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Goblin Band: Come Slack Your Horse! review – rowdy, flamboyant folk

Born out of a London musical instruments shop where members worked, the Paul McCartney-approved band’s first EP is eager and theatrical, sometimes to a fault

Jess Ribeiro: Summer of Love review – a balm for anxious times

With expansive, experimental instrumentation, the Melbourne musician’s fourth album records our contemporary chaos – and finds a glimmer of hope

Fran & Flora: Precious Collection review – strings, shimmer and siren song whip up a desirous mood

This spirited adventure in the avant garde is as experimental as it is accessible, delving into hot-blooded Sirba and Transylvanian epics

Julie Abbé: Out of the Ashes review – a beautiful expression of the grieving process

The UK-based French folk singer embellishes her trad leanings with sultry blues and upbeat swing on a poignant and poetic second album

Sam Lee: songdreaming review – a moving tribute to Albion’s troubled soul

Disquiet pervades the folk singer’s self-written fourth album, with romantic love and awe of nature holding out against ecological collapse

Kacey Musgraves: Deeper Well review – folk-pop that’s high on life and pure as mountain air

The crossover star’s sixth album opens with a spectacular one-two of the most beautiful songs you’ll hear all year – but the loved-up mood and back-to-nature wonder becomes twee

Various artists: Africatown, AL: Ancestor Sounds review – music that defies the darkest of pasts

From blues to industrial and rap, these extraordinary recordings showcase the community of descendants of the last slavers’ ship to the US

Hurray for the Riff Raff: The Past Is Still Alive review – a time-shifting personal journey

The US singer-songwriter reminisces about their runaway past and loved ones lost on their folk-inflected ninth album

Daymé Arocena: Alkemi review – propulsive Cuban folk-pop

The singer trades acoustic improvisation for intricate, infectious hooks, with flavours of bossa nova, neo-soul and doo-wop

Milkweed: Folklore 1979 review – tantalisingly strange folk vignettes

The duo’s third release clocks in at 10 minutes but packs in zithers, traditional pipes and a perennial feeling of dread

Katherine Priddy: The Pendulum Swing review – a rich, poised second album

The Birmingham folk artist’s exceptional voice shines through on a confident, expansive second album themed around the pull and push of home

Hirondelle: Hirondelle review – the Brothers Gillespie’s Franco-Scottish adventure

The Northumberland duo team up with Provençal trio Tant Que Li Siam and Trio Mythos for an elegant folk-classical journey

Molly Tuttle review – galloping bluegrass as fun as a campfire jam

The US singer-songwriter is a virtuoso guitarist – with a galvanising charm that electrifies her audience

Muireann Bradley: I Kept These Old Blues review – a playful take on American classics

The teenage Irish singer turned to her guitar during Covid, and this album of traditional blues tracks showcases her dexterity and elegance

Lankum review – more like an exorcism than a gig

The Dublin doom-folk favourites crown a momentous year with a magnificent assault on the senses and a set rich in hypnotic tales of woe

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  • The Beach Boys: We Gotta Groove review – box set of lost 70s music has all of Brian Wilson’s turmoil and talent
  • J Cole: The Fall Off review – rap legend’s final album is a self-obsessed hip-hop history lesson
  • Florence + the Machine review – ​a thrilling shift in tone towards stark, sombre catharsis
  • The Testament of Ann Lee with Daniel Blumberg and Amanda Seyfried review – yelps, bells and bruised beauty
  • LSO / Chan / Stankiewicz review – Matthews’s oboe concerto is dense and dynamic
  • Bad Bunny’s Super Bowl half-time show review – a thrilling ode to Boricua joy
  • Così Fan Tutte review – witty circus staging has its tongue firmly in its cheek
  • Maxïmo Park review – Newcastle band play the hell out of their jaggy and angsty debut album
  • Winter Olympics 2026 opening ceremony review – disco-dancing opera masters upstage Mariah Carey
  • Classical Mixtape: A Live Takeover review – one queue after another mars orchestral jamboree
  • Rhiannon Giddens and Francesco Turrisi review – big, generous, provocative music-making on a small stage
  • Danny L Harle: Cerulean review – an earnest homage to early 00s bangers or a poor imitation?
  • Fabiano Do Nascimento & Vittor Santos Orquestra: Vila review – imaginative mood music from a virtuoso
  • Amidst the Shades album review – Ruby Hughes’ captivating Dowland tribute is steeped in delicious melancholy
  • The Goldberg Variations album review – Yunchan Lim untangles Bach’s complex web of threads
  • Mandy, Indiana: Urgh review – grimy, thrashing, purgative attack on injustice is the year’s first great album
  • Leonkoro Quartet review – vivid, intoxicating play from gleaming future stars
  • Sea Beneath the Skin/Song of the Earth review – sea, sand and ceremony as Mahler’s song cycle makes waves
  • Ed Sheeran review: pyrotechnics and technical hiccups in an ambitious, looping one-man show
  • Boris Godunov review – Bryn Terfel wild-eyed and barking in Mussorgsky’s relentless study of power
  • LSO/Treviño/ Kopatchinskaja review – he conducts with a coiled-spring muscularity
  • Julie Campiche: Unspoken review – a harpist’s tender, quietly radical hymn to women who endure
  • Leonkoro Quartet: Out of Vienna album review – a blazing exploration of Viennese modernism
  • Yumi Zouma: No Love Lost to Kindness review – New Zealand dream-poppers’ reinvention doesn’t go far enough
  • Strozzi: Virtuosissima Sirena album review – Laura Catrani enchants with music from a true Venetian revolutionary
  • Earth and Other Planets review – reimagined Holst with harmonica and a hoedown
  • Tyler Ballgame: For the First Time, Again review – cosplaying singer-songwriter courts comparisons to 1970s greats
  • Lucinda Williams review – Americana legend brilliantly rails against a world out of balance
  • Ben Goldscheider/ Richard Uttley review – a horn, a piano … and a braying donkey
  • LPO/Jurowski review – Mahler’s 10th is full of colour, and the composer’s pain, in Barshai’s completion

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