For a few months a couple of years ago, when you googled the name Jim Bob, although you’d get a lot of information about me, Jim Bob, the lead singer from 1990s UK indie punk heroes Carter The Unstoppable Sex Machine, the main image would be a picture of Donald Trump. I never fully understood why. I think it had something to do with the name "Jim Bob" being a thesaurus entry for "redneck".

I tried, I really did. Took a shot at my best, and fell short, Yup, I couldn’t get beyond the opening chapters of Dolly Parton’s first novel, written with that veteran of popular page-turnin’, James Patterson. The best bit for me was on the first page, and it was pure Dolly, but in 22 little words, not 80,000. “Is it easy? No it ain’t. Can I fix it? No I cain’t. But I sure ain’t gonna take it lying down.”

It won’t be long now before concert halls and back rooms, arts centres and festival grounds fill with people again, and live music, undistanced, unmasked, and in your face, comes back to us. In expectation of this gradual reopening of the stage doors of perception, this round-up of recent, new and forthcoming music books surveys an artist roster disparate enough to grace the finest of festival bills.

Earlier this year, eight musicians – Karine Polwart, Julie Fowlis, Seckou Keita, Kris Drever, Kerry Andrew, Rachel Newton, Beth Porter and Jim Molyneux – set about working with the ‘spell songs’ of nature writer Robert Macfarlane and the images from nature of artist Jackie Morris, and recorded what they created at Rockfield studios, then performed four sell-out shows to stan

Seeger. A name to strike sparks with almost anyone, whether or not they have an interest in folk music, a catch-all term about which Peggy Seeger and her creative and life partner Ewan MacColl (they didn’t actually marry until a decade before his death) had strong feelings. Pete Seeger, Peggy’s half-brother and the legendary composer of “If I Had a Hammer” and “Where Have All the Flowers Gone?”, was more tolerant.