There are moments of this album that hint at Emmylou Harris, whose voice – even as it ages – has always been the sound of heartbreak. Moments too of Rosanne Cash, perhaps Mary Chapin Carpenter. This is singer-songwriter Courtney Marie Andrews’ fifth studio outing and she’s not quite 30 so it remains to be seen whether she can stay the course, but Old Flowers holds the promise of many more goodies to come.

Everyone keeps upping their game with what and how they’re presenting music in these unwelcome times, and this week sees a red hot selection on offer. Below is a cross section of the best that’s out there to see, hear and get involved with

Tomorrowland Around the World

The gentleman pictured above is Martin Green. In 1995 he was a prime mover behind The Sound Gallery, a double-album compiling groovy British easy listening and library music from around 25 years earlier which until then had been (mostly) overlooked. It was as trailblazing a compilation as Lenny Kaye’s 1972 garage-psych set Nuggets.

Heart’s Ease is about more than the music. Through its songs, it also chronicles a life lived. Shirley Collins learnt “Barbara Allen” at school. She first encountered “The Christmas Song” when it was sung by her early influence and inspiration The Copper Family. “Merry Golden Tree” was originally heard in 1959, in Arkansas. One song takes lyrics by her former husband, Austin John Marshall, and sets them to music.

Everything Ellie Goulding touches turns to pop gold: her first three albums were big hits. She is yet another of those miracles bred in the British provinces, in this case a Herefordshire village.

I have had an obsessive-loop Dixie Chicks tune for every eventuality of my life so far – “Ready To Run” for a big break up; “Wide Open Spaces” for road tripping; “Cowboy Take Me Away” for whimsical love affairs; “Not Ready To Make Nice” for general rage and “Travelin’ Soldier” for a good old cry.

The lockdown which began in March is now noticeably easing, although in the realm of gigs and festivals things are still nowhere near operative. Nonetheless, theartsdesk is responding to the changes by ceasing our many weeks of New Music Lockdown Specials and looking forward to an increasing amount of actual live events. This week, we can only offer one, alongside plenty of streamed entertainment, but it’s early days. Here’s to the future. Dive in!

The last experience that this writer had of Nicolas Jaar’s glitchy soundscapes was through his 2011 debut album Space Is Only Noise. Nine years and five discs on, as well as other releases under the Against All Logic alias, not much has changed. However, Jaar’s work remains distinctly strange yet compelling on Telas and rarely lurches into formless noodling.

It is difficult to live up to your own legacy when you’ve reached an iconic status in rock’n’roll. It is even harder when you are a frontwoman in a “masculine” genre where age makes you increasingly invisible and/or viciously criticised. Like Chrissie Hynde sings in the autobiographical “Can’t Hurt a Fool” from the new record, she does not “play the rules” and is “too old to know better/too young for her age”.

It’s been a long strange trip for Dennis Herrold. The Virginia-born rocker’s sole single, December 1957’s “Hip Hip Baby” / “Make With the Lovin’”, was a full-bore rockabilly two-sider. Yet it made no waves despite being reviewed glowingly by music biz journal Billboard. “Hip Hip Baby” was “a la Presley on a fast moving rockabilly tune,” while “Make With the Lovin’” “packs plenty of sales savvy into another infectious rockabilly song.” The single sold barely any copies.