My friend asked me if I had any books on sobriety. Having never had a drink in her life, she wanted to understand her new partner's five-year recovery. Being the go-to for matters of addiction, abuse, and homelessness (I'm quite the library), I furnished her with a few, assuming that the reason I'd hung on to them was they were the best of the crop. Time passed.

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

Undoubtedly best know through the television drama series created by Sally Wainwright, Gentleman Jack is the story of a powerful Yorkshire businesswoman from the 1830s. The 19th century was not a time known for its liberal-minded, easy-going attitudes to women in general and certainly not women who preferred other women as their life partners.

Hilltop You see it sometimes: the way the light strikes a distant hill, singling out that space between trees like a sudden bolt of memory, or an answer coming through from the other side. A benign shock of emergent energy, Ruth Sharman's fine, profoundly distilled poem encourages a sense of the falling away of scales, of belated recognition.

Stella Lefty has had a massive 2026. The breakout success of her Noah Kahan-interpolating single, Boston, has seen her achieve the longest-running ever #1 single on the UK country radio charts, but it has also seen her included on the prestigious Country Mount Rushmore for 20

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.

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.

Written and recording during COVID-19, Bareilles is in a very reflective mood as she tries to understand the world that surrounds her. As she explores the notion of loss, grief, heartbreak and personal breakdowns, she delivers what many may see as an introspective record but in reality is based on the stories of those she knows and those she has read. And the real beauty of this record is that she showcases such deep empathy that they feel so true to her that it is impossible not to connect with the depth of emotion showcased.

As the CBSO swaps Symphony Hall for shopping centres, tram loops and the Bullring, chief executive Emma Stenning tells Andrew Palmer why a great orchestra's real stage might be the platform at New Street.