Cyndi Lauper was preceded onstage by a brief video that zipped through her career, which she drily declared was just in case someone was at the gig by mistake. It’s tempting to wonder what an unexpected visitor might have made of this farewell tour, given it shifted from Rabbie Burns mentions to gestures of support for the LGBT+ community, wig changes and, at one point, Lauper climbing up from a trap door wrapped in what looked like percussive body armour.

On its own, the second session The Lurkers recorded for the BBC’s John Peel show on 18 April 1978 is arguably a curio, a footnote. Four tracks of bracingly straight-ahead Brit-punk with a headstrong freshness undiminished by time. But whatever the impact, The Lurkers were never a main-agenda band, and the Peel session was an adjunct to their discography.

Deep Below’s first track is titled “Hibernation.” “A winter breeze blows through my mind,” intones a colourless, dispirited male voice. The ensuing lyrics are similarly bleak. “Trying to warm myself with the memories you’ve left behind, Deep inside this hole bitterness consumes my soul, One day I might wake up but I know it won’t be today.”

After co-fronting Vinegar Joe with Robert Palmer, Elkie Brooks first charted as a solo artist in 1977 with “Pearl’s a Singer.” Yet there was more to her musical past than the 1971 to 1974 spell in the blues-rock outfit. Her contributions to You Got Me Hooked! - More Marylebone Beat Girls are “He's Gotta Love me” and “Stop the Music” – both released a decade before “Pearl’s a Singer.”

As Stoke-on-Trent’s Formal Sppeedwear immerse themselves in what turns out to be their penultimate song, they become lost in the music. What they are playing takes over. Revolving guitar motifs spray forth like light reflected from a glitter ball. An elastic bass guitar bubbles, the frill-free drumming is hard, precise and about forward motion.

VINYL OF THE MONTH

Buñuel Mansuetude (Skin Graft/Overdrive)

“A band you’re gonna like, whether you like it or not.” The proclamation in the press ads for the New York Dolls’ debut album acknowledged they were a hard sell.

The utopian messiness of 1990s dance music culture is now so far back in time that what remains, for those under 40, is an idea, a meta myth. It is one that ALT BLK ERA embrace. Where the Nineties was a smorgasbord of futurism, vanguard electronic exploration and hedonic madness, the excellently titled debut album Rave Immortal reimagines it through the prism of catchy TikTok snippets and rampant rock punch.

The quandary is this. Middlesbrough singer Amelia Coburn made one of my favourite albums of last year, her debut, Between the Moon and the Milkman, and I hear she’s playing live near me on the south coast, not something that happens every day.

It would be really easy to get hung up on the definition for this album. Is it a new sexuality term? A holiday genre of technopop? A planet that will align with the others on January 29^th?

English singer Tahliah Debrett Barnett, aka FKA Twig, describes via X, that "eusexua is a practice, eusexua is a state of being, eusexua is the pinnacle of human experience".