An album is one thing, a live show is another. A truism of course, but one which is inescapable during this London date by the Rotterdam-based Rats on Rafts at a shabby chic pub in Dalston, East London.

Steven Knight is beginning to resemble the British version of Taylor Sheridan. While Sheridan has been saturating our screens with Yellowstone, 1923, Landman etc, Knight has been reeling off Peaky Blinders, SAS Rogue Heroes and even the story of opera star Maria Callas.

Let’s finally face the elephant in the room: the most popular Viennese operetta, packed with hit numbers, no longer works on the stage as a whole. The central party, yes, never more high-energy delight than here, with a cast of 13 and 10 instrumentalists on stage. As for the rest, not even the likes of Richard Jones, Harry Kupfer and Christopher Alden have won a total victory. Davey Kelleher comes closer, but the high jinks can still be wearing in the outer acts.

The second of the Philharmonic’s Boulez-Ravel celebrations (birth centenary of the former, 150^th of the latter) brought Bertrand Chamayou back: after his performance of the G major piano concerto in January, this time it was as soloist in the Concerto for the Left Hand, with Ludovic Morlot on the podium.

A year ago, after a deeply disappointing Manon Lescaut at Hackney Empire, I wrote here that English Touring Opera had often excelled in the past, and would do so again. The company hasn’t taken long to prove the point.

Harry Hill reminds us at one point during his latest touring show that he’s 60, but there’s no let-up in the energy he brings to New Bits and Greatest Hits, a pleasing mixture of old and new material showing he still packs a punch on stage.

There are sufficient new gags to justify the first part of the title, but equally enough old ones to keep his long-term fans happy – although the audience at Wilton’s Music Hall suggested that his fanbase now covers a few generations who appreciate Hill's madcap comedy.

Sol Abrahams, singer and guitarist for Essex rock’n’rollers Bilk, was suffering from a bit of guitar trouble in Birmingham on Friday evening. By the time the band was ready to power through “On It”, from new album Essex, Drugs and Rock and Roll, he was already on his third or fourth instrument, the last one having literally fallen apart in his hands.

Hinds don't believe in God. They declared this as they surveyed the converted church that is St Luke's, and given the past few years you can't blame them for lacking faith.

In 1964, the Norwegian division of Philips Records began issuing singles labelled “Bergen Beat.” The picture sleeves of 45s by Davy Dean and the Swinging Ballades, Sverre Faaberg and the Young Ones, The Jokers, Rune Larsen and Teen Beats, The Quartermasters, Helge Nilsen and the Stringers and Tornado bore a bold stamp recognising each band’s origin in the country’s second city.

Longlegs’ trapdoor ending snapped tight on its clammy Lynchian mood, reconfiguring its Silence of the Lambs serial-killer yarn into a more slyly awful tale. Osgood Perkins’ hit fourth horror film seemed sure to elevate his career, but follow-up The Monkey is a resolutely minor, down and dirty B-movie, relishing cartoon gore and comic excess.