The indie scene isn’t currently enjoying a peak period but FEWS’ debut album, Means, which came out a couple of months back, makes as close a case for tight, post-punk guitar songs played by skinny guys as anything released this year. Part of this is undoubtedly down to producer Dan Carey, whose work with multiple acts, from Bat For Lashes to Kate Tempest to Bloc Party, shows he knows how to capture the best of an artist. But last night the Sweden-based four-piece had to prove they could hack out a persuasive live set on their own.

This month we’re just going to get straight into it. It’s summer, the sun's out, no time for waffle, just slap a disc on the turntables and wallow in the richness of the sound. Below 42 vinyl releases are reviewed, with no genre boundaries maintained. There should be something there for everyone. Dig in.

Eerie Eerie (Tee Pee)

Since achieving international success in the final years of the 1980s, the late Cesária Évora has dominated much of globe’s perception of music from the Cape Verde (officially Cabo Verde). This fascinating pair of releases reveal other aspects which may not have caused similar world-wide waves. Crucially, they're hugely enjoyable.

Becca Stevens’ limpid, luscious and artful fusion of Appalachian folk, jazz and indie rock found a perfectly empathetic setting in the Sam Wanamaker Playhouse, in an inspired choice for Lauren Laverne’s Wonder Women series of summer gigs. Stevens’ band began honing their connoisseur's stylistic melting pot more than a decade ago, and has been a fixture on the New York scene for some years. As she begins to make a name over here, British audiences are due for a treat.  

July last year saw the publication of Sick on You: The Disastrous Story of Britain’s Great Lost Punk Band, Andrew Matheson’s chronicle of his band The Hollywood Brats. The essential book was impossible to put down. It took in picaresque encounters with Sixties pop star and songwriter-turned impresario Chris Andrews, Andrew Loog Oldham, Keith Moon, Cliff Richard, a pre-Sex Pistols Malcolm McLaren and more.

Sixty-five thousand people came to Wonder. The final night of British Summer Time in Hyde Park was a sell-out. With a performance lasting four hours including an intermission, the Detroit-born legend and his band – and also the weather, which stayed fine all evening - can have left nobody disappointed. The show, based on the album Songs in the Key of Life, with some extra off-piste excursions, was thoroughly convincing live. It just works very well, and on several levels. 

At Mumford & Sons’ air-punchingly rousing concert at the Hyde Park festival, thoughts of Brexit start to intrude. Those “Little Lion Man” lyrics, for example – so apposite, surely.  “Weep for yourself, my man/You'll never be what is in your heart/Weep, little lion man/You're not as brave as you were at the start… I really fucked it up this time.” And those giant inflatable bananas that people are waving – is that a subtle reference to EU fruit quality standardisation?

If Kris Kristofferson had just been the writer of “Help Me Make It Through the Night”, “Me and Bobby McGee” and “Sunday Mornin’ Comin’ Down”, his legacy would have been assured. Each song is a classic, and each is wonderful. Elvis Presley and Gladys Knight & the Pips ensured that “Help Me Make It Through the Night” would live forever. Kristofferson’s ex-girlfriend Janis Joplin did the same with “Me and Bobby McGee” – the writer did not initially know she had recorded it. In 1969, Ray Stevens was first to tackle “Sunday Mornin’ Comin’ Down”. Johnny Cash was next.

“Can you take a picture of us looking really middle-aged?”

Two woman in their forties are enjoying the sunshine on the opening afternoon of Love Supreme, sipping prosecco from the comfort of their fold-up camping chairs as a charismatic, vapour-voiced Lianne La Havas launches into “Unstoppable”. I watch them scroll through the photos I’ve taken and collapse into fits of giggles. The funny thing is though, they fit right in. They’re doing this festival as it was meant to be done.

The year 1987 was a notable one in music history. In February, Burt Bacharach won the Grammy for best song with “That’s What Friends Are For”, and two months later Joss Stone was born in England. At the age of 17 Stone would be nominated for three Grammies of her own, and at 19 would become a winner. She remains a platinum-selling singer and songwriter at the top of her game.