Forty five minutes into their set Field Music play “A House is Not a Home”, from their 2006 second album Tones of Town. An hour in, “Them That do Nothing” from 2010’s Measure is aired. They end with “Orion From the Street”, the opening track from their recent Flat White Moon album.

Over 1974 to 1978 Graham Collier issued five albums on his own imprint Mosaic. There was another in 1985 and eight releases on Mosaic by other musicians, but for its first four years the imprint was dominated by the British jazz composer, bassist and bandleader’s own work. In the same period, three books Collier had written came out.

Laura Marling was one of the most active lockdown performance artists, doing her bit to play solo streams to a captive and culturally starved virtual audience.

The simplicity of her uninterrupted sets, low production values and absence of small talk suits her so well that she’s continued the social distancing of just her and a guitar on stage in this, her first real life tour with actual crowds in four and a half years.

Upon emerging onstage at the Barrowland, Fontaines DC took time to pass flowers into the crowd. Aside from the occasional thank-you later on, that was the only genteel note struck in a thrilling, compelling and often bruising set. Their last visit to Glasgow back in 2019 had been hindered at times by some dubious sound, but there were no such issues here. Instead, this was a group in control throughout, pacing the set well and sounding rousingly triumphant by the night’s end.

Rufus Wainwright believes opera to be “the greatest art form that has ever existed on the planet” and of course he’s written an opera himself – Prima Donna, which has been described as “the work of a man who loves opera and the sensations it delivers, without understanding how it is paced, or how it generates dramatic tension”.

Between August 1966 and November 1967, The Syn played 36 shows at London’s high-profile Marquee Club. In June and September 1967 they issued two singles on the happening Decca subsidiary Deram, an imprint scoring hits with releases by Cat Stevens, The Move and Procol Harum.

There is a three song segment midway through Manic Street Preachers’ set which suddenly ramps everything up. For this brief while, the performance and response in the sold-out, nigh-on-2000-capacity venue, elevates the concert from another decent gig on another tour in front of a devoted fanbase, to something more memorable and truly electric.

Time waits for no band, as Maximo Park’s lively singer Paul Smith opined early into his band’s set. “I am young and I am lost” he declared during "The Coast Is Always Changing"’s jangly guitar-pop, before drily admitting afterwards that he might have to retire those words soon enough.

With a few extra dates to her rescheduled UK tour, Scottish folk legend Karine Polwart returned to Birmingham Town Hall with some tunes from her latest album – Still as You’re Sleeping, an album of just voice and piano recording with jazz pianist Dave Milligan – plus a mix of earlier material, covers and traditional songs given her own signature twist. On stage with Polwart for this tour is her brother, guitarist Steven Polwart, and her neighbour and friend, multi-instrumentalist Inge Thomson.

Todd Haynes’ documentary about the Velvet Underground has to be one of the better uses of time by a film-maker during the Covid pandemic. He spent lockdown putting the film together with a team of archivists and editors working remotely. It’s a beautifully shot and ingeniously collaged portrait of the decadent New York band which weaves together an extraordinary wealth of archive footage and some choice and apposite interviews.