Adam

Toddling over from The Breeders’ shambolic but utterly brilliant set, I check in on Okkervil River, who seem to be practically filling up the Uncut Arena. This is obviously a band who inspire a lot of love. Unsurprising, of course, looking at their clothes. All the band are dressed to the hilt in tailored suits, white shirts and braces like a transatlantic Pogues. What’s not to love?

Excuse us while we go a bit "duuude," on your asses. "This is awesome, the sheep are painted fucking pink. It's so psychedelic, and I haven't even taken a thing," says Reggie Youngblood, singer of Florida's Black Kids, who take the stage in the UNCUT Arena as a spear of late afternoon sunshine pierces the cloud.

Passion, and politics: the early years, remastered, with extras

Nostalgic and accessible return to the Bristol council estate where he grew up

Winning Watsons exploit genetic advantage

Brian Cox locks down atmospheric prison drama

Plus Hard-Fi, The Black Keys and Elbow

A FEW years ago, Elvis Costello declared an ongoing fondness for U2. By way of explanation, Costello outlined his admiration for U2’s ability to forge intimacy and emotional connection even in the Enormo-Domes and Mega-Bowls that constitute their tour schedules. At stadium level now, Costello observed, “everything else is bullshit, or a trip to the circus.”

“This is an old song,” says AA Bondy, introducing the next number in his opening set at the third Club UNCUT night at the Borderline. He’s not kidding, either. What I had presumed would be some lost early gem from his back catalogue turns out to be a dark and powerfully brooding version of Blind Willie Johnson’s apocalyptic “John The Revelator”, originally recorded in 1930, which is going back some.

Ryan Adams will play six American dates