The atmosphere is foggy. What can be discerned through the murk is either out of focus or translucent. Words drift in from somewhere which can’t be pinpointed. “I’m tuning you in,” “I’ve picked up the loaded dice,” “Everything you know is everything that you let go.” Control is just out of reach. The songs are mid paced, with nods to Crazy Horse and Television. There are odd snatches of backwards guitar.

“Keeping Control” were the watchwords adopted by The Manchester Musicians’ Collective, an organisation founded in April 1977 to bring local musicians together and give them platforms. On 23 May 1977, it put on its first show – also the first live show by The Fall. Instantly integral to Manchester and its music, the Collective went on to put out two compilation albums, 1979’s A Manchester Collection and 1980’s Unzipping The Abstract.

“One night I had a vision of this,” says a visibly emotional Damon Albarn as he looks out to the mass of the crowd at Wembley. Despite closing the London Olympics in 2012, selling millions of albums and headlining Glastonbury, there is the sense that even in their prime, performing two nights at the 90,000 Stadium was one step out of reach.

So, the unadulterated elation – shock even that Blur feels to be here now pumps this reunion. All these years later they’ve done it, and you bet that they’re going to enjoy it.

The Festival International de Jazz de Montreal (FIJM), the largest in the world, is genuinely on a roll. The head of programming of the huge event, which takes place all around the Quartier des Spectacles in the centre of the city, says in this year's wrap-up press release that “a new wind is blowing through our beloved jazz world, and we can be proud today to see the public rallying around. A booming new scene with legends leading the way: Vive le jazz!”

The farewell for KISS has lasted so long that this Glasgow show, their final ever UK gig, came four years after the End of the Road tour first stopped off in the city. Admittedly that is partly down to the coronavirus scuppering touring plans for a couple of years, but even without that there is a suspicion a group who have monetised themselves so effectively over the years might have found a reason for another trip back here.

First things first. The support acts at events like this usually get completely overlooked, but it would be frankly criminal not to give a mention to a superb set by the Chicks. They dropped the “Dixie” from their original name because of its now “problematic” political connotations, and their critical comments about Dubya Bush provoked a career-changing backlash, but they’ve bounced back feistier than ever.

One of the most striking scenes in Andrei Tarkovsky’s 1972 outer-space allegory Solaris is psychologist Kris Kelvin’s first encounter with a being which seems to be his wife, who had died a decade earlier. The unsettling incident’s inherent tension is heightened by its sonic backdrop: rumbling, a peculiarly musical pink noise, lightning-like bolts of sound. This was created on the ANS synthesiser (AHC in Russian script), a device invented in Soviet-era Russia.

“There's a richness and a true depth here that places Jeopardy alongside (U2’s debut album) Boy as early Eighties tonics for ailing mainstream-rock. The Sound are on to a winner. There isn't one track here that isn't thoroughly compulsive. Overall it's a vastly impressive sound, with as much energy as I've heard on any record all year…the result is a form of sheer power-rock that doesn't make you blush or grimace.”

TUESDAY 27^TH JUNE 2023

I wake up around 11.00, get outta bed around 12.00.

And that’s it again for another year. Oh Glastonbury. A fever dream where the time of reality stops as you hop on a ride to a land of magic.