Wells Cathedral, masterpiece of Gothic architecture, is distinguished by relatively intimate scale: a perfect place to present Carl Dreyer’s 1928 classic and visually arresting account of the trial and burning of Joan of Arc. The screen was hung in front of the massive “St Andrew’s Cross”, the almost modernist bracing arches – a backdrop of immense presence that complemented the compellingly architectural look of the film.

If this review had a subtitle, it would be “Rave in the Mausoleum”. Jean-Michel Jarre threw everything he had at the crowd – state of the art lightshow, earthquake-level bass, eardrum-shattering decibels, remixed greatest hits, thumping kick-drums, retina-frazzling lazers and more – but the audience remained politely, firmly seated. The best anyone could muster was head-nodding, muted cheers and sporadic “Radio Gaga”-style overhead handclaps (which look weird when the clapper is sitting down).

Four headliners, one bill – Sam Lee, Debashish Bhattacharya, Songhoy Blues and Mariza: it was an impressive line-up at the Barbican for a Monday as the world and folk music magazine Songlines hosts its annual awards bash. Now, these are readers’ awards, with nary an expert in sight when it comes to choosing the winners.

Trying to pip the release of Mat Whitecross’s documentary Supersonic to the post, this brief hack through the BBC’s archive throws together a galloping overview of Oasis’s rise and fall, narrated by their own interviews and quotes. Arguably Oasis built a career on the consistent entertainment value of their soundbites rather than the long-term quality of their songs, so this wasn’t exactly a hard search, nor does it throw up anything you hadn’t heard before.

What should a band called Les Panties sound like? Melodic, Ramones-like pop-punk? Dirty garage rock a la early White Stripes? From the name, either surmise seems reasonable. In the event, what reverberates through this incongruously named Brussels band is a love of cold wave, the Gallic take on post-punk. In the early Eighties, Les Panties would have been at home on Les Disques du Crépuscule, the Factory Records-related Belgian label which issued records by Antena, Josef K and Section 25.

“If someone asked me what fado is,” says Ana Moura, in her introduction to “Lilac Wine”, “I would tell them that it means something like this song.” And with its notes of sadness, yearning and loss – fado means destiny or fate – this classic number is a beautiful way for her to connect a London audience with the melancholy Portuguese genre. Nina Simone is one of Moura’s heroes and "Lilac Wine" is the only English song on this novo fadista’s set-list, most of which is from her new album, Moura, produced in Hollywood by Larry Klein (Joni Mitchell’s ex-).

Sandy Smith’s brass band transcription of Tubular Bells is an improbable triumph. He draws heavily on composer David Bedford’s 1970s orchestral arrangement, along with Mike Oldfield’s two recorded versions. Musically the work holds up very well. But the original 1973 LP sounds distinctly murky in places: this was a live performance in which every strand was audible.

In 1985, John Foxx released In Mysterious Ways: his fourth solo album since leaving Ultravox in 1979. In 1980, he had charted with “Underpass”, his first solo single. Subsequently, he charted a path where frosty, anomie-filled electropop gave way to the warmth of “Europe After the Rain” and the Beatles-inspired psychedelia of “Endlessly”. The 1983 album The Golden Section was his most straightforwardly poppy to date. Then, the patchy In Mysterious Ways and musical silence.

A single guitar note rang out over smouldering synth-chords. It was bent up a tone and then wavered in the air before gracefully falling. And so began the final residency of the Rattle That Lock tour. No hype. No support act. Just David Gilmour and his all-star band looking back on his long and prestigious career. At least that's how the programme described it. For everyone else this was Pink Floyd resurrected.

Chicago’s Chess Records first made waves in the Fifties with a raft of records which included future classics integral to defining the urban slant on blues music. Early in the decade, the label issued singles by John Lee Hooker, Memphis Slim, Muddy Waters and Howlin' Wolf. They also issued Jackie Brenston’s “Rocket 88”, one of the building blocks of rock ‘n’ roll and brought Bo Diddley to a wide audience. The pioneering label issued different styles of music, but blues defined its early days. It moved with the times though and embraced soul in the Sixties.