Even when Peter Gabriel is bleak, he has reasons to be cheerful. Early on in his set he opined that soon enough “none of us will have jobs anymore”, referring to the ongoing rise of artificial intelligence, although this was followed by him stressing the positives that can be found in such new technology. It seemed fitting, because Gabriel himself, now 73, showed on this evening that optimistic possibilities of the future occupy his thoughts as much as ever.

Synths has a special attraction in a world that aspires to modernity. Thirty years ago Algerian Rai, which combined elements of traditional North African music with rock, was characterised by the sweet and slight tinny sound of electronic keyboards. Slightly tweaked they could imitate the harmonics and microtonal universe of Arab music. Now they are all over Africa, as well as in the super-charged dabke wedding music of Omar Souleyman and many other places.

The circular form of the large turf-roofed round house at the Ancient Technology Centre in Cranborne, Dorset, is tailor-made for music in the round. The latest in the series of Jaminaround concerts made the most of the intimacy that the venue provides, with music that engaged the audience in a way that conventional staging makes difficult.

Danûk are a group of exiled musicians, mostly Kurdish, and Morîk is their very appealing first album. They draw their bewitching songs and instrumentals from Kurdish tradition as recorded on wax cylinders in the early years of the 20^th century by German and Austrian ethnomusicologists and companies.

These encounters are ones that may lead to lifelong relationships, with the halls at Kings Place this coming weekend filled with music from Mali, Colombia, Turkey, Georgia, Estonia, Tibet and a woodland in Sussex.

“Yerimayo Celebration”, which opens Baaba Maal’s brilliant and superbly paced new album, sets the tone: it starts in the mists of time, as it were, drawing deep on the minimal soul of traditional West African music: a plucked ngoni, and a haunting voice. The spirits have been summoned.

Then, the song explodes, driven by the rhythmic clatter of the sabar drums, so characteristic of the region, with subtle voice distortions and electronic effects. This is fusion of the ancient and new that works wonderfully.

Ahead of two spring dates in the UK, Rodrigo y Gabriela release their seventh studio album, In Between Thoughts… A New World, a beguiling set of guitar-based music that has echoes through time and hints of rumba-flamenco and occasionally the heavy metal that brought the two musicians together in their native Mexico City back in the 1990s.

This is an enchanting album which brings together four outstanding musicians, brilliant in their own right, but also adept at the kind of collaboration in which the whole is greater than the sum of the parts.

One of the greatest things a musical artist can achieve is world building. That is, creating a distinctive type of environment, language and coordinates for everything they do such that the listener is forced to come into the musical world, and to engage with it on its own terms rather than by comparison. It’s something that musicians as diverse as Prince, Kate Bush and Wu-Tang Clan achieve have achieved, likewise plenty of more underground creators too.

Steve Mason has been impressively blunt about the inspiration behind his fifth solo album. “To me, this record is a massive “Fuck you” to Brexit and a giant “Fuck you” to anyone that is terrified of immigration,” he’s said, “Because there is nothing that immigration has brought to this country that isn’t to be applauded.” Thus, these 12 songs are riven not only with lyrical pith but also sounds borrowed from an international sound palette.