There was a youthful tinge to the jubilant chorus of “here we, here we, here we f****** go” that greeted Le Tigre arriving on stage.

Tony Kushner’s early 1990s play Angels in America is an epochal, mystical, political, state-of-the-nation address, revolving around the AIDs epidemic. By no means straightforward, its narrative runs the gamut from New York’s gay scene to God’s own sexual proclivities, via the ghost of executed Cold War spy Ethel Rosenberg, the fall of the Soviet Bloc and much else.

There’s been a good deal of discussion on “the socials” about how much Janelle Monáe’s sexy image is a new thing or a big deal.

Casual viewers, still stuck on the suit-wearing image with which she crashed into public consciousness in 2010, have acted shocked at her going almost or completely unclad in recent videos and shoots. In turn fans have pointed out the obvious – that her outré sense of fashion and costumery has manifested in many ways over the years, including in plenty of flesh-baring. 

In 1995 Dave Grohl returned with a new project and album, called Foo Fighters, following the death of Nirvana band-mate and close friend Kurt Cobain. Given his close connection with Kurt, and his avoidance of the media spotlight, this new album was pored over by many for any reference to Cobain or Nirvana.

“It takes a real effort to sound this small, this timid; to resist the effort to rock out and kick pedal. Singer ‘Amelia’ (oh yeah, I bet that’s her name) has spent her entire adult life pretending she doesn't menstruate. The rest of her band, too, look like the sort of fanzine autistics who still wear dungarees at 30”.

At first, I misread the title of the lead single “Seaforth” from King Krule’s fourth album, Space Heavy, as “Sea Froth”. It felt like a fitting title, combining the watery motif that runs through all of Archy Marshall’s music with a grimy image of frothy, decaying algae. This was after all the same artist whose 2017 album, The Ooz, was named after human gunk.

There are a few perils to saying supercalifragilisticexpialidocious, as Janette Manrara discovered on this opening night of Disney’s anniversary arena jaunt. Trying to divide the Glasgow crowd into sections to sing the song, Manrara tripped over who was to sing what, something only notable because the rest of the evening was possessed of an almost overpowering slickness.

Five years ago, breaking dry January a few days early, I joined a throng of folks amongst the merch boxes and strip lights of Rough Trade East to see Dream Wife. The London-based trio has come a long way since those small-scale shows in the backroom of a Brick Lane record shop.

This is a slight album in terms of length (under half an hour) but not in emotional insight. It’s absolutely haunting. Here we have the characteristic all-consuming melancholy that oozes from Baxter Dury but without the menace of Prince of Tears. And his f*cked up childhood still takes centre stage.

"This album is almost like a recorded birthday party and birthday present to myself. I just invited all the singers that I greatly admire and always wanted to sing with." So says Rufus Wainwright, a brilliant and compelling performer – and one, you suspect, who brooks few challenges, be they from family, friends, or producers. And someone needed to tell him that Folkocracy is often a tad OTT. Rather more than a tad actually.