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PinkPantheress: Fancy That review – sharp-minded bops hop across pop’s past and present

Denigrated by some as the epitome of attention-deficit youth, the English pop musician became huge nonetheless – and her latest has an inspiringly free-associative feel

Desire: The Carl Craig Story review – goatee-stroking homage to a techno legend

There’s a suitable air of scholarly sobriety to this music documentary about the influential Detroit DJ, but he still remains an enigma

‘It’s a northern sound, it gives you hope that it can happen to you’: how bassline bounced back

Once maligned as a scene marred by violence, bassline is booming once again thanks to pioneers such as Big Ang, Jamie Duggan and a T2 track that changed everything

‘Nepo babies should be doing stuff like this’: are rich people ruining or reviving UK club culture?

London’s underground dance scene is increasingly funded by inherited wealth. From Mike Ashley’s son to a Tetra Pak heir, moneyed promoters explain their motivations

‘It burrows into your bones’: how Dancing on My Own became pop’s ultimate sad banger

Since its 2010 release, Robyn’s downbeat hit has influenced Charli xcx and Taylor Swift, soundtracked films and TV shows, and been yelled in unison at club nights. What’s the secret of its longevity?

Davido: 5ive review – flashes of Afropop excellence

The Nigerian superstar’s vocal prowess and smooth beats have their moments on his latest album, but at 17 tracks it could use an edit

‘She had no interest in the comfort zone’: celebrating the centenary of Celia Cruz, Cuba’s Queen of Salsa

Exiled from Castro’s Cuba, she became a superstar – and a trailblazer in the macho world of salsa. Fans and collaborators including Angélique Kidjo hail an icon of Black empowerment

‘His delivery cut through class barriers’: Moby, Mala and other musicians on working with Benjamin Zephaniah

On what would have been the late dub poet’s 67th birthday, his musical collaborators remember his warmth, invigorating words and reflections on the state of the world

Max Romeo was a great social commentator, railing against inequality and discord

The reggae singer best known for War Ina Babylon and Chase the Devil was most productive in the febrile political climate of 1970s Jamaica, but his influence remains undimmed

She’s got the Midas touch: Shirley Bassey songs – ranked!

As a new compilation with unheard material is released, we assess the Cardiff legend’s diamonds and deep cuts

Sherelle: With a Vengeance review – UK dance debut is dizzyingly doof-doof-doof

The Londoner has alighted on a sophisticated, high-tempo hybrid of footwork and jungle – and seems to suggest a better way of living

Hey DJ, got any Kanye? Yes. It’s on my ‘do not play’ list

I get why wedding DJs are increasingly discerning. Our job is to spread joy on the dancefloor – not upset and division, says author and DJ Oliver Keens

DJ Koze: Music Can Hear Us review – party-starting nostalgist is as playful as ever

Appealingly rough around the edges, the Hamburg DJ’s fourth album voyages from a Damon Albarn amapiano track to harsh 90s drum’n’bass

Chaka Khan on Prince, poetry and wild, wonderful nights: ‘No one’s done anything but craziness at 4am’

The singer answers your questions about her drum skills, friendship with Joni Mitchell and more – and reveals unheard music with both Prince and Sia

FKA twigs review – a stunning ​surprise-filled spectacle

Featuring whips, chains, swords and dragons, this versatile three-act extravaganza showcases the singer’s unique catalogue of abstract pop

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  • LSO/Pappano review – Kendall’s engaging new work has a tea kettle, tremolo and slam-dunks of timpani
  • Sampa the Great: Nu Zamrock review – a full-circle moment for a world-class act
  • Jaguar Jonze: ‘I am more fragile and vulnerable now. But at the same time, I am so much stronger’
  • Carmen review – Costa-Jackson’s smouldering heroine blazes brightly
  • ‘Ceilidh renaissance’ lures gen Z offline in search of real-life joy
  • The week’s best new tracks and the act you need to know: Dutch squat-punks Bombstrap’s uncompromising racket
  • Oh to Believe in Another World review – William Kentridge’s amazing animated ballet of black comic pain
  • Radie Peat: No Human Tongue Can Tell review – Lankum singer’s solo debut is the year’s best folk album
  • Kali Malone: Burning Song review – drone composer wields Bach’s organ to breathtaking effect
  • ‘Ignorance towards immigration is horrible. It’s not British’: Skepta on his long-awaited return – and his anger at the racist right
  • Cuts like a knife: Canadian rocker Bryan Adams trolls Trump with new song
  • Dónal Lunny obituary
  • The Mad Lover review – eccentric charm and baroque brilliance as duo move from Eccles to Indiana Jones
  • ​‘He buckled. I could hear his bass ringing out …’ The luminous rise and tragic end of US alt heroes Morphine
  • Colin Currie Group review – Steve Reich’s music is still bedazzling
  • Britten: Serenade for Tenor, Horn and Strings album review – Wilson explores British music’s highway and byways
  • ‘Algorithms make everything predictable’: why the CD is making a comeback
  • The Big Moon: Forever review – the hell of hearing loss inspires a defiantly hopeful pop-disco marvel
  • Mega mega mega, going back to Romford! How an outer London suburb became a metropolis for 90s dance music
  • Pop prodigy Underscores: ‘I don’t think Gen Z is a loveless generation’
  • Their orchestra is not a sacred object but a tool for struggle – Paris’s musicians join the frontline
  • Stephen Kovacevich – a pianist who risked oblivion to know what it’s like out on the edge
  • ‘I knead the audience, like a baker!’ House music legend Peven Everett on life after cancer and vanquishing the ‘Disco Sucks’ movement
  • ‘Dear Charlie’: letter revealing move to snare future Rolling Stones drummer up for auction
  • Jay-Z is the perfect Super Bowl shill for a league of billionaires
  • Peter Asher: Everywhere Man review – music-biz face from Beatles-buddy pop act to superstar producer
  • The Babydoll phenomenon: how Jamie Miller’s song got the world dancing – and put Wales back on top
  • ‘We did everything wrong!’ The tragedy of the hit-free band behind Blondie’s Hanging on the Telephone
  • LPO/Gardner review – Mark Simpson’s piano concerto leaves its audience panting
  • ‘How on earth is this man not sweating?’ The director who spent 10 years painstakingly remastering Bowie’s ‘greatest filmed performance’

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