Revolve

Its wider emotional range and stylistic switch-ups, none of which is outside Newman's grasp, give it a slight edge.

The results could launch the soul music world into a brand new territory that not even the most thundering bass drum could intimidate. For now, though, we’ll have to settle for gloss over guts. And in John Newman’s case, that’s not so bad.

With this increase in slick professionalism comes a loss of personality.

John Newman has the potential to produce work of real quality. What he’s given us with Revolve is a fairly standard pop album. That’s fine, as far as it goes, but we should be expecting much, much more.

Newman’s voice deserves better, and while We All Get Lonely may be more autobiographical than it lets on, it would be nice to know more about how it feels when a 25-year-old from lovely little Settle suddenly goes supernova. Maybe he’ll tell us more next time.

Track after track follows the same formula, with Newman’s subdued introductory verse swallowed by a huge, anthemic refrain that never lets up, his voice drowned in a tide of orchestra and chorus, all dialled up to 11.