After her debut album Come Away With Me sold 20 million copies, Norah Jones became the final word in polite dinner-party background music. Since then she has been variously dismissed as a purveyor of soporific light jazz and sweet country or held aloft as an artist who actually pushes herself without worrying what her critics have to say. Maybe her work with the likes of Jack White and Foo Fighters didn’t mark her out as a sonic adventurer, but this collaboration with Black Keys and U2 producer Danger Mouse may just prick up ears normally closed to her charms. It’s a break-up album in which she and Mr Mouse pick over the bones of a failed romance with music of beguiling invention and lyrics that combine the sad, the sassy, the sarky and the spiky. There is heartache on After The Fall, on which Jones sings beautifully over organ runs and rippling guitar, nouveau lounge music of Moon Safari vintage on Say Goodbye, and even a revenge fantasy on the sinister Miriam. But Jones is really enjoying herself on the recent single Happy Pills, a great tale of a woman scorned with a hellishly great bass line. It’s a great kiss off after all the kissing.

Alan Corr