Jason Mraz… How can someone so big slip under so many radars. Mine, the muso with whom I trek to all sorts of gigs, and that of a wide range of friends, most of whom are pretty au courant with the scene.

A rainy night… not in Georgia, as the great Ray Charles sang, but in London, the second of two nights at the Royal Albert Hall for Jools Holland and his Rhythm & Blues Orchestra. The 35-date tour that began in Dublin on 20 October and ends in Cardiff a couple of days before Christmas has packed the city’s most celebrated concert venue.

There was barely a black-clothed, white-faced Numanoid in sight in the packed auditorium of the Royal Albert Hall as Gary Numan made his first ever appearance at the Victorian concert hall. His fans appear to have left that kohl-eyed look behind them as they’ve aged over the four decades since he first broke into the charts with Tubeway Army, but their love for him seems undimmed.

“We will be taking you on a journey,” promises Caro Emerald at the start of tonight’s return to the Royal Albert Hall, which she last played back in April 2017 – and for the next 90 minutes, that’s what jazz-pop queen Emerald and her slick seven-piece band, the Grandmono Orchestra, do.

Ballet superstar Carlos Acosta returned to the Royal Albert Hall this week, accompanied by the youthful dancers of his company Acosta Danza, for yet another show celebrating his long career.

Outside the Royal Albert Hall blue-bereted devotees were handing out free EU flags. A great many people accepted them, while some with the Union Jack looked on askance and muttered. But inside, all differences were firmly put aside: every flag under the sun was there for the Last Night of the Proms party, along with the glitter poppers, an inflatable parrot and a model kangaroo. 

This was the first complete performance of Theodora at the Proms, one of a series of Handel oratorios initiated with William Christie’s Israel in Egypt last year. Theodora is more often performed today as a staged opera, most famously in the Peter Sellars production at Glyndebourne in the 1990s.

A day after John Eliot Gardiner and wandering violist Antoine Tamestit had converted the Royal Albert Hall into a sonic map of Hector Berlioz’s Italy, conductor Peter Oundjian and his full-strength divisions transported us to the Western Front.

How do you make your mark in a crucial last week after the Olympian spectaculars of Kirill Petrenko's Proms with the Berlin Philharmonic?

Crazy days are here again – many of us are lucky not to have been born when the last collectve insanity blitzed the world – and nothing in Shostakovich seems too outlandish for reality. On the other hand, there's a growing movement to liberate his symphonic arguments from rhetoric and context.