If the challenge faced by Jake Bugg on his second album is to prove you can take the boy out of Clifton (the Nottingham council estate where he was born) without taking all traces of Clifton out of the boy, then it’s one he rises to. Those who see Bugg’s so-called “authenticity” — whatever that means — as a storm of hype might spy signs of “grooming” in the decision to record in LA with producer Rick Rubin, but the follow-up to his hit debut makes the Midlands-to-Malibu move look largely seamless: as an exercise in expanded range, Shangri La is too diverse and distinct to dismiss.
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