Panic Prevention, released in 2007, is a strong introduction to that approach. “Sheila” and “If You Got the Money” combine memorable musical ideas with a conversational delivery. The words do not always arrive neatly, and that is part of the effect. The songs have a sense of people trying to keep up with their own lives, with humour and unease often sitting close together.

The rhythm of his singing is central to the sound. He can push a phrase forward, leave a thought hanging or squeeze extra words into a line without making the whole performance feel carefully ironed out. That restless delivery gives the music momentum. When a chorus opens up, it feels like a release from the tangle of detail that came before it.

Kings & Queens, from 2009, gives you another route in, particularly through “Sticks ’n’ Stones.” It carries the kind of energy that encourages an immediate singalong, but the character remains in the phrasing and the rough edges. Jamie T understands the attraction of a big hook while keeping enough friction in the performance to stop it becoming anonymous.

Carry on the Grudge, released in 2014, adds another shade to the catalogue. “Zombie” is an especially good example of how a direct, infectious chorus can sit inside his more unsettled musical world. The Theory of Whatever, from 2022, extends that catalogue further. Across these records, the recognisable thread is a voice that can move between swagger, confusion, humour and vulnerability.

The roughness is also where some listeners may struggle. His delivery can be busy, and an arrangement can feel crowded when the words, guitars and rhythm all demand attention at once. But the looseness has a purpose: it gives the songs the feeling of ordinary life arriving without a tidy introduction. Slowing down to follow the phrasing can reveal more than the chorus alone.

For The Fat Llama, Jamie T works because the personality survives the different musical settings. There is room for a song to be funny, anxious, catchy and bruised without choosing only one of those qualities. Begin with “Sheila,” “Sticks ’n’ Stones” and “Zombie,” then explore the albums around them. The familiar tracks make a lively entrance; the less immediate songs show how much feeling sits behind the restless surface.