With her timeless vocals and jazz-inflected folk melodies, it feels like a bit of Los Angeles songwriter Bedouine lives in the golden age of Hollywood.

Tomorrow, Martin Scorsese delivers, via Netflix, two hours and 22 minutes of screen time devoted to Bob Dylan’s Rolling Thunder Revue, following on from the release last week of the latest Bootleg Series boxed set, 14 CDs covering five full concerts from November and December 1975, as well as rehearsals and sundry soundboard cuts from

Only those who’ve just popped in from an early 20^th century Tennessee cotton field will have recently observed more pairs of dungarees in one place than at Red Rooster. It’s a festival that prides itself on a rich diet of Americana alongside a defiantly retro aesthetic.

Outside the Palladium a couple of months back for Joan Baez’s farewell, I was given a flyer for this album – by Naomi Bedford herself it turns out. We had a brief chat which left me with a good feeling about the project and I was disappointed to see I’d be away for the London concert marking the launch of Singing It All Back Home: Appalachian Ballads of English and Scottish Origin. 

Was it imagination or did The Waterboys’ audience at London’s Roundhouse, invited to sing along to “The Nearest Thing to Hip”, really sing extra-loud and lustily on the line “in this shithole”?

Better Oblivion Community Center may be a supergroup of sorts, but the name still draws less recognition that its members (Phoebe Bridgers and Conor Oberst from Bright Eyes). Maybe it’s just too complicated to remember, because a packed Shepherd’s Bush Empire proved the band’s wide appeal – lairy lads and muso pensioners, side-by-side for a night of charm and angst.

Restitute, from its music down to its title, is much about its own back story. Three years ago Eliza Carthy, a key figure in British folk music, made a well-liked album called Big Machine with her group, The Wayward Band. They lost their funding halfway through and were then rescued by 80 year old folk institution Topic Records. The album fared OK but, due to machinations no fault of the label, no-one was paid.

“Our attendees are a select group, but we have a connection,” remarked Damon Albarn at the end of The Good, the Bad & the Queen’s set. He’s not wrong – much of the band had outgrown Cardiff’s Great Hall 25 years ago, but it proved the perfect venue for this musical love-in.

Halfway through filming For Folk’s Sake, a documentary for BBC Four about Morris dancing, I received a package in the post that would dramatically change the course of the programme. It was from my mother. Inside were a number of yellowing newspaper articles from the 1920s and 1930s and some dog-eared black and white photos.

“We like people here in Estonia. I think we all here very much value being European. To all our British friends, we know that the offer of e-residency has been ticking-up constantly. You can find a sure foothold for your business here in Estonia. There’s enough space, please come.”