The Blues is one of the few genres of modern music which isn’t completely in thrall to the Cult of Youth and there might even be a view that older is better among its practitioners. Indeed, the likes of John Lee Hooker and RL Burnside, to name only a couple, were still turning out tunes at ages when anyone else might have hung up their guitars and dedicated the rest of their lives to relaxing with some quality malt whisky.

Peter Culshaw’s periodic global themed radio show is allowed back in the MusicBox Radio studio with special guest, the distinguished soundtrack composer Dominik Scherrer. Dominik’s latest hit series was The Serpent, the dark tale of Charles Sobhraj, the “Bikini Killer” or “The Serpent” who killed young often lost, idealistic Western travellers mainly in Bangkok in the 1970s, but also elsewhere on the hippy trail east.

Ask someone in the early 2000s to predict which cities were going to be influential in electronic music in coming years, and it’s unlikely many would have picked Kampala, Uganda. But here we are.

INTERLUDE 1: INVALID CODE-AGEDDON

6.45 PM on Saturday 22^nd May and all is well. Like tens of thousands of others across the UK (or maybe even more?) my wall flatscreen is tuned to Glastonbury’s livestream. Prior to the event itself promos for Water Aid and the like roll by, the kind usually on the huge screens beside the Pyramid Stage at the festival.

So, blinking, after too much isolation, into a spring evening for a first live indoor gig for over a year was always going to be exciting, if just for novelty value. But for a gentle breaking-in to live music, the London Bulgarian Choir was an inspiring choice. Having 26 singers on stage is an achievement at the best of times.

In May 1981, a new-minted music graduate newly embarked on a career in journalism, I was pleased as punch to secure a commission from Capital Radio. Forever Young: Dylan at 40 was broadcast on 24 May. I’ve a tape of it somewhere, this 30-minute programme voiced by a guy more suited to Carlsberg ads. The script – written using a golf-ball typewriter, music cues in its wide margins, hints of Tippex here and there – turned up a couple of weeks ago as I tidied my study.

The title of Cavalcade, or a “dramatic procession”, could not describe better the contents of black midi’s new release. This cavalcade of an album moves between fast and noisy tracks like the singles “John L” and “Chondromalacia Patella” to the soulful “Marlene Dietrich”, the slowly building psychedelic repetition in “Diamond Stuff”, and the nearly 10-minute closing opus “Ascending Forth”.

Back in the mid-Eighties, BBC television started broadcasting The Rock'n' Roll Years, one of the first rock music retrospectives. Each half-hour episode focused on a year, with news reports and music intermixed to give a revealing look at the development of rock culture against the context of current affairs.

Sunshine Theatre were based around Aberdare in South Wales. In 1971, they recorded their only single. Fifty copies of “Mountain” / “I Want” were pressed. The quartet also used the name Albert and gigged with fellow Welsh outfits Budgie and Man. In August 1972, they played at Malvern Festival. There was an appearance on the Welsh TV pop programme Disc a Dawn. And that was it.

The idea live music is back is worth shouting about. Indeed, the BBC News has been doing just that about this gig. In reality, though, while it’s a joy to be out (this is my first major venue concert for a year-and-a-half), Live is Alive is a stepping stone towards a ‘proper’ gig, rather than the real deal. The Brighton Dome is less than half full, the moshpit set with cabaret-style tables, everyone socially distanced.