A musician’s willingness to develop their sound, push their boundaries and follow their heart is always something I admire; it demonstrates authenticity in a music industry so driven by business models and the demands of record labels. It’s not always considered the ‘safe’ option, when compared to churning out an album every other year which sounds exactly like the one which came before it, but is infinitely better in my eyes. No risk, no reward, as they say…
Over the last few years, Tom Misch has taken some much needed time out of the spotlight: he set up his own musical workshop, called Wildflower, to support aspiring musicians; he worked on other musical projects, including an incoming record with Brazilian musician Marcos Valle; and he has spent more tine DJing/producing as Supershy, his more disco and electronic inclined alter ego. We were blessed with a fairly low-key EP at the back end of 2024 – which is also excellent – but it was not accompanied by any real publicity in the way of live shows, physical media or merch.
All the while though, Misch has been perfecting his newest release, Full Circle, in the background. And what better time in his career to take a bold step in a new direction? Now, I’m not saying Misch has gone full André 3000 on us and completely reinvented his sound, but his newest release, Full Circle, is definitely different, and one which many of his older fans probably weren’t expecting or hoping for. It sees Misch take on much more of a songwritten focus, accompanied by a softer, earnest sound and aesthetic. The album’s aura is much more relaxed, and has more emphasis on storytelling and production, which Misch most definitely does justice.
Album opener Flowers In Bloom is, by previous Mischian standards, very relaxed. As is illustrated perfectly through just the opening four minutes, this album is different, but has already captured something truly special from a wonderful songwriter and musician.
Red Moon shows glimpses of the Tom Misch of old, with a particularly tasty reverberating guitar, whilst still retaining the new polish he has incorporated in his songwriting and production. Things stay mellow through Slow Tonight, which features a stunning vocalised guitar solo, and Sisters With Me is lyrically gorgeous. Simple but sweeping, atmospheric guitars are a mainstay throughout this record, helped by the phenomenal level of production to be expected from a Tom Misch album. Old Man is another beautiful track with a family focus, and for me epitomises the core themes which are fundamental to this record and its context.
Perhaps the grooviest and jammiest of tracks on this record comes with Echo From The Flames. It builds progressively over more guitar, driving percussion and luscious strings, and reminds us more of Misch’s roots.
Finally, London-based saxophonist Kaidi Akinnibi is a very welcome name when scanning the tracklist of Full Circle. He has featured on several fantastic UK jazz albums in the last few years, including Tom Misch and Yussef Dayes’ 2020 collaborative project, What Kinda Music, Oscar Jerome’s The Spoon, and several Black Midi releases. On Full Circle, he turns album closer Days Of Us into a whirlwind of jazz which rounds out this album stunningly, and leaves a much appreciated jazz-flavoured aftertaste as this record comes to an end.
All in all, Full Circle is excellently written, excellently played, and excellently produced. I think the biggest risks for Misch going in this direction were his sound becoming a bit boring, overproduced and stale. But that is in no way the case. Each song is unique and offers something different to the overall project. In fact, the more I listen to this album, the more individual little bits stand out to me – to the point where every song has a highlight in some way or another.
This is no doubt a step in a new direction for Tom Misch and his sound. The jam session sounding days of Geography and What Kinda Music feel like a slightly distant memory – but that’s fine! Whilst Full Circle doesn’t quite scratch that jazzy, groovy itch which its predecessors did so well, it definitely tickles another. Admittedly, I probably remain a bigger fan of Tom Misch’s earlier work; What Kinda Music is probably one of my favourite all-time albums, and Geography is equally fantastic. So, whilst I would have loved to have another LP of Misch and his band sounding like they are locked into a jam session, I recognise that we have been spoilt with plenty of that in years gone by. To bravely offer up a fresh alternative, which showcases a more vulnerable side of Misch, should be commended and it is very gladly accepted.
Tom Misch’s music in 2026 still has raw, primal groove and incredible talent, but now with an extra layer of more delicate songwriting and sincerity. How can you complain at that? If you’re wanting some Misch to groove to, I’d recommend What Kinda Music or Geography in a heartbeat, but Full Circle holds a worthy, if different, place in his catalogue.
Waxing Lyrical 