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Before each show on the recent The The tour – reviewed in these pages last week – the pre-recorded voice of singer Matt Johnson politely asked the audience to refrain from using mobile phones when the band was performing. In Edinburgh, while Johnson was speaking, the chap next to me was preoccupied filming an empty stage. A sea of screens can be priceless in a genuine emergency but that’s about it As it happens, most of the crowd complied most of the time, but proscribing phone use at concerts is increasingly challenging. A few artists are up for the fight. As they enter the venue, fans attending Bob Dylan’s forthcoming

There is no better cultural weather vane than pop. It’s not that pop singers possess incredible analytical skills – they don’t. It’s more that it’s in their interests to reflect some prevailing mood. And what people call a vibe shift can often be gleaned by comparing two artists. Take those featured this week: one very much au courant, the other regarded as a searing commentator on 1980s Britain. It’s a very good album, one for sitting down and listening to rather than standing in a vast shed to hear Over the past couple of years, Raye – a 26-year-old Londoner – has become rather a star. You may remember that

Next week The The release The Comeback Special, a 24-track live album documenting the band’s concert at the Royal Albert Hall in June 2018. Meanwhile, Steely Dan’s last man standing, Donald Fagen, has just released two live albums recorded in 2019. Their musical qualities notwithstanding, these releases feel like relics from a lost world. Much like the fondue set, the live album is much reduced from its 1970s and 1980s heyday, when a pretty blonde sideman-turned-solo artist called Peter Frampton could somehow shift eight million copies of the anodyne Frampton Comes Alive! The stand-alone contemporary live album is now an endangered species; MTV’s Unplugged series in the 1990s offered a