It’s hard not to like this album, in the same way it’s hard to dislike beans on toast or any buddy bromance cop movie — they’re just products, meant to be consumed by the masses.

Gone are the days when you’d turn Rudimental up loud for a shot of euphoria … but then this is their living and who can blame them for wanting to reach the most people? A bit like Major Lazer or Ed Sheeran, this is an album designed to appeal to demographics, from people who want something to hum on the way to work, to Spanish radio stations wanting holiday music for tourists (Let Me Live), to lovers of soul and dance remixes. It’s a series of well-made tracks, not an album.

The format is predictable. Happy tunes, lots of melodies and guest singers coming out your ears (“an extraordinary list of collaborators) — again to appeal to every demographic, from Jesse Glynne (doing drum ‘n’ bass!) to Ladysmith Black Mambazo, and from Macklemore to … well, lots of people we never heard of, and of course, Major Lazer.

It’s all a bit like the mockumentary Zelig, the human chameleon who takes on the characteristics of personalities around him. This is fine, but if your guest vocalist is a bit weak, your song’s weak.

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