Worldpeace DMT: Stick Around for Tea review – ‘laptop twee’ duo keep things goofy but strengthen songs

Bringing back the hyperliterate sound design of their acclaimed 2025 debut, the London duo explore childhood with whimsical humour and terrific musicality

Fontaines DC: Dopamine Chamber review – gloomy, gorgeous and a gargantuan triumph

This is a beguiling, endlessly inventive and frequently astonishing fifth LP from a group at increasing ease with being the best band of their generation

Greg Freeman: All Set the Bone review – ambitious alt-country double album spreads its talents a touch thin

The Maryland singer-songwriter’s third album has an impressive sense of scale compared to last year’s breakout Burnover, but is less immediately appealing

Beabadoobee: Pylon review – voice of a generation’s surprisingly relatable rampage through rock star rage

The Filipino-British songwriter’s fourth album sprinkles 90s alt fuzz with disarmingly sweet melodies and an impressive host of guests including Paramore’s Hayley Williams and Turnstile’s Brendan Yates

The Tubs: Hard Life review – indie’s Larry David spins self-loathing into glorious jangle-rock

Britain’s best indie-rockers hold fast to their defiantly old-school sound, slipping wry sideways looks at despair in among hooky melodies that always sound like a good time

End of the Road festival review – Pulp and CMAT lead indie landmark’s joyous birthday party

Hitting 20, this festival has grown into a warm, genre-hopping powerhouse where fringe experimental acts are greeted as warmly as the star headliners

Green Man review – Wolf Alice, Shame and secret sets keep the Welsh festival’s flame burning

The traditional fire might be banned this year, but festivalgoers are treated by energetic performances by Wolf Alice, Tamikrest and Westside Cowboy

Lambchop: Punching the Clown review – spectral, spellbindingly ambiguous stirring of US history

Sounding weathered but undimmed, Kurt Wagner feels as if he’s standing right in front of you as he sings these superb, choir-swathed songs that invite and unsettle

Phoebe Bridgers review – high priestess of ambiguity turns grief Technicolor in intimate church show

Ahead of playing arenas this winter, Bridgers gives her third album, Lost Weekend, a stripped-back UK debut that makes its bewitching songs sound even more astounding

Phoebe Bridgers: Lost Weekend review – long-awaited return is a thrilling, daring study in dislocation

After sweeping the Grammys and being scrutinised by the press, Bridgers deploys electronics and unsettling sound design to brilliantly evoke emotional turmoil

The Strokes: Reality Awaits review – a perfect marriage of mayhem and melody on their best album in years

Allying the crackpot strangeness of Julian Casablancas’ side projects with his band’s gift for pop minimalism, the New Yorkers are on playful, joyous form

Phoebe Bridgers: Lost Boys review – ghosts, guns and guileless youth on generational songwriter’s return

The US singer took years away from public life after her silvery balladry reshaped pop. Her return is an ornate reinvention

Iceage: For Love of Grace & the Hereafter review – Danish punks ace sixth stellar album on the trot

The quintet add shoegaze, country and 50s rock’n’roll to their core indie-punk sound, resulting in songs that offset lyrical bleakness with gleeful, uplifting music

Sugar review – Bob Mould’s reunited band still in a sweet spot between noise and melody

After three unlikely Top 10 albums in the 90s, the trio are back – and on the basis of this rapid-fire set, you hope they’ll stick around

Kurt Vile: Philadelphia’s Been Good to Me review – indie rock’s most easygoing dude gets existential

Sounding characteristically virtuosic but unbothered, Vile is more forward-thinking than ever on a record that surveys the bliss and bumps of life in his mid-40s