He has been called “America’s sharpest musical storyteller” by Rolling Stone, and has enough talent to give Bob Dylan’s talking blues a run for their money. The East Nashville-based singer-songwriter, guitarist, yarn-spinner, troubadour and amiably agnostic stoner has 10 new stories on his 14^th album, the title of which acts as a pretty accurate calling card for the Snider experience: Agnostic Hymns and Stoner Fables.

“I know what I was angry about when I wrote this,” Nanci Griffith told the crowd as she introduced “Hell No (I’m Not Alright)”, “but you can get your anger out about whatever you want.”

I last saw Dan Auerbach and Pat Carney’s primitive garage blues duo a little under four years ago, touring their sixth album Attack & Release. Truth be told, I found them slightly heavy going. Big riffs, big drums, back-of-a-beer mat lyrics and not much else. Heard one, heard 'em all. My, but they’ve grown. Or, at least, their audience has. 

The makers of this short history of country music had done a good job of rounding up interviewees, who included such veterans as Ray Price, Merle Haggard and Charley Pride alongside the offspring of several country legends. We met Shooter Jennings (son of Waylon), Hank Williams III and Georgette Jones (daughter of Tammy Wynette and George Jones).

Nick Lowe is truly the Zelig of rock. The erstwhile son-in-law of Johnny Cash, a pivotal figure in the history of punk and pub rock. Recently I was watching a DVD of the David Essex movie Stardust – there are worse guilty pleasures – and up popped the Damned’s one-time producer Basher Lowe doing a blink-and-he's-off cameo. But never mind the past. At the ripe age of 62 he has made a damn fine record, full of simple, plaintive melodies and, most of all, lyrics that slice into the very core of being human and having feelings.

No real surprises on John Hiatt's 20th album, except that he can still find ways to put together a fresh, punchy set of songs using much the same ingredients as he's been using for the past 40 years. The songs, as ever, are rooted in rock, blues, country, Southern soul and old-fashioned R&B, though producer Kevin Shirley (Aerosmith, Iron Maiden, Joe Bonamassa etc) has brought focus and weight to the sound. 

No real surprises on John Hiatt's 20th album, except that he can still find ways to put together a fresh, punchy set of songs using much the same ingredients as he's been using for the past 40 years. The songs, as ever, are rooted in rock, blues, country, Southern soul and old-fashioned R&B, though producer Kevin Shirley (Aerosmith, Iron Maiden, Joe Bonamassa etc) has brought focus and weight to the sound. 

It may not be a particularly popular statement, but the financial black hole rapidly consuming the music industry undoubtedly has its fringe benefits. Five years ago Shelby Lynne would have toured the UK with a session band and played for perhaps 70 minutes. Last night, in the draughty deconsecrated church she immediately transformed into an intimate supper club, Lynne played for two hours with just a guitarist for company – and was spellbinding. Long may the pennies pinch.

Always renowned as an interpreter of other artists' material, Emmylou Harris has been a late developer as a songwriter. On 2008's All I Intended to Be, she successfully balanced cover versions with her own songs, but this time she has written eight songs single-handed, and three more in collaboration with Will Jennings. It's a sign of her writerly progress that her own work comfortably holds its own against the non-originals "Cross Yourself", composed by producer and multi-instrumentalist Jay Joyce, and Ron Sexsmith's slightly turgid title track.

With k.d. lang's original "cowpunk" days of Absolute Torch and Twang now a distant memory, she has settled into the role of deluxe vocal stylist with a bit of heritage balladry on the side (for instance, her collaboration with Tony Bennett, A Wonderful World). This batch of new material, most of it co-written with co-producer Joe Pisapia, rings familiar lang-esque bells. We're barely into the first track, "I Confess", when shades of her idol Roy Orbison become discernable in the vertiginous melodrama of the arrangement, and the late, great Patsy Cline frequently takes a peek over lang's shoulder.

Alison Krauss hasn't made an album of new material with turbo-bluegrass combo Union Station since Lonely Runs Both Ways, from 2004. Having filled some of the time in between by co-starring with Robert Plant on the mesmerising (and Grammy-guzzling) Raising Sand, she returns here to her familiar pastures of hard country and raw bluegrass, with a sprinkling of winsome balladry to sugar the pill.