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Flora Purim: If You Will review – a happy 80th birthday return

The first lady of Brazilian music is back with a celebratory album that keeps it in the family

Justin Adams and Mauro Durante: Still Moving review – a bravura performance

(Ponderosa)From blazing rock-outs to aching love songs, this inspired duo deliver a thrilling and spontaneous set

The Black Keys: Delta Kream review – stripped-back simmering blues

Returning to the simpler joys of their early records, the Ohio duo’s 10th album covers songs by the north Mississippi artists that continue to inspire them

Van Morrison: Latest Record Project Volume 1 review – depressing rants by tinfoil milliner

The veteran bluesman loudly wakes up the sheeple with this boring and paranoid double album, reminiscent of a dinner party with a bitter divorcee

Witch Camp (Ghana): I’ve Forgotten Now Who I Used To Be review – magical sound of the marginalised

(Six Degrees)Sung in little-spoken Ghanaian dialects, these haunting, spontaneous songs by women accused of witchcraft are unlike anything you have ever heard

Van Morrison review – transcending the pandemic with mystic soul

Morrison brings warmth to the cold space of a socially distanced theatre, leaving aside his anti-lockdown songs for a thrillingly extemporised set

Jake Blount: Spider Tales review – instant classic reinstates folk’s black, queer roots

This debut album uses limber banjo and fiddle to delve into subversive stories of violence and survival

Mick Fleetwood review – rousing all-star celebration of Peter Green

A surprise appearance by original Fleetwood Mac member Jeremy Spencer was just one of the highlights in a concert where Noel Gallagher, Steven Tyler and others paint Green’s blues

The Teskey Brothers review – Aussie blues revivalists let the good times roll

With their blend of Muscle Shoals soul, boogie-woogie and pub rock, the Teskey Brothers are trapped in the past – but make gorgeous music nonetheless

Woodford folk festival review – a much-needed moment of positivity and reprieve

Woodford, QueenslandDespite dodging the brunt of the extreme weather, attendees at the 34th annual folk festival had the future on their minds

Ronnie Wood review – Chuck Berry tribute show neither rocks nor rolls

Lulu and Imelda May bring powerhouse guest vocals but the Rolling Stone can’t match up in this mediocre homage

Brittany Howard: Jaime review – Alabama Shakes singer’s luminous neo-soul

A wonderful solo debut takes in race, religion and boozy excess, all with searing lyricism

Lucinda Williams review – battle-scarred alt.country star burns bright

The singer brings poignancy and raw feeling to this revealing celebration of her defining album Car Wheels on a Gravel Road

Amadou and Mariam; the Blind Boys of Alabama review – soulful energy

Sets by the Malian husband and wife and a group dating back to the 30s featured fine harmonising and inspired guitar solos

75 Dollar Bill: I Was Real review – impossible to place, easy to enjoy

The instrumental duo have made a gloriously unorthodox album of blues inflected from all corners of the globe

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  • Pussy Riot: CYKA review – debut album from iconic Russian agitators is let down by blunt-force EDM
  • Brown Wimpenny: Long Live Brown Wimpenny review – Manchester folk collective get bawdy and shambolic
  • Sally Beamish: House of Wonder album review – a musical shapeshifter celebrates 70 years
  • Katia and Marielle Labèque: 55 album review – a handsome tribute to the sisters’ musical curiosity and brilliance
  • The Mahler Experiment review – physical drama comes at a musical cost in choreographed symphony
  • Lola Young review – buoyant, brilliant return from British pop’s great oversharer
  • Kelsey Lu: So Help Me God review – strange, graceful songs drifting from pop’s edgelands
  • 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
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  • 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

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