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Tex, Don and Charlie live review – a magnificent slab of Australiana from three of the greats

Trio exude a weary charm as they skilfully bring to life a cast of drifters and loners lost in the maelstrom of modern life

CW Stoneking review – wry revivalist makes party music for the present

The droll Australian repurposes old trad jazz, blues, calypso and country sounds into fresh, absurdist entertainment

Diamanda Galás review – a shriek at death by goth’s high priestess

The American singer stretches her voice from mirror-shattering highs to demonic lows in an intense spiritual communion

Tamikrest review – desert blues on shifting sands

The passion and range of the Saharan Tuareg band’s music was somewhat lost in translation until their gig’s triumphant finale

Otis Taylor: Fantasizing About Being Black review – raw and unflinching

Intended as a history of African-American life, from slavery onwards, the 15th album from “trance blues” maestro Otis Taylor proves a raw experience. Banjo Bam Bam, for example, is the voice of a shackled slave who is slowly losing his … Continue reading →

Duke Garwood: Garden of Ashes review – slow and sleazy desert blues

It won’t surprise you to learn that Duke Garwood is a collaborator of Mark Lanegan, such is his gravel-raked voice and penchant for syrupy, swampy folk (perhaps Lanegan only works with people who sing as if they’ve likewise been licking … Continue reading →

New Orleans Funk Vol 4: Voodoo Fire in New Orleans 1951-77 – review

(Soul Jazz)

Angelina: Vagabond Saint review – sumptuous southern mythology

(Wonderful Sound)

The Rolling Stones: Blue & Lonesome review – more alive than they’ve sounded for years

Mick Jagger’s voice and harmonica drive an album of blues covers that returns the Stones to their roots

Pretenders: Alone review – Chrissie Hynde still a magnificent one-off

Related: ‘The history of punk was always HIS story’: the women rewriting rock What was originally intended as a Chrissie Hynde solo album finally appears, packaged as a Pretenders release, with the Black Keys’ Dan Auerbach aboard as producer. A … Continue reading →

Michael Kiwanuka review – self-doubting soul man delivers raw retro-blues

Perfectionism and polish does not disguise the fact that Kiwanuka’s music comes straight from a simmering core of turmoil

Billy Bragg & Joe Henry: Shine a Light review – Essex to Carolina on railroad songs

Related: Laying down tracks: Billy Bragg and Joe Henry take a railroad trip to the blues Billy Bragg once toured the UK by British Rail, rocking up in cities with guitar in hand and loudspeakers on his shoulders. More than … Continue reading →

Ruth Theodore: Cactacus review – skills and stories from an original folk voice

Granted the ragtime and folk-blues influences in Ruth Theodore’s quirky, highly original songs, it was perhaps to be expected that she would quit Hackney to record her latest album on the US west coast. Her producer is Todd Sickafoose, who … Continue reading →

Lady Nade: Hard to Forget review – a mellow voice drowned out

(Kitchen Studio Records)

Chris Robinson Brotherhood: Anyway You Love, We Know How You Feel review – freeform and hirsute

(Silver Arrow)

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  • Pelléas et Mélisande review – luminous semi-staging but Debussy’s elusive opera keeps its secrets
  • Olivia Rodrigo: You Seem Pretty Sad for a Girl So in Love review – who’s she singing about? Who cares when the songs are this good
  • 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
  • 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

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