I'm not claiming some major prescience or insight here. I am as guilty as anyone of dipping into the music of the sink estates for a small dose of frisson then returning to art and music that confirm my own worldview. But maybe, just maybe, if we had all paid more attention to what was being said by young British men and women from those estates over the last decade, the events of the past few days might not have come as such a horrific surprise.

If Bombay Bicycle Club had been born on America’s West Coast, their music would no doubt soon be all over the soundtrack of the next big teen drama. All the ingredients are there: the artiness, the phlegmatic cool, and the tunes that form a natural soundtrack to people’s lives. That’s Bombay Bicycle Club, the band. The individuals, however, are refreshingly normal. They are more like a bunch of guys you might meet in a student union. At Jack and Ed’s digs in central London, theartsdesk hung out to discuss the new album, rocking out, and how they plan to conquer the States.

“Huxley! Electra!” called a plummy mummy to a couple of dawdling children. “Hurry up or you'll miss the BMX display!” Thursday night and Camp Bestival was, to a rather comical degree, looking like a playground for slightly funky middle-class families. Not that I was complaining – with an 18-month-old not so much in tow as leading the charge, I was extremely grateful for the regimented, relatively quiet campsite and the untold entertainments and comforts that CB provides.

Amy Winehouse is being buried today. This article about her life and talent was written by regular theartsdesk contributor Paul McGee a few weeks before she died but tragically holds true now more than ever:

The capricious nature of modern pop stardom being what it is, there are some wrong turns that are harder to recover from than others. For instance, it was recently said of Duffy that she probably throws empty Diet Coke cans at the radio every time she hears a song by Adele (which I imagine would be fairly often). During the last few days, however, I've wondered whether or not Adele might have ever observed the career trajectory of Amy Winehouse and thought to herself, there but for the grace of God... After all, artistically speaking both women come from broadly similar backgrounds – north-London “blue-eyed soul” singer-songwriters with a performing arts school pedigree and a second album wildly more successful than its predecessor – but it's there that the similarities end.

Amy Winehouse is being buried today. This article about her life and talent was written by regular theartsdesk contributor Paul McGee a few weeks before she died but tragically holds true now more than ever:

The capricious nature of modern pop stardom being what it is, there are some wrong turns that are harder to recover from than others. For instance, it was recently said of Duffy that she probably throws empty Diet Coke cans at the radio every time she hears a song by Adele (which I imagine would be fairly often). During the last few days, however, I've wondered whether or not Adele might have ever observed the career trajectory of Amy Winehouse and thought to herself, there but for the grace of God... After all, artistically speaking both women come from broadly similar backgrounds – north-London “blue-eyed soul” singer-songwriters with a performing arts school pedigree and a second album wildly more successful than its predecessor – but it's there that the similarities end.

The French national holiday of 14 July might be marked by parades and fly-pasts in Paris, but here on the Atlantic coast it’s the central date for Francofolies, the annual festival dedicated to French music. La Rochelle hosted its first Francofolies in 1985. Twenty-six years on, the festival remains the premier showcase for Francophone music. This year the bill took in David Guetta’s dance-floor cheesiness, Gotan Project's overhauled tango, actress Mélanie Laurent plugging her recent album and all points in between.

“In jazz music you have the freedom, you have the expression. You have the visceral and you have the intellectual. Everything can be expressed through jazz, and is expressed through jazz and through the medium of improvisation. This is the highest form of being able to create music.” Speaking at the opening press conference of this year's Copenhagen Jazz Festival, that definition of jazz from the 80-year-old saxophone colossus Sonny Rollins seems as self-contained and eloquent as any other I've heard.