This was, said bassist Michael Janisch, his first gig since January last year, and his crack group’s Monday evening set, kicking off at the un-jazzy hour of 6.30pm, was an energising, dynamic group performance from A-list British musicians who are band leaders in their own right.

To coin a cliché, the fourth album from London pop-dance success story Rudimental is a game of two halves. The first is off-putting and dull but halfway through, the band seem to wake up. There are 16 songs on the album. The eighth, “Handle My Own”, is the first one to make the ears prick up, and from track 11 on we’re in continuous business.

People Just Do Nothing is a mockumentary BBC TV series, now ended, about fictional Brentford pirate radio crew Kurupt FM. It’s also a comedy based entirely on the Dunning-Kruger Effect, in that the humour derives from the worldview of all the key characters – tawdry, hopeless garage MC/DJ chancers – being confidently blinkered to the point of absurdity, while all else points to their utter uselessness.

I was looking forward to this Prom by the Manchester Collective, an exciting young group founded in 2016, which has quickly established a reputation for innovative presentation of contemporary repertoire.

Danny Robins tells us what we’re in for with his title, so we’re warned. And it’s not long before we get the “things that go bump in the night”, the creaking floorboards, the “I know this sounds crazy, but…” because they’re the essential components of the genre. Reviewing a ghost story and complaining about that stuff really isn’t on – like critiquing a pantomime for its audience participation. 

This week is peak time to test out Nick Payne’s hypothesis of life as a series of accidents, narrow squeaks and near misses. While the Perseids are doing their August explosive thing, go home after the show and look in the night sky with a lover, and see whether both of you see the same shooting star – what are the chances?

The UK is currently in the middle of a jazz, funk and soul renaissance. Homegrown, grassroots talent is producing an abundance of glorious music both retro and forward facing, in a way not seen since the combined influence of Soul II Soul and the acid jazz scene created a wave of groove in the early-mid Nineties.

The best version of Twelfth Night I’ve seen is not called Twelfth Night. For sheer knockabout entertainment, nothing beats the 2006 film She’s the Man. But Sean Holmes’ production for the Globe’s summer season, brimming with song and physical comedy, comes a worthy second.

In this most atypical Proms season this was actually an archetypal Proms programme: a world premiere: a neglected masterpiece and a good solid 19^th-century symphony for those put off a bit by the first two. But this American-themed programme never felt run of the mill. There was a palpable energy in the hall, for both audience and orchestra, to be in the same space again.

Get to Swiss Cottage early because Bob Bailey’s set for Tom Wells's new Hampstead Downstairs play Big Big Sky is a feast for the eyes. Angie’s cafe has the scrapey chairs, the tables you know will wobble a little if you get that one (and you will) and a blackboard menu that just needs a misplaced apostrophe or two to be truly authentic.