Very few people could have anticipated quite how much acclaim Jane McDonald would experience in the wake of 1998’s BBC series The Cruise. Yet, more than a quarter of a century later, the show’s standout star remains as popular as ever.

In 2026, good news feels increasingly precious, so Team Dresch’s return is worth celebrating. Thirty years after their last full-length, the legendary queercore punks are back with Furthermore, out via Jealous Butcher Records on 18 September.

There is a particular pleasure in hearing pieces you already know intimately played as though for the first time, and that is exactly what violinist Sonia Lee and Grammy-nominated pianist Benjamin Loeb achieve on Heartstrings, a programme of favourites and encores that most collectors will already own in one guise or another, scattered across a dozen different discs, but rarely gathered together as satisfyingly as this.

Quartetto Gelato Flight Rodeo and Juliet Suite - A. Copland, P. Tchaikovsky, S. Prokofiev, N. Rota, arr Charles Cozens; Summer (Four Seasons) - A. Vivaldi. arr. M. Pulkki; Brahms' Polka - J. Brahms, arr. C. Maier; Intermezzo in A - J. Brahms, arr. Eun-Chul Oh Passacaglia - Handel 'Halvorsen; Song Of the Birds - P. Casals, arr. M.

There are some interviews where you spend the first few minutes establishing a connection. Then there are the ones where, despite the years that have passed, you simply pick up where you left off. My history with Clark Datchler goes back to the Johnny Hates Jazz comeback campaign.

What happens when Mozart's The Marriage of Figaro meets 1970s Britain, Yorkshire poetry and Indian classical music? Mashallah! It's Mozart – but not as you've heard it before. Bradford Opera Festival is bringing the vibe of a ‘70s Bollywood comedy to Mozart's madcap farce, with a very Yorkshire twist.

Mahler's Symphony No. 3 in D minor is a work that dares almost too much. Six movements, the best part of a hundred minutes, and a programme that runs from the awakening of Pan to a final movement of wordless, all-embracing love: it asks a conductor to hold together a vast orchestra, a mezzo-soprano soloist, a boys' choir and a women's chorus without the whole edifice splintering into episodes. I went into this recording expecting admiration. I came out with something closer to reappraisal as Petrenko unlocked Mahler's cosmic Third and the RPO, and Harmonia Mundi's engineers are on inspired form

It would be easy to file Brouček away as a Janáček footnote, the one even his admirers tend to skip. Rattle and his forces make a compelling case that it shouldn't be. A comic opera, treated with real seriousness, and all the better for it.

It is, as they say, the gift that keeps on giving. The Doric String Quartet continue their sublime traversal of Beethoven's quartets with a third volume that ranges across the composer's early, middle and late periods – from the youthful high spirits of Op. 18 No. 3 to the visionary strangeness of the final works.

Mystery Jets has returned with A Hole To See The Sky Through, an album that feels like a genuine rediscovery of what makes them such an enduring proposition. Where their recent work sometimes felt weighed down by its own seriousness, this record finds a far more natural balance between reflection and exuberance, bringing back the melodic sparkle, wit and sense of adventure that first made the band so compelling.

He opens with his own arrangement of three songs from Sherman's score for Mary Poppins, and the charm is immediate and disarming. Chim Chim Cher-ee is simply delightful — an earworm, yes, but 'bug' feels the wrong word for something arranged with such loving craft. Feed the Birds unfolds in a long, languorous line that carries the listener somewhere else entirely, its trills and decorations enchanting, every phrase touched with real charisma. Then Supercalifragilisticexpialidocious arrives in staccato flurries and glissandos, tying the suite together with something close to genius. One can only think: I wish I were there.

There is plenty to admire here. Hazel Eyes is richly produced and, at its best, allows Smith’s extraordinary voice to breathe rather than simply serve as another component in a maximalist pop production. Everlasting Love opens with a gently fingerpicked guitar and sultry minor chords before Smith’s nimble head voice glides over restrained strings and horns. It is sleek and sophisticated, recalling the understated elegance of Sade without feeling like mere pastiche.

Westside Cowboy’s It Goes On is the kind of album that makes you want to turn the volume up simply to hear where it might take you next. Across its nine tracks, the Manchester band have refined their scrappy, guitar-heavy sound into something that feels both unmistakably British and remarkably fresh. There is a looseness to the record, but never a lack of purpose. Guitars jangle, grind and collide; melodies appear from the noise; and the songs find poetry in everyday observations without ever making them feel ordinary.

Mazzoli's score is nothing short of genius. The music paints pictures with real creativity and power, and her use of instrumentation to depict particular scenes is marvellous, not least the deployment of melodica, piano, synthesiser and electric guitar alongside the more conventional orchestral palette.

Most importantly, The Roaring Waves never feels like a competition between two legendary guitarists. There is no sense of Hackett and Rothery trying to prove who can shred hardest. Instead, the emphasis is on atmosphere, melody and storytelling. That makes the album considerably more involving than a mere virtuoso showcase.

Having cited The Beatles, The Stone Roses and David Bowie as key influences, it is clear that Beckham is happy to wear these sounds within his own context, but at one stage does this EP try to simply emulate those artists? He rather marries his key influences with his own Britpop leanings to craft an EP that feels very much his own.

There is an obvious risk in committing a live Verdi Requiem to disc: strip away the theatre of the hall and a performance can shrink. Not here. Captured in spatial audio during three January 2026 performances at Severance Music Center, this new Cleveland Orchestra release loses none of the immediacy of the room, and gains something the audience in the stalls never had — the chance to sit inside the balance itself, with strings and voices arriving from every direction rather than simply from the front.

Grieg, born in Bergen in 1843 and long celebrated as Norway's National Composer, turned to the piano throughout his career but had little appetite for the German sonata, preferring instead the short forms he called Lyriske stykker — published across ten volumes and steeped in the folk idiom of his homeland. Donohoe has resisted the temptation to record them in sequence, instead ordering the pieces to his own design. The gamble pays off. This second volume is every bit as delightful as the first, with poetry springing from Donohoe's fingers with a delicacy that borders on illusion — his left hand so controlled you barely notice its work until you try to imagine the music without it.

There are interviews where you arrive with a notebook, a list of questions and a vague sense of professional composure. And then there are interviews where you are speaking to someone whose music has been part of your life for three decades. I was 13 when I first heard Vonda Shepard.