Poised vibrantly enough between the buried-alive monotony of Philip Glass and the dynamic flights of John Adams, Steve Reich’s Three Tales deserves a special place in music-theatre history ("opera" it is not). Ironically, since it deals with the two-edged sword of the 20^th century’s major scientific developments, the video work with which the music interacts so brilliantly – by Reich’s former wife and long-term collaborator Beryl Korot – has been left looking a bit dated by rapid progress in that field since its 2002 premiere.

There’s no doubting the precocious talent of Laura Marling. At just 25 she recently released her fifth album, Short Movie, which matched the spiky introspection of song-writing previously driven by folk melodies with a new rock-orientated sound.

Jazz-funk organ trio Wild Card have been slowly building a reputation for smoking funk tunes and grooves you could lose a pantechnicon in for some years now. Led by French guitarist Clément Régert, with organist Andy Noble and drummer Sophie Alloway, they perform with quite a range of guests, both instrumentalists and singers, which keeps the atmosphere of their repertoire fresh and varied. Their rise to prominence has accelerated recently with the release of their third album, Organic Riot, which has been garnering rave reviews internationally.

Bert Jansch: Bert Jansch

Novelty and rapture are rare commodities in Shoreditch these days, where everything has already been tried, and nothing surprises. But Australian post-jazz trio The Necks, ending their European tour at Village Underground last night, mesmerised the audience into dumbstruck awe with their slo-mo ambient improvisation. It’s an act they’ve been polishing since the late 1980s, and for a crowd that has the patience to allow the hypnotic weave of minutely manipulated cycles of minimalist phrasing, building to an organic dramatic shape, it’s utterly engrossing.  

Put your hand up if you were in the audience last night, or indeed on any of the nights of this ambitious On Stage Together tour, and came only to see one man, and that man was Paul Simon. I’m sure you won’t need much nudging. After all, after almost six decades in the business, Simon’s star may have dipped – and endured the political controversy of the Graceland years – but has never faded. Sting’s meanwhile, certainly has. It seems that breaking a UN cultural boycott is less of a crime than being the butt of tantric sex jokes.

David Kauffman and Eric Caboor: Songs From Suicide Bridge

Drenge made themselves known to the world some 18 months ago, surfing on the back of their abrasive self-titled debut album and some unexpected PR assistance from West Midlands MP Tom Watson. Back then, the Loveless brothers were a loud and lairy duo that took rock music by the scruff of the neck and knocked seven bells out of it with their stripped-down sound. With the recent release of their second album, Undertow, however, there have been some changes. Most noticeably, their sound has got richer and considerably grungier, while a bass player has been added to the line-up.

Dry ice began billowing from the stage of the Rainbow even before the house lights had dimmed and the between-band PA had faded out, allowing New York noiseniks A Place To Bury Strangers to slip behind their instruments unnoticed and burst into set-opener “Straight”, emerging from the fog like mighty sea creatures breaking the waves. The distorted guitar, laced with feedback, pounding drums and half-heard vocals, buried deep in the mix proved to be a statement of intent and set the tone for an evening which was somewhat lacking in gentle melodies.

Fotheringay: Nothing More – The Collected Fotheringay