It seems an ambivalent statement, perhaps estranging Ride’s Mark Gardener from what’s happening on stage. “I always loved this track off Going Blank Again, it’s called ‘Chrome Waves’.” He could be a DJ or a fan talking about what’s about to be played, rather than a member of the band itself – a member poised to launch into a live recreation of the fourth track from their 1992 second album.

Other Voices is, according to its founder Philip King, a festival which celebrates what’s about to happen. Indeed, artists like Hozier, Fontaines DC and Amy Winehouse cut their teeth at this unique musical event which, although it has its home in the west of Ireland, has iterations across the world. 

“For life to exist, we need rhythm” announces Ian Parmel on the opening track of rising UK jazz saxophonist Xhosa Cole’s sophomore album. This is a view that Xhosa has taken to heart – for while his debut album was awash with echoes of John Coltrane’s classic hard bop sounds, Ibeji comprises a collection of saxophone and percussion collaborations with seven separate drummers, which explore West African beats and musical flavours through a jazz lens.

John Lennon does not appear on “Love You Too” and “For No One”. With “Taxman”, “Eleanor Rigby”, “Here, There and Everywhere”, “Good Day Sunshine” and “I Want to Tell You”, his contributions are limited to backing vocals and, on odd occasions, some percussion too. He appears semi-detached from seven of Revolver’s 14 tracks.

London’s Morton Valence are one of those bands music journos love, not that it’s done their career much good. I’ve bigged them up a few times, myself, starting at least a decade ago, but widespread critical acclaim has not added up to countrywide recognition. They are now up to album eight, still based around core duo Anne Gilpin and ex-Alabama 3 dude Robert “Hacker” Jessett, and their latest album is as consistently pin-sharp as everything else they’ve done. If only more would hear it!

A minute before coming on stage, the audience is asked to observe a minute’s silence for the victims of the Halloween tragedy in the central Itaewon district of the South Korean capital of Seoul.

First Aid Kit have grown up and moved on. So says the cheerful conglomeration of lockdown-emergent pop sounds that makes up their fifth studio album.

A tall African man stands alone in a pool of light. He has a cello and an immensely versatile voice. In a matter seconds, he holds the audience enchanted. He inhabits the stage as if it were by a campfire in the bush.

Much of Amateurs is observational. “Folk Festival” ponders appearing at said event: is the place on the bill right; would fitting in be easier if the lyric’s subject were a different age? During “Market on the Sand”, it’s wondered while browsing whether there is “something here that is meant just for me”.

Is Artificial Intelligence pointing the way to musical composition in the future? The BBC Philharmonic, conductor Vimbayi Kaziboni and colleagues at the Royal Northern College of Music made a case for it in this concert.