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Ghetts: On Purpose, With Purpose review – brimming with elegant fury

The grime veteran proves he’s still on the up with a well-crafted collection of thoughtful, impassioned tracks

Noname review – the consummate rapper-activist multitasker

Radical activism and personal struggle fuel Fatimah Warner’s riveting set showcasing her 2023 album, Sundial. And she’s frank and funny with it

Bad Gyal: La Joia review – one frisky Latin banger after another

The Auto-Tune-loving Catalan star makes free with dancehall, reggaeton and urban sounds on her eagerly awaited debut album

Kid Cudi: Insano review – plenty of company, not enough hits

The rapper’s ninth and possibly last LP features everyone from Pharrell to A$AP Rocky, but only fitfully hits the sweet spot

D-Block Europe: Rolling Stone review – melodic, codeine-paced palliatives

The rap duo’s lacklustre sex-and-shopping lyrics and relentless AutoTune fail to spoil a spare, effortlessly tuneful set

D-Block Europe: Rolling Stone review – captivating music only underscores rap duo’s superficial lyrics

Despite their ability to make a hit single, anything that approaches depth on the album is immediately overlooked in favour of misogynistic sex talk or tirades about luxury items

Ice Cube, Cypress Hill, D12 review – old school hip-hop heroes are still masters of the mic

The focus of the 80s and 90s stars’ High Rollers tour is on storytelling rather than flashy staging, but it is a high-intensity show of real fire and focus

Beyoncé: My House review – bold, beat-switching journey to a strobe-lit dancefloor

The new song, which appears on the end credits of concert documentary Renaissance, is thrilling for its change in tempo and anti-commercial stance

21 Savage review – rap superstar’s first UK gig shows off his breadth, to a fault

Having secured permanent resident status in the US, the magnetic Atlanta rapper is finally able to tour abroad – and during his lively first show in his country of birth, seemed to want to play the entirety of his back catalogue

M1onTheBeat: The Mixtape review – bleak brilliance from UK drill’s best beatmaker

The producer’s desolate soundscapes have helped define the rap subgenre, and his first mixtape injects the mainstream with even more affectingly warped and ghostly tunes

Aesop Rock: Integrated Tech Solutions review – another assured slam dunk

The veteran US rapper’s resurgence continues with a retro-feel take on tech consumerism – as well as pigeons and Van Gogh

The Kid Laroi: The First Time review – angsty debut has moments of thrilling intensity

This highly anticipated first album blends scorching lyrics and huge vocals with some jarringly by-numbers songs

Giggs & Diddy review – potent chemistry unites Peckham and NYC

Flashy dad-dancing music mogul Diddy and growling south London rapper Giggs energise the crowd with a relentless string of hits and guests

Tkay Maidza: Sweet Justice review – the Australian rapper levels up

With new producers on board for her second album, Maidza in party mode is infectious. But on the attack she’s essential…

Tkay Maidza: Sweet Justice review – an intoxicating album from a chameleonic rapper

Eclectic, bold and ambitious, Maidza’s second album flirts with many genres and reveals something different with every listen

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  • Pelléas et Mélisande review – luminous semi-staging but Debussy’s elusive opera keeps its secrets
  • Olivia Rodrigo: You Seem Pretty Sad for a Girl So in Love review – who’s she singing about? Who cares when the songs are this good
  • Pussy Riot: CYKA review – debut album from iconic Russian agitators is let down by blunt-force EDM
  • Brown Wimpenny: Long Live Brown Wimpenny review – Manchester folk collective get bawdy and shambolic
  • Sally Beamish: House of Wonder album review – a musical shapeshifter celebrates 70 years
  • Katia and Marielle Labèque: 55 album review – a handsome tribute to the sisters’ musical curiosity and brilliance
  • The Mahler Experiment review – physical drama comes at a musical cost in choreographed symphony
  • Lola Young review – buoyant, brilliant return from British pop’s great oversharer
  • Kelsey Lu: So Help Me God review – strange, graceful songs drifting from pop’s edgelands
  • 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

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