JAMIE T / GHOSTS (100 DAYS OF MORNING
I don’t actually remember a Friday that I was looking forward to as much as this, and it’s for the sole reason that one of the UKs finest song writers of the past 20 years has finally delivered a brand new album.
Jamie T’s last LP offering came to us in 2022, but despite only a four year gap, 'Ghosts (100 Days of Morning)' feels massively overdue and hugely anticipated. Who knows what it is about times like these, that make you feel like you need the reassuring presence of a familiar and revered face. Possibly it’s because it’s almost 20 years since his debut, Panic Prevention, was released, and all of us that fell in love with Jamie during their university years or during their personal growth into adulthood, are now fully fledged late 30 year olds, and having an icon of years previous come back with as much enthusiasm, talent, energy and elite musicianship as Jamie T has done in 2026, is a reminder that all is well, and will likely continue to be so. Hopefully.
Beginning with lead single '3310', the record opens with acoustic guitars and a familiar drawl making references to the times I previously described, in the height of the early to mid 2000s, before building towards up tempo beats and an energetic bass line. It’s possibly one of Jamie’s greatest hits. Personally, I’ve had it on repeat for weeks and it stands strong against his entire back catalogue.
Now come the exclusive album tracks that we haven’t heard yet.. 'Cocktail' is thrown at us with an undeniable flow, reminiscent of the first album as we almost delve into a corner of UK hip hop, but with a catchy hook and a thriving drum beat. 'Waist 36 Leg 32' was dropped last week, featuring Charlie Cooper on the music video and it comes from a similar place as it maintains an upbeat, fun presentation. Surely he’s going to hit us with an acoustic ballad next? Surely?
Actually no, but 'All I wanna see' hits us from a completely unique angle than we’re generally used to from Jamie T as this has a very ethereal early 90s indie feel to it, unlike anything I’ve really ever experienced from him before. A whole new element to the sound with synths and Stone Roses-esque vocals. The slower numbers are here though, as we eventually land upon 'The Won' and second single release 'Tallahassee' which ends up making so much sense as the end of the album. Possibly his most perfect exit, and that’s saying something as they’re notably very good, but this spoken word declaration of self awareness and public identity caps off a wonderful experience of an album.
The albums packed with highlights and finalises a tremendous return to form. Who in 2007, thought 2026 could be the year of Jamie T? It’s at this point I’d normally make some stupid quip about him being 'Back in the game' or something like that. But I’m not going to, I’ll just say this. Jamie T will also have a place in my heart as the sound of some of the most uncertain, evolutionary but fun years of my life. We’ve grown up together over the past twenty years and this album just confirms that we’re all still growing, together.
Article by Stuart Green
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