Olympia was originally built as an events and exhibitions space nearly 140 years ago

Country star said he was having ‘earth-shattering panic attacks’

A skilled interpreter and social justice champion, Gaughan is a hero to the likes of Richard Hawley and Billy Bragg. Yet much of his work has been stuck in limbo for decades – until a determined fan stepped in

‘It felt to me as if the world had forgotten about the Frank Sinatra or Elvis Presley of folk, or a singular figure in the mould of Willie Nelson, Johnny Cash or Richard Thompson.” So says Colin Harper, curator of a slew of new releases celebrating the stunning music of Scottish musician Dick Gaughan. Harper had recently reconnected with his music after several decades, “and I couldn’t believe the quality of it. His singing and guitar playing were astonishing – he performed traditional songs and championed social justice so powerfully.”

But if you haven’t heard of the 77-year-old Gaughan, it’s not surprising: much of his work has been unavailable for years, the rights to it having been claimed by the label Celtic Music, who have not made it available digitally. Gaughan doesn’t recall receiving a royalty statement from the company in 40 years. He is battling for ownership and, in turn, hopes to help other veteran folk artists regain control of their catalogues. “To find that the music I made, that I put a lot of work into, is just not available – it’s like your life isn’t available,” he says.

Whether it’s vibe-setting dance and rap for house parties or soothing dream-pop for when you’re contemplating the clear-up, reach for these ready-made playlists

Let’s face it: when everyone’s two improvised cocktails deep, they’ll be hollering for Pink Pony Club, and after two more, they’ll be doing Fairytale of New York in a male-female karaoke face-off. But for the early part of the party, here’s some 2025 pop, dance and rap to keep the mood buoyant.

Bringing her black-belt screen presence to the role of Elphaba, Erivo leads a fine cast in a zingily scored conclusion to the hit origin story

Director Jon M Chu pulls off quite a trick with this manageably proportioned second half to the epic musical prequel-myth inspired by The Wizard of Oz – and based, of course, on the hit stage show. It keeps the rainbow-coloured dreaminess and the Broadway show tune zinginess from part one, and we still get those periodic, surreal pronouncements given by the city’s notables to the diverse folk of Oz, those non-player characters crowding the streets. But now the focus narrows to the main players and their explosive romantic crises, essentially through two interlocking love triangles: Glinda the Good, Elphaba the Wicked and the Wizard – and Glinda, Elphaba and Prince Fiyero, the handsome young military officer with whom both witches are not so secretly in love, as well as possibly having feelings for each other.

Jeff Goldblum is excellent as the Wizard, who pretty much becomes the Darth Vader of Oz: a slippery carnival huckster who is realising that his seedy charm is corroding his soul. Jonathan Bailey pivots to a much more serious, less campy, more passionate Prince and Ariana Grande is, as ever, delicate and doll-like as Glinda, though with less opportunity for comedy. But the superstar among equals is Cynthia Erivo, bringing her black-belt screen presence to the role of Elphaba, and revealing a new vulnerability and maturity. Elsewhere, Marissa Bode returns as Nessarose, Elphaba’s wheelchair-using half-sister; Ethan Slater is Boq, the Munchkin working as her servant; and Michelle Yeoh brings stately sweetness to the role of the Wizard’s private secretary Madame Morrible.

The 26-year-old’s debut album I Love My Computer has already netted her some of Australia’s most prestigious prizes – and it’s all about the delight and depravity of growing up on the internet

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Ninajirachi is having a dream run with her debut album I Love My Computer – and between leading this year’s Aria nominations with eight nods and the rapturous crowds at sold-out shows, she knows it.

“I want to live up this one before I move on, because it might be hard to come back to this headspace and time,” says Nina Wilson. “I don’t want to rush into the future.”

Archive director in Germany says ‘missing piece of puzzle’ now in place to verify authorship after decades of research

Two long-lost organ pieces by Johann Sebastian Bach have been performed in Germany, roughly 320 years after the composer wrote them as a teenage music teacher.

Entitled Chaconne in D minor BWV 1178 and Chaconne in G minor BWV 1179, the pieces were added to the official catalogue of Bach’s works on Monday and played in public for the first time in three centuries inside Leipzig’s St Thomas Church, where Bach is buried.

He played china mugs, bells, rattles and car horns for everyone from Alfred Hitchcock to Benjamin Britten – and once got Laurence Olivier to bang a broomstick. We go behind the scenes of a Radio 3 celebration

Saturday night and the Britten Studio at Snape Maltings is filling up with 300 chattering punters. We are about to record a show that will go out “as live” on BBC Radio 3. This is a one-shot wonder: for one night only, in this drama-documentary, we are exploring the work of percussionist James Blades. Our setup neatly combines the most stressful elements of a live show, plus the key aspect of audience participation which we have – obviously – no proper chance to rehearse. Nerves are fraying. How did it get to this? And who is James Blades anyway?

Born in 1901, Blades was one of the great percussionists of the 20th century, whose life spanned the century itself – he died in May 1999. His blazing talent combined with a startling capacity for hard work took him to the top of his profession and later made him a mentor to music stars as varied as rock drummer Carl Palmer, percussionist Evelyn Glennie and a young Simon Rattle.