Tina Turner: Hot for You Baby review – she’s in fine voice, but this lost 1984 song is no classic
Dug out of the vault for a 40th anniversary version of Private Dancer, this glossy rock track gains much-needed rawness from Turner
Lloyd Cole review – still causing a gentle commotion
The singer-songwriter’s voice has got even better with age – a shame, then, that the crowd just want to hear his 80s hits
Madison Cunningham review – complex new tunes from a folk singer with a knack for a twist
The Los Angeles musician is developing a heavier, rockier sound than before, but her astonishing voice and intuitive melodies are as strong as ever
Victoria Canal: Slowly, It Dawns review – a musical promise fulfilled
The Chris Martin-feted Spanish American singer-songwriter delivers a debut album that is mainstream pop fare but packed with variety and nuance
Songhoy Blues: Héritage review – the Malian rockers take a gorgeous acoustic turn
Close harmonies and delicate percussion front and centre showcase the band’s songwriting finesse on their beguiling fourth album
Mogwai: The Bad Fire review – noise stalwarts’ journey into hell is unexpectedly heavenly
(Rock Action)While old-school fans may lament their softening, the Glasgow band swap rage for refuge as they face personal strife – and their 30th anniversary
Moonchild Sanelly: Full Moon review – hustle, energy and smut aplenty
(Transgressive)The sex-positive South African trailblazer deserves to break into the mainstream with the fullest expression so far of her wit and sheer verve
Ethel Cain: Perverts review – a gothic follow-up determined to stay underground
Ambient soundscapes dominate US singer-songwriter Hayden Silas Anhedönia’s resolutely avant garde second album
Franz Ferdinand: The Human Fear review – more revitalisation than reinvention
The Scottish art rockers’ sixth album benefits from an infusion of fresh blood, but can’t maintain the standards of the first few songs
Moonchild Sanelly: Full Moon review – sex-positive South African swaggers towards stardom
Spinning the sounds of Johannesburg and Durban into distinctive, abrasive electro-pop, the blue-braided singer is filthy and sharply funny
Lambrini Girls: Who Let the Dogs Out review – stomps straight to the top of British punk’s table
Championed by Iggy Pop and riot grrrl royalty, the Brighton duo pile on the jagged riffs, scabrous humour and swearing for their politically charged debut
Franz Ferdinand: The Human Fear review – stiffness sets in on stodgy sixth
Alex Kapranos and co are finally acting their age, but have lost their cool in the process
Ethel Cain: Perverts review – pink noise and punishment as cult star heads underground
(Daughters of Cain)Having struggled with the obsessive fandom drawn to her widescreen pop-Americana, Cain returns with 90 minutes of collapsing songs and confrontational power electronics
Phish review – spiraling jams and communal bliss at Madison Square Garden
Unsinkable Vermont four-piece ring in the new year with a dazzling mix of improvisation, spectacle and fan devotion
Beyoncé NFL half-time show review – country ho-ho-ho-down is playful and infectious
Show livestreamed on Netflix is first live performance of material from country-themed album Cowboy Carter