All things considered, there aren’t many criteria by which this album, however cosmopolitan its influences, sensitive and precise its vocals and supple its rhythms, is really the best of the year. I’ve had a few sleepless nights recently over the growing suspicion that, for example, Kendrick Lamar’s DAMN, and several contemporary jazz recordings – to mention only what I’ve been following closely – do more that’s landmark-constructingly novel.

I’ve only seen Olivia Chaney perform live a handful of times – once at a Copper Family celebration at Cecil Sharp House, 10,000 Times Adieu, singing unaccompanied with Lisa Knapp and Nancy Wallace, and at the nestcollective’s Unamplifire festival at the Master Shipwright’s Palace in Deptford one chilly St George’s Day. There, she performed solo, at the piano, and her voice and her music was sensational.

2017 has been a time of change if not turmoil, on both personal and political stratospheres. So the music of two sisters whose jam is made up primarily of protest and healing songs, is the perfect antidote.

For the past few years my Album of the Year has leapt out at me, craved attention, stood out from the competition. With no disrespect to Nick Mulvey’s fine second album, that wasn’t the case in 2017. Many albums this year had vital, enjoyable music, but marred by much lesser songs.

A nineteen-minute adaptation of “Jack Orion” took up the whole of Side Two of Cruel Sister, Pentangle’s fourth album. It's the highlight of the smart but blandly titled 115-track box set The Albums 1968–1972. Up to this point in 1970, British folk rock had not spawned anything comparable to the epic “Jack Orion”.

Nothing beats a great singer-songwriter live and unadorned. So it was with Tom Russell at London’s 100 Club on the penultimate night of his UK tour. Accompanied by his faithful friend the brilliant Milanese Max Bernadino on guitar, the man whom Lawrence Ferlinghetti describes as “Johnny Cash, Jim Harrison and Charles Bukowski rolled into one” gave a brilliant performance which was a masterclass in audience engagement.

Although the Hardanger Fiddle is regarded as a traditional Norwegian instrument, its use stretches back to no earlier than the middle of the 17th century. The music players summon from its strings is more easily seen as traditional though: music to dance to.

Nick Mulvey (b.1984) is a singer-songwriter who draws from a refreshing and unexpected palette of global roots music, modernist classical and electronica.

Not since the 1960s has there been so much global shit to protest about! The Sixties, of course, gave us the protest song – and how well the best of them have worn. “Masters of War” and “With God On Our Side” are timeless classics. “Give Peace a Chance” can still be heard from the barricades.

Recorded at beautiful Bantry House in the far south-west of Ireland, The Blue Room is the debut of West Clare’s fiddle player extraordinaire Martin Hayes’ new quartet, comprising bass clarinettist Doug Wieseman, viola d’amore player Liz Knowles, and guitarist Dennis Cahill.

It opens in spectacularly tranquil fashion with "The Boy in the Gap", a tune as beautiful as anything Hayes has ever recorded – and given his record with Irish-American supergroup The Gloaming as well as his long association with guitarist Dennis Cahill, that is a high bar indeed, over which his music seems to flow effortlessly, harnessing the spirits of invention and inspiration to explore the very essence of a given composition.

"The Boy in the Gap" begins with a bass clarinet drawing down an air that feels eastern, preceding it the warm underlay of a viola d’amore with its sympathetic strings, before Hayes appears, a simple melody at first, unmistakably Irish, played feather-light on the fiddle, and accompanied by the fine gait of Cahill’s guitar. It sets the table for a feast of traditional Irish tunes recast by the lyrical, minimalist genius of Hayes and co. It’s no wonder he’s been compared to Miles Davis and Steve Reich for the way he extracts the unnecessary and focuses on the essence.

 “We had sketches but nothing was locked down,” he says of making the album. “It kept fluctuating and developing. There was a lot of feeling our way through. If one person shifts something, it can shift for everyone really fast. You end up in a place you didn’t expect.”

The Blue Room is full of such places and spaces. Akin to the The Gloaming’s radical, minimal and lyrical recasting of the Irish tradition, The Blue Room is absolutely essential listening when it comes to the very best of contemporary Irish music. Martin Hayes is at the Barbican with the Brooklyn Rider Quartet on 25 January 2018.

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Overleaf: listen to "The Boy in the Gap"