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Michael Kiwanuka review – big sounds from the quiet maestro

Touring his understated latest album, Small Changes, the Mercury prize-winner amplifies his gossamer grooves with no loss of charm or sophistication

Chappell Roan: The Giver review – saddle up, there’s a new sheriff in town

The midwest princess embraces her roots with a queer country banger about pleasure that toys with the genre’s gender and class cosplay

Clairo review – charming pop-soul from a singer with starpower to spare

Playing material from her wonderful 2024 album Charm against lavish, elegant staging, the US artist has ushered in a confident new era

Courting: Lust for Life, Or: ‘How to Thread the Needle and Come Out the Other Side to Tell the Story’ review – a giant leap forward

The Liverpool foursome’s joyful, floor-filling rock on album No 3 finds a band maturing into greatness

Edwyn Collins: Nation Shall Speak Unto Nation review – the sense of an ending

This rousing, contemplative 10th solo album from the Scottish singer-songwriter has an air of finality

Lady Gaga: Mayhem review – a wholesale rewind to core career values

It’s back to the dancefloor as the US superstar doubles down on what she does best – albeit with one eye on Madonna, Charli xcx, Taylor Swift and more…

Derya Yıldırım & Grup Şimşek: Yarın Yoksa review – a feast of woozy Turkish psych

Fuzzy, hypnotic beats, soulful saz-funk and emotive balladry mark Yıldırım’s powerfully imaginative new music, produced by Leon Michels

Throwing Muses: Moonlight Concessions review – as ever, Kristin Hersh is astonishing

For their 11th album in a nearly 40-year career, the alt-rockers switch focus to acoustic guitars and cello – but their tumultuous tales are still charged with elemental power

The Brand New Heavies review – acid jazzers are as slick and funky as ever

While their hits from their 90s hip heyday are now more likely to be heard on Magic FM’s drive-time slot the band’s punchy melodies can still get the party started

The Darkness review – retro rockers are still in acrobatically high spirits

Fresh from Taylor Swift’s endorsement, Justin Hawkins and his hard-riffing band can still strut and peacock with the best – so it’s a shame about the bad sound mix

Sabrina Carpenter review – brilliantly bonkers innuendo-stuffed delirium

This 1970s variety show complete with title cards, cheesy voiceover and overt sexiness could be Carry On Carpenter, but the star has more in her arsenal than just kooky camp

Jack White review – rock’n’roll showman makes believers of us all

Touring his 2024 solo album No Name in a barnstorming gig, the former White Stripe plays fast and loose with the truth but is absolutely the real deal

Gracie Abrams review – telling references tied together in a big, bland bow

Her songs recall Taylor Swift and Phoebe Bridgers, so much so it’s hard not to wish you were listening to them instead. Not that that bothers her excitable young fans

Annie Lennox and friends review – a euphoric celebration of female solidarity

In her first performance since 2019, Lennox’s rare charisma makes her the star attraction during a fundraiser that also includes Nadine Shah, Beverley Knight and Celeste

Tokimonsta: Eternal Reverie review – a life-affirming journey through dance music

On her seventh album, delayed by personal tragedy, the US producer calls in collaborators aplenty on a high-energy set interspersed with tender moments

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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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