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Jack White review – former White Stripe’s art is like a 12-year-old visiting Tate Modern for the first time

White may be a talented musician but as a visual artist, he’s a nonstarter. Not even the collaborations with Ai Weiwei and Damien Hirst can save this show

David Bowie: You’re Not Alone review – Ziggy glam and Berlin grime in a bum-shaking yet sanitised immersion

This hour-long, 360-degree film may skip over some chapters of Bowie’s career, but what is here is irresistible – and thrillingly huge

Pass the Spoon review – David Shrigley serves up a macabre kitchen opera

A TV cookery star becomes the main course, while doomed vegetables and a depressive egg create havoc, in this darkly comic show by the Scottish artist and composer David Fennessy at Opera North

Ed Sheeran’s Pollock homage has energy but no feeling or truth

Abstract art like this gives all abstract art a bad name, just meaningless concoctions that avoid proper scrutiny

No Bounds review – from clubs to chapels, this Sheffield fest is dizzyingly daring

It was always somewhere to let rip until dawn, but seven editions in, No Bounds lives up to its name by expanding across cathedrals, castles and more

Steve Reich: Reich/Richter review – intricate riffs on the rhythms of painter’s abstract film

The patterns of a work by Gerhard Richter inspire one of Reich’s most impressive recent pieces, elegantly performed in 2020

Bob Marley One Love Experience review – corporate exhibition can’t satisfy the soul

There are poignant objects and portraits in this ultimately worthwhile tour of the reggae icon’s life – but also ersatz recreations and shallow commerciality

Amy: Beyond the Stage review – a ghostly, gut-punchingly poignant exhibition

This collection of Amy Winehouse’s effects, from diaries to graffitied street signs and performance footage, makes you wonder if she would have survived in our more sensitive age

L’Enfant et les Sortilèges review – Vopera’s brilliant updating of Ravel finds wit and relevance

A rebellious home-schooled child goes on a nightmare cartoon journey of self-discovery in this ingeniously designed video fantasy take on Ravel’s opera

Kanye West: Wash Us in the Blood review – an intensely potent study of race and faith

This new track sees Kanye at his very best, corralling his anger with masterful focus into an apocalyptic vision of America

Grimes review – a suitably surreal invasion of the Miami Art Basel

The artist appeared among Florida’s monied art fiends with a pristine alternate-reality trip – and a gloriously flawed DJ set

Reich/Richter review – two artists with the power to disrupt time and space

An ever-shifting new composition by Steve Reich is set to a Rorschach-like new film by Gerhard Richter, with wonderfully disorientating, hypnotic results

I Fagiolini review – insights and intricacies as superb ensemble set Leonardo to music

Robert Hollingworth’s vocal ensemble joined forces with an art historian to set the Mona Lisa to Monteverdi and Vitruvian Man to Bach

Ecstatic Material review – jamming with play-dough and Angel Delight

In this collaboration between musician Beatrice Dillon and artist Keith Harrison, sound manipulates all manner of gloop and goo

Unknown, Remembered… review – a baffling and curiously disengaged installation

A soprano’s Handel cantata is interrupted by Joy Division, turntablism and artist Haroon Mirza’s take on a Beckett play – in this elusive multimedia piece

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  • Danish String Quartet review – captivating performance from a world-class group
  • Manchester Camerata review – mental torments build up to a royal meltdown
  • The Marriage of Figaro review – Danielle de Niese’s deft direction weds finery with fun
  • St Vincent review – majestic orchestral transformations of jagged art-pop
  • BBCNOW/Bancroft review – conductor takes final bow in imaginative programme of vivid colours and emotions
  • Krishna review – the mystery of John Tavener’s ‘mystic pantomime’ is why it has been staged
  • Taylor Swift: I Knew It, I Knew You review – giddy up! Song for Toy Story cowgirl Jessie is Swift’s best in years
  • Zoh Amba: Eyes Full review – raw, rugged country rock also has real tenderness
  • Gintė Preisaitė: Instruments of Forgetting and the Singing Bone review – atmospheric, unsettling ambience
  • Hourglass album review – Simone Dinnerstein gives Glass room to breathe
  • Lizzo: Bitch review – a spirited star who just can’t rediscover her groove
  • Beethoven: The Violin Sonatas Vol 1 album review – fresh-as-a-daisy performances from a duo with a gift for storytelling
  • Mike D review – ex-Beastie Boy’s first UK gig in two decades, in a Tyneside bingo hall, is uproarious fun
  • Saint Levant review – Palestinian pop star makes Australian debut to an ecstatic, sold-out crowd
  • Vespers review – haunting clash of cultures conjures Vivaldi’s Venice
  • Jack White review – former White Stripe’s art is like a 12-year-old visiting Tate Modern for the first time
  • Lise Davidsen and James Baillieu review – superstar soprano unleashes her inner Valkyrie
  • Orlando review – a confident romp through Handel’s flimsily plotted opera
  • Take That review – stadium redux of Circus tour has maximal razzle-dazzle
  • Hampson and Sidorova review – style over substance with a whiff of the cruise ship
  • Matías Aguayo: Anenoa review – the funkiest, freest singer in the business hits the dancefloor
  • Violet Grohl: Be Sweet to Me review – alt-rock arriviste aces the part
  • Dvořák: Symphony No 9 album review – Shani brings a natural freshness to a familiar work
  • La Traviata review – gripping and genuinely moving staging opens Garsington’s summer season
  • Colin Matthews: Seascapes album review – the songs teem with detail
  • Iceage: For Love of Grace & the Hereafter review – Danish punks ace sixth stellar album on the trot
  • La Fanciulla del West review – insightful staging reveals the power of Puccini’s maverick masterpiece
  • 125th anniversary gala concert review – back to 1901 as Wigmore celebrates birthday playing to its strengths
  • Sugar review – Bob Mould’s reunited band still in a sweet spot between noise and melody
  • Paul McCartney: The Boys of Dungeon Lane review – at 83, his gift for melody still astounds

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