The ever-present piano is the album’s backbone, while the strings and choral arrangements lend a degree of drama to the tracks. Miller’s talent for songwriting pairs well with instrumentals that feel organic in a genre that sometimes suffers from overproduced, excessively cinematic instrumentals. The album feels timeless in a way, a quality helped by heavy reliance on acoustic instruments, with minimal use of electronic sounds. With a sound that nods towards Elton John’s Goodbye Yellow Brick Road and David Bowie’s Hunky Dory, he also captures the aesthetic of a period in music that he was never around for, yet embodies almost flawlessly.

His lyrics and style evoke not only places but also eras. Reaching into the past for inspiration pays off well for Miller. “All Fall Down” and “Baby Blue” feature hints of jazz that electrify the tracks and hearken back to the ’70s. “Rag N Bone” is an emotional piano ballad crafted to demonstrate Miller’s vocal range, rejecting more complex instrumentation in favour of stark piano chords. On second single, “Always,” the snapping builds up to a deep, stomping beat so effortlessly, it’s happening before you’ve noticed its arrival. While the album’s opener is undeniably catchy and inspiring, most of the songs build up to their hooks more deliberately, with soft, tense intros that give way to soaring choruses. The track’s bombastic, freewheeling energy is a strange prelude to the more cerebral “Midnight,” but if his intent was to first grab our attention before showing us what he’s truly capable of, then “Surrender” does the job nicely. His flair for drama is immediately apparent on the knockout opener “Surrender,” which starts with a brash, dramatic piano and strings line.

Miller’s style is refreshingly confident, energetic and anything but subtle.

Baby blue tor miller