Grant’s second solo album built on the already considerable reputation of Queen of Denmark to reveal him as one of the early 21st century’s strongest, most vividly creative voices in pop as such, using his experiences as a gay man to explore not just sexuality and masculinity but romance, frustration, exultation and much more. With an openly eighties lean thanks to greater use of synths, and with Sinead O’Connor contributing on three tracks, songs like “GMF” and “Glacier” immediately became new standards.