The spoof “rockumentary” always sounds like a great idea, but it’s hard to pull off. Largely this is because rock stars are so divorced from reality that an element of self-parody is already built in, albeit unwittingly (“everybody’s so different, I haven’t changed” as Joe Walsh deadpanned in "Life's Been Good").

Coronavirus blah blah blah. Glastonbury cancelled. What to do? Didn’t go to the 2010 festival for reasons too tedious to go into. Suffered the worst FOMO of my life. This is different. There is no Glastonbury. But sitting around at home… we’ve all been doing that for months…

One of the songs on Paul Weller’s excellent new album – only similar to his previous one True Meanings (2018) in that once again he's gently treading new ground – is called “Equanimity”. The title sums up the quietly joyful and relaxed tone of the material he's crafted once again with such discernment, musicality and soul.

If the title of their third album alludes to the lazy assumption of female-fronted as a musical genre, HAIM’s revenge is to try a little bit of everything, while never sounding anything less than themselves. Women in Music Pt.

This morning at 9.00 AM would be when Worthy Farm opened its gates to the hedonistic hordes. The weather is scorchio and Glastonbury 50 would have been such a party. Instead, that will all be Glastonbury 2021. So right now, those who love their annual Pilton pilgrimage need to get inventive: the festival and the BBC have laid on a feast of allsorts. It’s about to kick off. Let’s get amongst it…

The lockdown may be loosening but we’re no nearer to gigs and festivals occurring so, for the foreseeable, online is where it’s at. Here, then, is the latest selection of musical happenings that you can wrap your eyes and ears around during the coming week. Dive in!

Make Music Day

In the series one finale of metal-detecting sitcom Detectorists, Lance fills in a hole he’s dug after unearthing nothing more than a rusted ring-pull. As the camera pans downwards, we see the riches that were hiding beneath. He was looking in the right place, it’s just that the good stuff lay tantalisingly out of reach.

Echo in the Canyon is a lamentably thin documentary about the vibrant folk-rock music scene that flourished in the bohemian Los Angeles neighbourhood of Laurel Canyon from 1965 to 1967.

When “Murder Most Foul” was dropped into an unsuspecting world under lockdown, the surprise was palpable, given that eight years had passed since Tempest, filled by Sinatra covers and seasonal tours. That it was a 16-minute epic that took Dylan’s writing into new areas (including No1 on Billboard) – and this on the verge of his eightieth year – is also astonishing.

Larkin Poe are an American blues-rock band fronted by the Lovell sisters, Rebecca and Megan, both mainstays of the US Americana scene since their teens, at the start of this century. Best known in Europe for their fired-up gigs and festival appearances, their fifth album starts off accessibly yet the immediate thought is that it’s overly derivative.