"An Evening with Pink Martini" consists of two sets by the Portland, Oregon group/mini-orchestra. Of these, the first takes the prize, but only by a very short lead. During it the nine-piece, led by Thomas Lauderdale at the piano, seem to relax and really allow spontaneity to take hold, in a manner that’s both risky and thrilling, in terms of stagecraft. At one point trombonist Antonis Andreou is coaxed to sing a number in Greek that he can hardly remember, which means moments of quiet conflab with lead singer Storm Large.

One tries not to conflate the man and the music too much. Getting overly tangled up in questions of authenticity is a fool's errand, songs are ultimately public property, and in general, short of Gary Glitter-level crimes, dislike of a pop star's demeanour or attitudes shouldn't stand in the way of enjoyment of a good piece of music. All that said, snide, smirking, condescending, tax-avoiding Gary Barlow makes it very, very hard to enjoy his work.

Peter Kay’s love – and extensive knowledge – of pop music is well known. He has often spoofed misheard song lyrics in his shows, and has released various charity singles over the years.

Laura Marling's new album is called Semper Femina - two words the singer-songwriter also has tattooed on her leg. It's Latin for "always a woman". Despite having the motto inscribed on her flesh, Marling claims to find it hard to write intimately about other women. Hence the singer describing her recent spell in Los Angeles as a particularly "masculine time" causing her now to look "specifically at women". Full marks for ambition, some might feel, but might she be overthinking it?

If the underlying rationale can seem a tad laboured, the music is anything but. Fans will be familiar with how her albums are balanced between music that plugs straight into the soul and other, more complex textures. Once I Was an Eagle had an entire side that could be interpreted as extended noodling. Semper Femina blends folk and West Coast rock to be consistently sweet and tuneful - feminine without being too gentle.

The tunes may be rock solid but some of the packaging is more obscure. Take the lead single "Soothing". The video (see overleaf) features footage of two PVC-clad women mysteriously rolling on a bed. It's an arresting image, alright, but the meaning is far from clear. The actual song is a different matter. With its gorgeous double-bass, and sultry vocals, it's as direct an expression of separation and desire as you're likely to hear. Then there's "Wild Once", described as "exploring the archetype of the wild woman and her unrestrained physicality". The reality is a gentle, sensuous, folky piece that reminds you of childhood. Prettiest still is "Nouel", a description of platonic love for a female friend with fingerpicking and melodic overtones redolent of the Beatles' "Blackbird". 

Of course, it's hard not to admire an artist being so unashamedly cerebral. But while Marling's desire to explore cultural attitudes head-on is certainly laudable, one can't help feeling her real strength lies in the exceptional beauty of her songs. On that count, Semper Femina rates very highly. 

• More album reviews on theartsdesk

Overleaf: watch Laura Marling's video for "Soothing"