear a load of songs about Henman losing the tennis and how the local football team buggered off to Milton Keynes, fear not: Jamie, like Skinner, Strummer and Doherty before him, treats all of London as his playground. On ‘Sheila’, T plays humble narrator to a sad cast of boozers and ne’er do wells, soaking their personal tragedies in alcohol – Jack, whose girl left him for another man, drowns his sorrows in cider; Georgina, fleeing from an abusive home life, declared dead by paramedics after a self-administered drug overdose; and most prominently the titular Sheila, who gets tanked up and shouts, to no-one in particular, across the Thames. Sad scenes, but borne up on a rattling hip-hop backbeat in T’s croaked, Joe Strummer-esque patois, such tales become strangely uplifting.
It’s the incidental details that make it, though: the bellowed “Loondooon!” that interrupts the chorus, the passages of poet John Betjeman’s The Cockney Amorist inscribed between the crunching beats. “The blue-blooded murder of the English tongue”, declares a plummy English voice. “Brap!”, exclaims Jamie. And the spirit of London town finds its newest mouthpiece.
A deliberately frothy take on an under-documented moment in US politics
The second album from Piper and Skylar Kaplan is danceable, euphoric and pleasingly trippy
Mumford & Sons’ collaborative steps into world music aren’t embarrassing – but they’re not essential either
The iconic DJ Shadow returns with a mixtape-like album that frustrates as much as it fascinates