I’m old enough to remember Joe in his pop incarnation, with hits such as "Steppin’ Out" and "Is She Really Going Out with Him". I hope he doesn’t get too exasperated at being reminded of that particular era, but I think it’s a wonderful milestone in a long and interesting career, which, admittedly, I’m only discovering more fully now. I think I heard a few of his tracks in the 90s, but as you get older your listening tastes change, and the artists and bands you grew up with often fade or fall out of your listening rotation.

The album opens with "Welcome to Burning-by-Sea", which has a very post-punk feel, with rapid vocal delivery and a distinctly colloquial style. It reminds me a little of Ian Dury, but with more refined musical accompaniment. Also Joe Strummer and the Mescelaros came to mind. It was also of particular interest to hear the correct pronunciation of scones. Well done that man.

"I’m Not Sorry" carries a similar vibe, but the vocals are more sung, and there’s a comparison that took me a while to settle on, but there’s something distinctly Thomas Dolby in the way the lyrics are delivered. The song itself has a subtle Hispanic feel, which, somewhat strangely, took me a while to pick up on, likely because I was trying to process too many things at once.

The next track, "Made God Laugh", leans more into pop sensibilities. It has a noticeably more laid-back feel, with a brighter, more open quality that gives it a sense of ease and warmth. There’s a clear shift in mood here, carrying more of a feeling of joy and uplift compared to the more satirical tone of earlier tracks, though it remains just as engaging and enjoyable. The structure feels more immediate and accessible, and the vocal delivery sits comfortably within that lighter framework, letting the melody and overall atmosphere take centre stage.

I loved the harmony-style intro to “Do Do Do”, which then bursts into an upbeat, almost ska-infused romp. Even though the lyrics are delivered in a fairly deadpan style, the overall track has a strong sense of joy, which may be more down to the vocal accompaniment than the main vocal line.

"Fabulous People" again leans into pop sensibilities, albeit with a distinctly 90s feel. I can hear a range of influences and styles throughout the track, which perhaps isn’t surprising given Joe’s storied career. Am I being too fanciful in thinking the glockenspiel ending might be a subtle nod to "Steppin’ Out"? Who knows, but I’d like to think so.

Opening with a very thematic TV style guitar, "After All This Time" for me doesn't stand out. It's always hard when doing a track by track review as some songs grab you and some don't. The song itself is enjoyable and has a good melody and for me is very much in the best traditions of an album track. I'm sure with repeated listen of the albums, it will be one of that tracks that grows on me. We shall see.

I’m afraid I can’t say the same for "The Face", which for me is one of those tracks I would likely skip when playing the album. Maybe that’s a bit harsh, but there are always a few tracks that just don’t connect in the same way. In this case, it feels a little less engaging melodically, and is maybe a little too ecclectic. A similar example for me is Crowded House’s album Woodface, which I always felt would be improved by removing "Chocolate Cake". Fortunately, in that case it’s track one, so one skip and the album flows perfectly from there.

"End of the Pier" has a very different vibe, which at first I wasn’t sure I would like, but as the song unfolds I found myself focusing more on the lyrics, which elevate the track above the music. The arrangement still provides a solid soundbed, but it allows the words to carry more weight and gravity.

The last track, "See You In September", feels like a lament to growing older. For me, September has always been synonymous with the start of school and my Dad’s birthday, which adds an extra layer of reflection. It’s a thoughtful, reflective piece with some lovely string arrangements, which are always a welcome addition when done well, as they are here. As a closing track, it works particularly well, bringing a sense of quiet resolution and tying the album together with a more introspective, almost nostalgic finish.

I have to admit, when I first saw this album release, I thought, “Oh wow, is he still going?”. I probably would have skipped it if I hadn’t checked whether he was independent, as many artists tend to move into that space later in their careers. Fortunately, he was, and I’m glad I returned to an artist I hadn’t listened to in many years. The album is a strong combination of styles and tracks, resulting in an overall, thoroughly enjoyable listen.