Jamie T makes peace with the past on Ghosts

Eleven tracks built from long-kept voice memos arrive on Polydor as intimate shows begin and UK headline nights take shape.

Jamie T releases his sixth studio album, Ghosts (100 Days of Morning), today through Polydor Records. The 11-track set is built in part from long-kept voice memos and turns on growing up, loss, a pull back towards the indie climate of the 2000s, and a hard-won personal reconciliation after a difficult stretch. It is framed less as a comeback statement than as a clearing of accounts — memory treated as raw material rather than costume.

Lead single 3310 has already pointed the way. Cocktail, co-written with Damon Albarn, sits among the new songs, while the closer Tallahassee samples Leif Vollebekk and threads in a run of British names that includes Lily Allen, Tracey Emin, Paul Heaton and Liam Howlett of The Prodigy. The references are not hung as decoration; they sit inside the song as part of the record’s wider habit of looking homeward without simply replaying an earlier self.

Voice memos and the room

Production is shared by Jamie T, James Dring and Hugo White. Dring’s recent credits include work with Loyle Carner and Blur; White arrives from The Maccabees. The combination keeps the record close to the singer’s own grain while opening the arrangements just enough for the older voice memos and the newer writing to sit together. Albarn’s presence on Cocktail places one of British pop’s most restless collaborators on a co-write rather than a guest turn, and the credit sits cleanly beside the album’s other named connections.

In conversations around the release, Jamie T has described the album as a new chapter and has been plain about the practical limits of the road. He has said he can no longer afford to tour Europe in the way he once did, pointing to the costs that have followed Brexit. No further European dates have been confirmed. The remark is not a grand political gesture; it is a working musician’s arithmetic, and it shapes what comes next as clearly as any single or video.

Intimate shows under way

The album’s arrival coincides with the start of a run of intimate shows. Stripped of a full band, the new songs have room to sit closer to the voice-memo intimacy that feeds the record. This winter he returns to larger UK stages, with headline dates on the books.

That split — smaller rooms now, headline theatres later in the year — fits the album’s own balance of private stock-taking and public return. Ghosts (100 Days of Morning) does not pretend the 2000s never happened, nor does it offer a simple revival. It treats that era as one more set of rooms the songs still have to walk through. For an artist whose earliest work helped define a strand of British guitar writing for a generation of listeners, the decision to keep looking, and then to step back on stage with the lights low, is the point of the day.

What stands now is simple. The record is out. The shows are under way. The December nights are on the books. Europe, for the moment, remains unconfirmed for the reasons he has already set out. The rest will be decided on the road and in whatever comes after these eleven tracks have had time to settle.

Tour dates

DECEMBER 2026

6 – Birmingham, O2 Academy
7 – Birmingham, O2 Academy
8 – Newcastle Upon Tyne, O2 City Hall Newcastle
11 – London, OVO Arena Wembley
12 – London, OVO Arena Wembley
14 – Leeds, O2 Academy
15 – Glasgow, O2 Academy
16 – Glasgow, O2 Academy
18 – Manchester, Co-op Live
20 – Brighton, The Brighton Centre