“I don’t know if I’m going to recognise any of it,” I say to my accomplice as we drain a couple of light ales amid the sea of grey beards in The Old Market’s bar. “I don’t think they’ll play the hits,” he replies, deadpan, “but don’t worry, there should be some onstage banter that’ll give you a couple of the titles.”

“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.

Every month we start theartsdesk on Vinyl with the Vinyl of the Month, however, the truth is that, depending on your taste, many of the records reviewed below may be your own vinyl of the month. Whether reissues or new material or compilations, theartsdesk on Vinyl attends to all music on plastic.

Billie Eilish is a vaudevillian. Crack that and everything else falls into place.

Writing in 1980, the musician and musical theorist Chris Cutler said that “without the support and patronage of the culture-establishment, The Residents were able to exist, continue to exist, grow, find their public, hold that public – and expand it – until the pop establishment was forced to take notice.” He contended that as they were neither musicians or part of music sub-culture they “exemplified a new type [of development], specialising in nothing, turning their hands to anything: a type whose aims were no longer conceived in terms of music, theatre, film, writing or the visual arts, b

As collaborations go, it’s a doozy. Karen O’s signature vocals over Danger Mouse’s production – it was always going to pique interest. And Lux Prima does much to meet expectations, gorgeous cinematic soundscapes that flit between haunting and defiant. At its best, its damn near mesmerising. But for those expecting a genre-defying, structure-blowing new horizon, it falls just short.

It is hard to absorb the news that Keith Flint of The Prodigy has been found dead at his home in Essex. Keith Flint! The guy with the double Mohican and panda eye-liner who terrified Middle America in the video for “Firestarter”. He was ever an integral part of The Prodigy’s unstoppable live electronic dance assault and, while it’s too early to ponder such things, it’s difficult to imagine them without him.

Massive Attack have travelled a long way from the Dugout, the Bristol bar where the collective first tried their hand at spinning discs for a crowd whose cultural mix reflected the constant ferment of one of Britain’s most vibrant cities.

Twenty years on from No Angel, the most successful debut ever by a British woman which went on to become the top-selling album, worldwide, of 2001, Dido Florian Cloud de Bounevialle O'Malley Armstrong releases her fifth album. Spare output by most standards, though she has contributed songs (Britney Spears, Rihanna) and backing vocals elsewhere in the interim.

Although In the Dark comprises 11 tracks of outward-facing contemporary North European electronica-infused, dance-edged pop along the lines of “Faded”, the 2015 international hit helmed by Norwegian DJ/producer Alan Walker, an undercurrent implies a fondness for the Eighties.