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Faye Webster: Underdressed at the Symphony review – petal-voiced power

The Atlanta twentysomething’s 70s-tinged alt-country is delicate and eclectic, complete with guest spots from Wilco’s Nels Cline and rapper Lil Yachty

Helado Negro: Phasor review – undimmable warmth

Digital meets analogue on the American musician’s short but sweet latest

NewDad: Madra review – unfiltered songcraft in a dreamy yet spiky debut

From Pixies to Garbage, New Order to Wolf Alice, you can clearly detect the Galway four-piece’s influences – but lyrics about shame and self-doubt make this an affecting album

Future Islands: People Who Aren’t There Anymore review – a brutal, beautiful breakup album

The synthpop quartet’s heart-on-sleeve frontman, Samuel T Herring, is by turns lovelorn and lovestruck on their affecting seventh LP

The Libertines review – raucous return for chaotic indie heroes

Previewing their first new album for nine years to a tiny but thrilled audience, Pete Doherty and Carl Barât’s band continue to stumble around greatness

Katy Kirby: Blue Raspberry review – depth disguised by breeziness

The Texas singer-songwriter makes up for time lost to her evangelical background with a second album of impeccable craft and lyricism

Torres: What An Enormous Room review – a confident declaration of rock-star ambition

The indie musician flexes the noirish power of her commanding voice on her sixth album, and embraces grand new sonic theatrics

The Smile: Wall of Eyes review – inventive Radiohead side project risks eclipsing the real thing

Despite all the lyrical disquiet, there is a lovely sense of ease to the Smile’s second album – and some of the best music Thom Yorke and Jonny Greenwood have put their names to in at least a decade

The Vaccines: Pick-Up Full of Pink Carnations review – high-octane sonic euphoria

The indie rockers’ sixth album offers more of the same boisterous widescreen anthems and big singable choruses – but with some subtler lyrical depths

Bill Ryder-Jones: Iechyd Da review – Coral co-founder’s songs of heartache and hope

Ryder-Jones’s recent production experience comes to the fore on this wide-reaching album, making use of Motown, 60s pop and a children’s choir to find the light in the darkness

Music: Kitty Empire’s 10 best albums of 2023

It was a year of avant-rap, sex-positive R&B, polyrhythmic jazz and hyper-punk pop – plus Lana Del Rey’s glossy meditations on death and loss

The Charlatans review – 90s faves feel the love in spiritual second home

Tim Burgess plays to a devoted crowd with a high-spirited set that includes fan-favourite album Between 10th and 11th

Raze Regal & White Denim: Raze Regal & White Denim Inc review – a warm, funky psych alliance

The Texas rockers enlist their former tourmates’ guitarist on this slick and soulful meeting of minds

Noah Kahan review – unlikely star leads a cathartic mass singalong

With his raw lyrics about mental health, shame and alcoholism, Kahan taps into the zeitgeist – yet his rousing tunes make this a reaffirming live show

Beirut: Hadsel review – joyously positive healing hymns

The ‘unfathomable beauty’ of a remote Norwegian island has inspired Zach Condon to create a triumphant celebration of life

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  • 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
  • Violet Grohl: Be Sweet to Me review – alt-rock arriviste aces the part
  • Dvořák: Symphony No 9 album review – Shani brings a natural freshness to a familiar work
  • La Traviata review – gripping and genuinely moving staging opens Garsington’s summer season
  • Colin Matthews: Seascapes album review – the songs teem with detail
  • Iceage: For Love of Grace & the Hereafter review – Danish punks ace sixth stellar album on the trot
  • La Fanciulla del West review – insightful staging reveals the power of Puccini’s maverick masterpiece
  • 125th anniversary gala concert review – back to 1901 as Wigmore celebrates birthday playing to its strengths
  • Sugar review – Bob Mould’s reunited band still in a sweet spot between noise and melody
  • Paul McCartney: The Boys of Dungeon Lane review – at 83, his gift for melody still astounds

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