LSO St Luke’s, London
From syncopated funk to the Latin requiem mass, Gregorian chant to bureaucratic recitative, the score to David Önaç new oratorio, premiered by the London Symphony Orchestra, is serious and beautiful

How do you put a value on a human life? If you’re an insurance underwriter that’s not a philosophical question, it’s a practical one. The answer, incidentally, as calculated by Lloyds of London in 1779 was £45: the figure placed on each enslaved person transported across the Atlantic alongside corn, fish and other cargo. Court transcripts from two decades later describe a woman quarantined for smallpox, subsequently bound, blindfolded and tossed overboard tied to a chair. The captain later expressed his regret for the loss of “so good a chair”.

Archives can tell us what, but it takes art to give us the human how of the past. Enter composer David Önaç – commissioned to take the historical documents unearthed from the Lloyds archive and give them howling, raging life in his new Atlantic Requiem, premiered this weekend by the London Symphony Orchestra, an expanded BBC Singers, three soloists and (in a last-minute step-in) conductor Malcolm J Merriweather.

‘In nightclubs, I’d be the dude scribbling lyrics in the corner while everyone else was dancing or copping off’

I had the lyrics to Not Nineteen Forever before the band existed. They were in a little red book of poems and scribbles that got me a place on the creative writing course at the University of Salford. Most of what became the songs for our first album, St Jude, were in that book. As well as uni, I was working in a shop and spending five nights a week at the Night & Day bar in Manchester, but in a nightclub I’d be the dude scribbling in the corner while everyone else was dancing or copping off.

Queen Elizabeth Hall, London
Bizet’s incidental music for Daudet’s 1872 play The Girl from Arles was given its first UK complete performance by Sir Mark Elder, the Orchestra of the Age of Enlightenment and strong soloists in Jeremy Sams’ staging

‘The prettiest music in the world” was how the playwright Alphonse Daudet described the incidental music Bizet composed for his 1872 play The Girl from Arles – which is a bit like describing Carmen, the opera Bizet would compose less than three years later, as a charming little love story.

Daudet’s play initially flopped but was saved by the music Bizet wrote for it, which comprises 27 separate numbers ranging from string whispers a few bars long to full-blown orchestral entr’actes and celebratory choruses. Two orchestral Suites from L’Arlésienne have long been familiar in the concert hall. But, after more than 150 years, this was the first chance for UK audiences to hear the complete incidental music in its proper context. Presented by the Orchestra of the Age of Enlightenment and conducted by Mark Elder, there was a danger this play with music could turn into music with a play – but in fact the two elements complemented each other at equal strength.

Jay-Z in 8, the rap mogul’s HBO docuseries, covers his life and career in effort to mend his image – with no pushback. Why is he so fixated on the court of public opinion?

During the finale of Jay-Z’s Jay-Z in 8, the recent eight-part HBO documentary series on his life and career, the billionaire rap mogul talked with record producer Rick Rubin about the song Family Feud from his 4:44 album. He clarified one of its lyrics, “Al Sharpton in the mirror takin’ selfies / How is him or Pill Cosby ‘posed to help me?”, in which he chided Sharpton, the civil rights leader, and Cosby, the disgraced actor-comedian, for constantly criticizing rap music. He called Sharpton an “extortionist” who goes “from place to place” demanding: “You want our support … give us the money.” Listening to him chastise Sharpton, I pondered how he doesn’t see himself as a similar figure.

Starting in 2019, Jay-Z partnered with the NFL in 2019 as entertainment director, deciding the Super Bowl half-time performers and working with the league on other community endeavors. Colin Kaepernick, the former NFL quarterback, has recently alleged that the deal came after NFL owners decided they needed a “Black face” to help them quell outrage from Black people after Kaepernick was blackballed by the league for kneeling during the national anthems as a form of protest against police brutality. Jay-Z was lambasted for undercutting Kaepernick’s cause for personal gain, marring his reputation with many fans who came to view him as the same counterinsurgent figure he criticized in the documentary.

(XL)
This is a beguiling, endlessly inventive and frequently astonishing fifth LP from a group at increasing ease with being the best band of their generation

Fifteen centuries ago, the Byzantine archbishop Theophilus of Adana did first-hand business with the devil for his own superficial betterment. Today, we just blindly tick a little box marked “accept terms and conditions” or let high-street snake oil merchants inject poison into our faces. The Faustian pact has become as depressingly banal as it is endemic and destructive – and unlike Theophilus, we can’t rely on the Virgin Mary to save us now. In the midst of headlines about AI destroying humanity, the idea of listening to music submerged in precisely this shade of doom might sound like, well, hell. If anyone can thread that poisoned needle, it’s Fontaines DC.

When the Dublin band introduced their last album, 2024’s Romance, it came with a surprise new look. Their uncoordinated jeans and shirts had been replaced by neon hair, shiny trousers and bug-eyed sunglasses that split the difference between Korn and the Prodigy. As they faced up to having traded their anonymity to become arena fillers, it wasn’t hard to read this look as a sort of protective cosplay, a cybergoth Sasha Fierce for five fairly low-key Irish lads trying to make peace with leaving their roots behind. Newly melodic and lavishly produced, Romance made no bones about the band’s ambitions and became their first platinum-certified album.

The 85-year-old was helped on stage by actor John Stamos, who shared an emotional message about his ‘musical hero and mentor’

After months of cancelled comeback tours, the Beach Boys have played their first public show since July – with co-founder and frontman Mike Love joining the band on stage in Cincinnati, Ohio, despite “facing serious health challenges”.

Love was helped on to the stage by his son Christian Love and the actor and band member John Stamos, who told the audience at PNC Pavilion on Saturday night that Love has “been going through some health issues … but he would not miss tonight”.