Keane were always the best of that post-millennium Coldplay crowd. Tim Rice-Oxley showed adult craft in his lyrics and keyboard textures on their 5 million-selling debut, Hopes and Fears, where the small-town specificity of Battle, Sussex’s biggest band lifted singer Tom Chaplin’s yearning. Six years after they effectively broke up, this fifth album’s title announces itself as a sequel, dissecting Rice-Oxley’s divorce (foreshadowed in 2012’s Strangeland) with forensic relish.

Alexander Zeldin continues his devastating analysis of modern Britain in this culminating play of a (very loose) trilogy that started with 2014’s Beyond Caring, followed by LOVE two years after that.

Elizabeth Bernholz, known on stage as Gazelle Twin, comes straight from a line of musical visionaries – rebels and misfits whose influences fleet through her songs like will-o’-the-wisps. Here is the formal, clever ennui of The Stranglers, the wild, cathartic howls of Pink Floyd’s anti-establishmentarianism, and the unearthly arcs of Kate Bush’s otherworldly electro-folk.

It’s now Edinburgh Fringe transfer season in London, but here’s one they made earlier: Cora Bissett’s Fringe First-winning autobiographical play from the 2018 Festival about her time in 1990s indie band Darlingheart. Though the broad shape of this tale is familiar, Bissett’s gig-theatre approach lends it a raw authenticity and engaging confessional quality.

Let's be clear: this was a Prom of world-class works by English composers, not a conservative concert of English music. Politically speaking, Elgar was one of the few on the right, but how different inwardly, speaking through the poet Arthur O’Shaughnessy and singing with his own reminiscences in The Music Makers of timeless art that outlives the fall of empires and individual fates.

Gounod: Symphonies 1 and 2 Iceland Symphony Orchestra/Yan Pascal Tortelier (Chandos)

Ashley Joiner’s expansive documentary Are You Proud? opens with the testament of a redoubtable nonagenarian remembering his experiences as a gay man in World War II.

If you’d started senior school when this production premiered, you’d be finished by now and out in the world of work or at university, your first year days a distant memory. A lot’s changed since the curtain first came up on this version in 2011, and nearly a decade on, and in the wake of #metoo, Robert Carsen’s high school-set production feels more than a little out of date. Sure, it’s fun, but do we really need more stories told through the eyes of a dissatisfied juvenile male?

Cindy Sherman predicted the selfie, so goes the claim. From our current standpoint, it is all too easy to analyse her many hundreds of photographic self-portraits made since the late 1970s as cultural forebears of the digital medium.

It’s the saddest music in the world: the quiet heartbeat and falling melody with which Tchaikovsky opens his opera Eugene Onegin. Imagine a whole society, a whole lifetime of solitude, longing and disillusion, evoked in a single bass note and a few bars of tearstained violin. And then imagine it sustained over three acts. Is there another 19th century opera score that matches music to drama so simply, and yet so unerringly?