In November 1975, UK music weekly New Musical Express included an article by Charles Shaar Murray titled “Are You Alive To The Jive Of The Sound Of '75.” Recently in New York, he was revealing what he had discovered.

“Lincoln, you have not been a Monday night crowd, they can be a bit funny,“ says Suede frontman Brett Anderson just before then band exit the stage for the final time. “You’re more than just watchers, you got involved.”

There are always a few drawbacks to being a support act. For Allie X, the biggest issue was simply finding space to stand onstage, with so much ground already filled with covered up props for the night’s headliners. Still, she made a good effort with what she had, working the crowd well, and the clattering electro-pop of “Super Duper Party People” and a wickedly noisy “Off With Her Tits” carried enough verve by themselves that no stage craft was needed.

For Richard Hawley, a “little banger” is a top-notch single, one condensing everything about the performance and performer into what can he held on one side of a seven-incher. A flab-free, power-packed record. And it’s a mark of his discrimination that anything fitting the bill is a grade-A killer.

“One pure sonofabitch 45. The record to put them high in the national charts. Top five at least.” In October 1976, the weekly music paper Sounds was unequivocal about Eddie and the Hot Rods’ “Teenage Depression” single.

Following the 2010 release of The Fallen By Watch Bird, Jane Weaver has gone on to issue a further four conventional albums – there are also remix sets, reconfigurations, collaborations and soundtracks. A new album is planned for 2026.

A new look and new vibe for Grant-Lee Phillips at this pared-back performance, part of the Celtic Connections festival that takes over Glasgow for a couple of weeks every January and February. The fresh vibe was due to this being Phillips first tour entirely seated, as he put it, sitting down and armed only with an acoustic guitar, while the 62-year-old is now more hirsute, having grown a beard.

The opening track  – “Ālibek’agnimi” (“አልበቃኝም” in its original title) – is a cool, close-to six-minute soul instrumental on which the organ suggests an at-least passing familiarity with Booker T. Jones. The tempo is slow, the moodiness enhanced by a smoky, wandering saxophone.

There’s a slight “Sympathy For the Devil” tone to the opening seconds of “Pendulum Swing”, the first track on the US country adjacent stylist and former Grammy nominee Courtney Marie Andrews’ ninth studio album – the descending piano figure, the circling percussion.

Whichever Way You Are Going, You Are Going Wrong is the debut album by the London-based duo Woo. Originally issued on the Sunshine Series imprint in May 1982, it was subsequently picked up for a 1987 US release by the LA-based Independent Project Records label. After this, Woo's second album, It's Cosy Inside, came out in 1989 on Independent Project Records.