Musical luminaries including Mick Jagger, Paul Weller, Ray Davies and Liam Gallagher are lending their support to a campaign to save The 100 Club, the historic music venue in London’s Oxford Street. Soaring business rates of £4000 a month and an annual rental bill of £166,000 have driven the club to the brink of bankruptcy, and unless the savethe100club campaign proves successful, it faces closure by Christmas.

I’d not been to the Bloomsbury Ballroom before, but over the past five years or so the likes of Amy Winehouse and Martha Reeves have played this plush Art Deco space. Somewhat disconcertingly, apart from the stage, the rest of the hall was in virtual darkness which suited Dub Colossus perfectly: this intriguing collective of British and Ethiopian musicians are purveyors of intense, atmospheric dance music who actually benefited from this dramatic lack of lighting which made the stage appear to glow like a coal furnace.

Rave music, in its many ever-mutating forms, is now more than a generation into its existence. Many, possibly most, of the crowd pushing into Heaven, under Charing Cross station, weren't even born when acid house fully hit the UK in 1988, but none of them are here for some retro experience. It's hard, as a superannuated lover of electronic beats, not to feel cultural vertigo at the fact that what once felt like the most impossibly inhuman of sounds has now become so ubiquitous and so established as to be a kind of folk music. But there it is, as established as the blues or punk rock, and as woven into the fabric of our lives, yet still mutating and still throwing up fresh variants such as the dubstep which Magnetic Man play.

Ari Up, frontwoman of The Slits from the age of 14, died yesterday aged 48 after a long illness, it was announced by her stepfather, John Lydon of the Sex Pistols. The brilliant and confrontational female-fronted Slits were one of the finest examples of the punk era's DIY creativity, and also one of punk's most successful engagements with reggae. Ari Up never stopped being a fervent supporter of reggae culture in all its forms: after The Slits she formed New Age Steppers with legendary British producer Adrian Sherwood, and for many years she lived in Kingston, Jamaica where she was a keen participant in the local dancehall scene under the name Medusa.

The Academy was heaving, the floor was so sticky with beer that lifting one’s feet was an effort, and the crowd were beginning to lose patience. Frederick “Toots” Hibbert and the Maytals were late; a 9pm start for this London show was scheduled, but the appointed hour had come and gone, the minutes were ticking by, and the DJ’s efforts to keep us entertained with a string of ska and reggae classics were beginning to fall on stony ground. There was even some booing. Had it not been for the blast of cold air from the super-efficient air conditioning system that kept things chilled, tempers would almost certainly have begun to fray.