Welcome to the church of Mulvey. The sold-out venue is packed with a svelte crowd, mostly ranging in age between about 30 and 45. Nick Mulvey is playing a new number which has an air of lockdown-inspiration about it, with its lines about “missing every one of you” and “feeling grace in solitude”. The audience may not know the song, but they’re still in thrall, transported, a good few with eyes closed, hands reaching upwards as in evangelical service, swaying from side-to-side.

“Why do we come to concerts?” asks Brett Anderson, Suede’s ringmaster and vocalist, before launching into an acoustic version of “The Wild Ones” from the stage of Birmingham’s Symphony Hall. “We come to concerts to feel something together, for a sense of community. So, if you know the words, please sing along.”

“Learn to Burn” generates the loudest and most sustained applause. As it was originally the opening track of Robert Forster’s 2015 album Songs to Play, the response is unexpected. It’s preceded by a version of his old band The Go-Betweens’ “Spring Rain,” and this London show follows the February release of his most recent album The Candle and the Flame – which would be an assumed focus of attention. So would an old favourite. This is a dedicated, attentive audience.

In European folklore, mélusine are woman from the waist up and fish or serpent below. The fabled character is first known in the 13th century. Mélusine dwell in inland water – rivers, wells and such.

Sometime in early October 1963 John Lennon and Paul McCartney encountered The Rolling Stones and offered them one of their songs; one which became the London blues aficionado’s second single. “I Wanna be Your Man” was duly recorded on 7 October 1963 and released on 1 November. Thanks to The Beatles, the Stones charted for the first time. A Liverpool-London, north-south divide had been breached.

Mille Petrozza is roaring into the mic, teeth gritted, black hair flailing. Behind his growl-screeching a triumphant martial riff is holding the “tune” and behind that, never-ceasing drum beats, an exercise in pure velocity.

It is a sign of Ladytron’s longevity and relevance that their support acts are now performers clearly inspired by the quartet. Elisabeth Elektra, here picked for opening the night in her home city, may not have the icy cool of the evening’s headliners, but the lineage of her buoyantly loud electro pop was clear.

At its best, she showcased a wickedly clear groove, at worst her vocal was submerged by the live drummer pounding away behind her. However it was a lively, enjoyable start to affairs.

The booklet coming with The Albums 1974-76 notes Johnny Rotten saw Heavy Metal Kids live and that the Sex Pistol “ripped off” their frontman Gary Holton. It's an assertion in keeping with a default option where the HMKs are referred to as a precursor band to punk – one helping to lay the table for it.

Jessica Winter is clearly a hardy soul. The Portsmouth singer made a point of shedding her jacket and top as her support set went on, a bold choice given the typically unpredictable Glasgow weather was serving up freezing snow outside at the time.

According to the press release for Karin Dreijer’s third album as Fever Ray, its completion was preceded by many hours of therapy with the result new things are known. Amongst them that Dreijer “can be struck by despair but also by the big feeling of love and awe”. Dreijer declares “I know what love is and I want to show you”. Radical Romantics is the result of these realisations.