If you’ve listened to the string of melancholy songs on James Blunt’s debut CD, Back to Bedlam, and wondered if a suicide hotline should be put on alert, you can relax.

A sold-out show Thursday night at Downtown Disney’s House of Blues demonstrated that although his music may channel angst, regret and loss, Blunt himself is quite chipper.

“For a small town, you make a big noise,” the thirtysomething (his age is disputed) Brit teased the crowd, his piercing eyes flashing, after facing a blast of screams from appreciative female fans.

Later in the 75-minute show, he offered some advice on romance to the aforementioned women’s very patient boyfriends.

“Grab onto somebody, just start feeling around.”

A pause and a devilish grin.

“Honestly, it doesn’t matter what she looks like. It’s pitch black in here.”

Blunt’s charisma went a long way toward keeping the atmosphere fun in light of his songs’ subject matter.

The most serious moment came when he performed “No Bravery,” a song he wrote while serving in the British army during the international peacekeeping mission in Kosovo.

“Houses burnt beyond repair/the smell of death is in the air,” he sang as images of war’s destruction were projected behind him. He avoided politicking , however, singing the song without comment.

Another powerful moment came when his tight four-piece band left him alone on stage, where he traded his guitar for a stint at the keyboard to perform “Goodbye My Lover.”

Explaining it was a quiet number, with British politeness he requested the audience do him “a favor and ask the person next to you to listen.” Surprisingly, a hush did fall over the concert hall for the emotional number, a sense of desperation palpable in his voice. “Thanks for listening,” he said simply at song’s end. “It made a world of difference.”

Louder moments, though not necessarily happier ones, included a rollicking version of “So Long, Jimmy” and the opening crowd-pleaser, “High.”

The sound mix couldn’t have been better, with the guitar, bass, drums and keys in perfect balance with Blunt’s distinctive voice — sort of a cross between Rod Stewart’s rasp and Michael Jackson’s falsetto musicality.

Blunt is aware of its unique qualities, inviting the women to sing along on one song, but telling the men it would be too high for them.

“That just proves the point that I sing like a girl myself,” he added dryly.

In fact, his plaintive rasp was more appealing in a live setting, with natural breathiness and some ragged gasps of emotion that are missing in the production of his CD.

The closing encore was, of course, “You’re Beautiful,” a No. 1 Billboard hit that was inescapable on the radio and MTV. Blunt sang it simply and sweetly, and he appeared genuinely touched by the enthusiastic crowd response. Forget angst — he’s on top of the world.