Sometime in early October 1963 John Lennon and Paul McCartney encountered The Rolling Stones and offered them one of their songs; one which became the London blues aficionado’s second single. “I Wanna be Your Man” was duly recorded on 7 October 1963 and released on 1 November. Thanks to The Beatles, the Stones charted for the first time. A Liverpool-London, north-south divide had been breached.

Mille Petrozza is roaring into the mic, teeth gritted, black hair flailing. Behind his growl-screeching a triumphant martial riff is holding the “tune” and behind that, never-ceasing drum beats, an exercise in pure velocity.

It is a sign of Ladytron’s longevity and relevance that their support acts are now performers clearly inspired by the quartet. Elisabeth Elektra, here picked for opening the night in her home city, may not have the icy cool of the evening’s headliners, but the lineage of her buoyantly loud electro pop was clear.

At its best, she showcased a wickedly clear groove, at worst her vocal was submerged by the live drummer pounding away behind her. However it was a lively, enjoyable start to affairs.

The booklet coming with The Albums 1974-76 notes Johnny Rotten saw Heavy Metal Kids live and that the Sex Pistol “ripped off” their frontman Gary Holton. It's an assertion in keeping with a default option where the HMKs are referred to as a precursor band to punk – one helping to lay the table for it.

Jessica Winter is clearly a hardy soul. The Portsmouth singer made a point of shedding her jacket and top as her support set went on, a bold choice given the typically unpredictable Glasgow weather was serving up freezing snow outside at the time.

According to the press release for Karin Dreijer’s third album as Fever Ray, its completion was preceded by many hours of therapy with the result new things are known. Amongst them that Dreijer “can be struck by despair but also by the big feeling of love and awe”. Dreijer declares “I know what love is and I want to show you”. Radical Romantics is the result of these realisations.

Jon Savage's 1980-1982 - The Art Of Things To Come continues a series which began in 2015 with 1966 - The Year The Decade Exploded, a compilation springing off from Savage’s book of the same name. A follow-up looked at 1965, but after that the series has marched forward chronologically.

It’s almost 40 years, but I still vividly remember the excitement of hearing Suzanne Vega for the first time. Singer-songwriters had always mattered to me, even though I grew up in the vacuous era of glamrock and insipid teen idols such as David and Donny. Nor did much of what followed speak to me. Suddenly, a new voice was getting airplay. I still have all the old vinyl.

The years since slowthai’s Mercury Prize nominated debut have been patchy. There was the public reckoning after his oafish behaviour at the NME awards, but then he scored his first number one album a year later. He’s become a father but also struggled with his mental health. 

Although We Are Scientists onstage chat is always delivered with a light touch, there is truth running through it as well. Early on at this set their singer and guitarist Keith Murray quipped that he wouldn’t be needing his lucky charm for the evening, and in a way he was right.