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Marlon Williams: Make Way for Love review – a lovely, miserable record

(Dead Oceans)

Jeff Tweedy review – fistfights and fan favourites lead romp through 30-year career

The Wilco and Uncle Tupelo frontman creates fascinating juxtapositions as he hops around his back catalogue like a magpie

Shelby Lynne and Allison Moorer – bewitching sister act goes from goosebumps to grunge

The Alabama songwriters’ exquisite close harmonies elevate everything they sing in this eclectic covers set

Luke Bryan: What Makes You Country review – pop in a pickup truck

The reigning king of country returns with more bulletproof tracks about drinking, hunting, driving trucks and babes in Daisy Dukes

Neil Young + Promise of the Real: The Visitor review – energised, pithily funny protest songs

“I’m Canadian, by the way, and I love the USA”, begins the first of 10 songs which survey Donald Trump’s United States with a long-settled immigrant’s sorrowful and disdainful eye. However, Neil Young’s third album with (son of Willie) Lukas … Continue reading →

Margo Price: All American Made review – country soaked in serotonin

Drink, depression and pedal steel all make their presence felt on the Nashville singer’s wry and charming second set

Son Volt review – rock pioneers explore new sound in first Australian tour

The Factory, SydneyJay Farrar made his name in the alt-country heyday with Uncle Tupelo, but shows he has a brand of rock all his own

Lady Antebellum review – country superstars are cosy but cloying

The Nashville trio add a soulful, sultry twist to their jaunty pop as they put on a polished show for a rapturous crowd in London

Shania Twain: Now review – bouncing back with country-pop queen

From the mid-90s to the early 2000s, Shania Twain’s zingy country-pop was at its most potent. On songs such as Man I Feel Like a Woman, I’m Gonna Getcha Good and That Don’t Impress Me Much, the Canadian singer gave … Continue reading →

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

Wildwood Kin: Turning Tides review – ear-pleasing swoop and swell

“Anglo/Americana” they call it, this punch of diluted flavours: a teeny bit folky, a teeny bit country, a teeny, teeny bit blues-rocky. Really, it’s just MOR adult pop, and these two sisters and a cousin from Exeter are at their … Continue reading →

Shelby Lynne & Allison Moorer: Not Dark Yet review – a majestic sister act

(Silver Cross/Thirty Tigers)

Kesha: Rainbow review – a woman unchained

After years of legal wrangles, the former purveyor of pop fodder delivers a strong third album that deserves to be a hit

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

David Rawlings: Poor David’s Almanack review – his most Welch-like release by far

The guitar great delves deep into rural America on his third solo outing

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  • Ariana Grande review – glittering hits and powerhouse vocals in stunning return to stage
  • 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

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