While the Gallagher brothers scrabble around in the dirt for their rich pickings, an altogether more dignified experience is on offer from Sheffield. More is Pulp’s first album for 24 years, which is a sobering fact for those of us who still remember the first time. Thankfully, this isn’t a reprisal of past glories but a vibrant and moving work of some significance. They’ve ripened delightfully and are living proof that age does not diminish creativity or relevance.

Turnstile’s NEVER ENOUGH is a vibrant, shape-shifting album that proves the Baltimore-based band is fully committed to evolution. Since their formation in 2010, Turnstile have been known for injecting a fresh, genre-blurring energy into hardcore punk. With each release, they’ve pushed further into new territory, and NEVER ENOUGH might be their most fearless leap yet. While still rooted in the intensity that defined their early work, this record expands far beyond those borders, bringing in lush textures, genre-blending arrangements and a bold sense of experimentation.

Little Simz clearly believes in meeting situations head on. Her sixth full-length album kicks off, in every sense of the phrase, with “Thief”: unambiguously a lyrical barrage at her childhood friend and frequent collaborator Inflo, who Simz is currently suing for alleged failure to repay £1.7 million in loans for ambitious recording and performance projects.

A long time ago, in a galaxy far, far away called the late 1990s, there was a scene known as “big beat”. It consisted of club culture sorts making music closer in flavour to rock, and easier to drink beer to than house and techno.

Pete Shelley’s departure from Buzzcocks felt abrupt. When he left the Manchester band which had been integral to British punk since 1976, the other members thought it was still a going concern. Shelley had reached a different conclusion.

Nick Mulvey’s first two albums, First Mind in 2014 and Wake Up Now in 2017, are among the loveliest singer-songwriter fare released this century. With his last album, 2022’s New Mythology, his ayahuasca-fuelled search for spiritual meaning went full-blown mystic. Where has it led him? To Jesus.

For the first half-hour of this show – on the day before the release of his new album Alan Sparhawk With Trampled by Turtles – Alan Sparhawk moves ceaselessly. Whirling, arms sweeping like the sails of a windmill, gliding across the stage. He sings, his voice treated: auto-tuned, pitch-shifted. The only breaks come with momentary pauses to set rhythm tracks for the next song. Then, off again.

Michael Gira (born 19/2/54) is an American singer-songwriter, composer, author and artist. He founded Swans, a band in which he sings and plays guitar, in New York during the late 1970s. Since that time, Gira and Swans have been a major influence in the experimental rock scene and in the 1980s were lorded as the “loudest band on the planet”. Not ones to sit still, however, they evolved continuously, taking on new sounds and influences until grinding to a halt in the late 1990s.

A couple of months ago, I wrote here that Lady Gaga was the godmother of the new generation of ostentatiously “theatre kid” pop stars – but actually, perhaps I was wrong and Miley Cyrus deserves that title.

Garbage’s eighth album, Let All That We Imagine Be the Light, arrives with weighty intentions and a strong sense of purpose, but the end result feels more admirable than truly compelling. While the band still knows how to craft polished, politically aware alt-rock, the album often plays it safe musically, lacking the punch or experimentation that once defined them.