Once considered a frenetic, revolutionary figure in modern day jazz, it seems almost unthinkable that Jamie Cullum's career is well over a decade long.
It looks like the energetic showman has truly found a lasting formula and has struck gold with it.
Since the launch of his career in 1999, Cullum has established his reputation as the most popular jazz musician of his era, becoming the highest selling UK jazz artist of all time in 2003 by the age of 24, also earning himself a £1 million record deal with Universal in the process.
This year can also be considered a landmark for Cullum, with the release of his sixth studio album, Momentum, supplementing the birth of his second child in March.
His stop in Glasgow on Saturday night marks his sole show north of the border on his British tour, continuing until November before embarking on a European tour
His visit to this unique venue is met with great warmth and Cullum rises to the occasion on the introduction.
The Same Things serves as a snappy, energetic start to proceedings, which sees Cullum primarily focussing on his vocals whilst interspersed with sporadic drum beats.
I'm All Over It is a more pop-driven follow-up, once again showcasing Cullum's vocal talents in an infectious number. His dynamism and stage presence are immediately in evidence, producing a tireless performance throughout.
Cullum's strongest performance comes on Just One of These Things, which begins as a slow jazz-type ballad that gradually progresses into a full-blown jazz number complete with piano and saxophone solos, with Cullum's cultured vocals punctuating a confident performance.
Likewise, a stirring rendition of Cole Porter's Love for Sale increases the tempo further, producing an almost experimental vibe to the song, complete with Cullum taking a stroll around the stalls during the number.
Unfortunately, this tempo takes a dramatic fall during Pure Imagination, a number which is entirely unchallenging and out of place when considered among the array of upbeat numbers, causing an abrupt change of pace.
All at Sea contributes further to this malaise, with Cullum choosing a safe number that adds little to the set.
Cullum recovers in time for the conclusion however, with Twentysomething and Mixtape providing a fitting finale to an effervescent set that, for the most part, proves his worth as Britain's top jazz star.