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Deacon Blue review – Scottish hitmakers are more poignant and potent than ever

Still an arena-filling prospect long after their late-80s heyday, the veteran band bring political bite and pop prowess to a crowd-pleasing set

Busted vs McFly review – millennial ‘rivals’ let the pop-rock punches fly

The boybands go toe-to-toe with their catchy teenage anthems – and after a hefty 90-minute bout of greatest hits McFly just about edge it on points

Post Malone review – megawatt charisma and anthemic hooks from an irresistibly genial outlaw

Though his slick country is more Jon Bon Jovi that Johnny Cash, there’s only one artist who could unite rock, rap and twang with such effortless panache

Joy Crookes: Juniper review – sadness made sublime by streetwise soul and snappy wit

Four years ago, the south Londoner’s star was on the rise with her debut Skin – then she vanished. Now, she’s back with shimmering sounds and cleverly unsentimental lyrics, plus explosive cameos by Vince Staples and Kano

Mark William Lewis: Mark William Lewis review – A24’s first musical signing’s cinematic south London scenes

Haunting harmonica and poetic banality add to the Londoner’s spookily sonorous baritone to create a hypnotically familiar yet ineffably fresh album

Ed Sheeran: Play review – subcontinental sounds and shards of darkness – but still unmistakably him

Despite embracing Indian and Persian sounds, Sheeran’s eighth album goes back to basics after two records of muted melancholy – albeit with some surprising undercurrents

Belinda Carlisle review – gleeful veteran lassoes devoted audience with ageless hits

Rattling through her 80s hits the singer is clearly revelling in the nostalgia – in a showcase that makes her a strong candidate for the Glastonbury legends slot

Justin Bieber: Swag II review – more filler with an occasional pop killer

Part two of Bieber’s seventh album adds very little: it’s largely bland pop with glimpses of quality thanks to a buzzy supporting cast including Dijon and Bakar

Jade: That’s Showbiz Baby! review – former Little Mix star thrives in chaos on an idiosyncratic debut

Jade Thirlwall offers a wild ride through electroclash, Eurovision drama and emotive synth-pop – albeit one she can’t quite maintain for a whole album

Lewis Capaldi review – an emotional return to the spotlight for pop’s most heart-on-sleeve star

The singer announces he is thrilled to begin his first tour since taking time off for his mental health, but is visibly nervous and at one moment breaks into tears

Suede: Antidepressants review – edgy post-punk proves reunited Britpoppers remain on the up

Great 10th albums are rare – but that is exactly what the band’s killer riffs, eerie atmosphere and midlife reflections achieve

Big Thief: Double Infinity review – folk-rock perfection will restore your faith in humanity

Classic melodies, spring water acoustics and pared-back poeticism about living in the moment fill Adrianne Lenker and co’s latest with life

David Byrne: Who Is the Sky? review – great songs, if you can withstand the wacky jokes and miaowing

His last album was criticised for being too upbeat during Trump 1.0 but became a phenomenal live show, and the Talking Heads frontman remains sunny – almost to a fault

End of the Road review – from industrial rackets to pristine folk, festivals don’t get more varied or vital

Full of warmth despite the rain, highs include Mexico City experimentalists Titanic and Vermont songwriter Lily Seabird’s gorgeously open-hearted voice

Gorillaz review – after 25 years, Damon Albarn and Jamie Hewlett’s cartoon band are still riveting and relevant

Dressed like a vicar, Albarn leads his band – joined by a choir, a string quartet, De La Soul and more – in renewing Demon Days’ downbeat drama

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  • Shakespeare’s Sisters review: brilliantly unexpected songs and prose give voice to the voiceless
  • Angine de Poitrine review – alien rock duo’s UK debut is hypnotic, harebrained and 100% worth the hype
  • Super Furry Animals review – stirring reunion showcases immaculate songcraft
  • Darkness Visible: Âme x Lawrence Power review – violist and guests reimagine the concert for the digital age
  • Charli xcx: Rock Music review – is she really pivoting from pop? Don’t be so sure …
  • Paul Simon review – at 84, back on stage after hearing loss, his resolute artistry is inspiring
  • Olof Dreijer: Loud Bloom review – the Knife star’s debut solo album is a garden of earthly delights
  • Ana Roxanne: Poem 1 review – ​a stunning pop balladeer emerges from the haze
  • Helen Charlston: A Poet’s Love album review – original and absorbing
  • Billie Eilish – Hit Me Hard and Soft: The Tour review – style trumps substance in James Cameron’s 3D oddity
  • Arcadi Volodos: Schubert piano sonata D850, Schumann Kinderszenen op15 – playfulness, longing and elegance
  • Aldous Harding: Train on the Island review – even whimsy-resistant listeners will love these lucid, luminous songs
  • Peter Grimes review – beauty and terror in Warner’s topical staging
  • Rosalía review – ribcage-rattling riot is one of the boldest, most highbrow arena shows in pop history
  • Galilee String Quartet review – Palestinian ensemble improvise their signature east-west blend
  • Tales of Love and Loss review – hauntings, tragicomedy and tweezer-sharp wit in Royal Opera triple bill
  • Gabriela Montero review – radiant renderings of postcard Spain with an excursion into the Beatles
  • Papillons review – rich and strange collaboration exemplifies the spirit of Multitudes festival
  • Morales: L’Homme Armé masses and Magnificat Secundi Toni album review – choral sounds of 16th-century Rome
  • Kneecap: Fenian review – their new album is terrific, triumphant yet tortured
  • Serokolo 7: Maramfa Musick Pro review – South Africa’s latest club export is a relentless adrenaline shot
  • Kacey Musgraves: Middle of Nowhere review – weary, rootsy and wry, it’s her richest album since Golden Hour
  • Beethoven: The Sonatas for Piano and Cello album review – Watkins and Bax have a shared impulse to deliver eloquence
  • O/Modernt review – from Auerbach to Mahler, the fires of love bruise, batter and delight
  • Ne-Yo and Akon review – joyous joint tour is like time-travelling to a messy night out in 2010
  • Schwarzman Centre opening concerts – a magnificent new monument to secular culture
  • Wozzeck: Wretches Like Us review – Berg’s harrowing opera is more adrenaline-inducing than ever
  • Turangalîla: Infinite Love review – RPO and 1927 Studios bring Messiaen to joyous and vibrant life
  • Anohni review – masterful songbook reinventions are an out-of-body experience
  • Carla dal Forno: Confession review – spartan, sunlit post-punk strikingly contrasts the desperation of desire

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