Even those with the most tangential connection to pop music will be aware that K-Pop is all conquering, and the likes of BTS and BlackPink are on some metrics the most successful of recent acts anywhere. But at the same time, there is also a growing awareness that there is a burgeoning Korean indie and art music scene, the flames of which have been fanned by what has become one of London’s most interesting and enterprising annual festivals, K-Music.

“All of this music, it’s nothing to do with the listener,” Stormzy announced to Louis Theroux in a recent TV interview. “All I can do is feel what I feel and document that, and whatever that is, that’s what it’s going to be.”

Mary Gauthier’s first tour in more than three years landed at London’s Union Chapel on Saturday, concluding with another sold-out gig. The venue is perfect for unplugged acts – intimate, architecturally pleasing and acoustically spot on. But cold, on this windswept November night.

Any reminder of the greatness of Love is welcome, and Expressions Tell Everything does this in fine style. A box set, it contains eight picture-sleeve seven-inch singles, a book and a couple of postcards. It’s very stylish.

If there was a certain doom-laden dimension to Clemens Schuldt’s Bridgewater Hall programme with the Hallé ( … Requiem … Mozart in D minor … Strauss describing Death and …), it was easily lightened by the conductor’s own approach and personality.

The chorus to Working Men’s Club’s song “Money is Mine” usually runs, “Endless depression, it’s time/Suicide is yours when the money is mine.” Presented as the penultimate song of their set, frontman Syd Minksy-Sargeant distils this. Grim-faced, his hand twisting about under his tee-shirt as if suffering from an untenable itch, he spits “endless depression” and “suicide” into the mic on a jarring loop, backed up every inch by harsh, dark, techno-adjacent battering. It’s a moment that sums the night up.

I had high hopes for this show. After all, Eska Mtungwazi is pretty much the only singer on earth I’d go out of my way to hear sing Joni Mitchell songs.

There are moments when a very great jazz musician makes her or his ideas flow naturally, unstoppably and with complete conviction. And when one is in a tiny venue and can feel the joyous intensity with which every single person in the room is listening… there are few if any musical experiences that can match it.

Merrell Fankhauser's first outing on record was with Californian instrumental surf band The Impacts, who issued their sole album in 1963. Thereafter, he was the prime mover in an unbroken succession of pop, psychedelic and freak-rock bands. His first solo album arrived in 1976.