Midway through their set Gallows are expending a mass of energy, attacking their instruments and jerking about like possessed men in a jam-packed venue yet, unless you are one of their devotees, moshing like Bedlam or hanging from the rafters gesticulating, it’s not especially engaging. It should be, with such energy and dynamism on show but their music attempts nothing so much as to fulfill the expectations of those who already like them, possibly in an ever-diminishing manner.

Manu Chao is “backstage” in a little makeshift tent on the green outside Brixton’s St Matthews Church (that’s the one opposite the Ritzy Cinema) and he’s certainly more at home than in some of the more conventional rock star places I’ve seen him in. Like Glastonbury, where he hated being in the VVIP area of the main stage with Amy Winehouse and Jay Z – all the fences and passes made him think of Palestine and he looked bored and dejected.

The Barbican Centre’s Transcender Festival celebrated its fourth anniversary in 2012 and deserves to be recognised as one of the UK’s most culturally radical and engaging music events. Transcender grew out of the Barbican’s previous festival Ramadan Nights and aims to explore a similarly rich vein of music that is rooted both in Islamic trance music of Asia and the Middle East and Western improvised music that shares a similar sense of free exploration and wonder.

A.R. Kane: Complete Singles Collection

Joe Muggs

There they are! It's The Beach Boys! They're playing "Wouldn't It Be Nice", halfway through their second set of the evening and it blossoms with harmonic beauty, with pop's finest, most glorious ambition. Sure, in the shadows behind them there are a bunch of session musicians carrying them. Particularly in the first half those guys made damn sure there was such a wall of vocals it would be hard to detect any flaws in the ageing voices (mostly around 70) of the original Beach Boys.

Now I think I've seen it all. After a storming two-hour set Ultravox returned to the stage for a celebratory twin-pronged past-meets-present encore of "Dancing with Tears in My Eyes" and "Contact". At the very end, during a touching, soft-spoken moment, a female fan in an animal mask clambered onstage and appeared to drop a bowl of greeny-yellow gunk, possibly custard, on Midge Ure's head. The woman was bundled off and a towel cleaned up the dapper vocalist, but the crude incident was in breathtakingly stark contrast to the glistening gig that had preceded it.

John Cage is funny: this much we know. The deadpan prankster at the heart of 20^th-century artistic experimentalism was always about the inadvertent punchline, the chuckle that comes from unexpected disjunction, the relief that comes from reminders of the absurdity of reality, as much as he was ever about any engagement with progress, technology, the transcendent. It's entirely natural, then, that Stewart Lee (pictured below), who has spent his whole career reaching outwards from the comedy circuit towards the avant-garde, should want to present his work.

In Beatles’ lore, the Prince of Wales Theatre is totemic. Here, on 4 November 1963, the cheeky quartet played the Royal Command Performance before the Queen Mother and Princess Margaret. John Lennon quipped, “Would the people in the cheaper seats clap your hands? And the rest of you, if you’ll just rattle your jewellery”. Now, 50 years on from the release of their first single, a tribute of sorts is taking place on the same stage with the arrival of Let It Be in the West End.

R.E.M.: Document 25th Anniversary Edition

Kieron Tyler

Kevin Rowland has gone to great lengths recently to ensure that no one is under any misconceptions: the return of Dexys is no nostalgia trip. Last night’s show in Edinburgh hammered home the point. There aren’t many bands that could return after 27 years (give or take a smattering of gigs in 2003), play for two hours straight, perform only four old songs - even if those were stretched out over 45 extraordinary minutes - and yet still satisfy every demand made of them.