Witch Fever are a rising four-piece, originally formed in Manchester. Their debut album, 2022’s Congregation, was a raw, sludge-punk howl that represented singer Amy Walpole’s livid rejection of the stridently patriarchal Charismatic Church of her upbringing.

Demi Lovato is impressive on many fronts. She’s a Noughties Disney tween star who’s become an outspoken activist in an America where it’s increasingly dangerous to be one. She’s lived a rollercoaster ride of a life, rampantly exploring sexuality, drink and drugs amid chaos, abuse and serious mental health calamities, and she’s overcome the worst of it.

We are in – it needs to be shouted from the rooftops every day – a golden age of British soul and jazz. It isn’t just about a few quality artists, either, but a movement. Londoner Yazmin Lacey is key within that: in the past year, she’s featured on stupendous albums by both Ezra Collective and that band’s keyboard wizard Joe Armon-Jones.

From its opening scene, Le Quai des Brumes (Port of Shadows,1938) feels like a reverie, a period of sustained waiting, during which the characters stand at a threshold knowing that a tragedy will occur if they cross it.

The Lemonheads were one of the original punk-pop outfits and have been an on-off going concern for 40 years. However, singer, guitarist, bandleader and loveable slacker, Evan Dando’s well-documented relationship with Class A drugs also made them the kings of underachievement – even if there is plenty of gold to be found among their recordings that did see the light of day.

Anxiety and self-doubt have been constant themes for Kevin Parker, the Australian musician who now finds himself among the highest echelons of modern music. With his project Tame Impala, these themes have provided an almost unending source of inspiration, even while musically the project has transitioned from pyschedelic/Indie rock, and into a pop and a dance-oriented sound.

A key part of Chrissie Hynde’s brilliance and longevity has always been her ability to keep multiple musical personas going at once. She’s the grizzled but urbane street poet in the Bob Dylan / Lou Reed mould. She’s the pop craftswoman, always in search of that three minutes of perfect sweetness, even through the punk years.

Before we get into it, reader, can you accept that The Last Dinner Party are a band born of privilege and high academic study? Of poshness, classical composition, private education, master’s degrees in music? No? Might as well stop reading then. That’s where they’re from. Let's have a valid debate somewhere else about the arts shutting out those with less money.

A mix of tradition and Afrofuturism, acoustic and electronic, east and west fumigating in a cauldron of rhythms, chants, solo explorations and full ensemble blow-outs, Saha Gnawa (on New York's Pique-Nique label) draws on the example of Essaouira’s annual Festival Gnaoua, which brings together jazz masters and Gnawa maalems on stage.

The best Ealing comedies are surely the three darkest: specifically Kind Hearts and Coronets, The Ladykillers and The Man in the White Suit. The latter pair were helmed by Alexander Mackendrick, a cosmopolitan director who’d arrived at the studios with a thorough understanding of trends in mainstream European and American cinema.