Gorillaz

Which comeback is this again? As The Verve mooch onto the stage at the Roundhouse, I’m reminded of a night at Glasgow Barrowlands maybe ten years ago. Nick McCabe had just rejoined the band, and I guess “Bittersweet Symphony” was about to be released. The lights went down, and the impeccable DJ played David Axelrod’s “Holy Are You”. Then the band came on: Simon Jones lunging at the crowd triumphantly; Ashcroft imperious, transported; McCabe a self-effacing figure consumed with his work. Men spilled beer and hugged each other. They’re back!

Just back from the Mercury Music Prize scrum down in Covent Garden. I realise that making a fuss about this sort of thing is playing into the hands of the organisers, on the grounds that any publicity is good publicity and all. And, yes, there are a bunch of records here that I like: the Arctic Monkeys (a deserving winner, I'd say), Amy Winehouse and the Klaxons, for a start. I guess as a measure of how healthy new British music is right now, it's OK. And the absence of Editors, The Fratellis, The Twang and so on is mildly satisfying.

Damon Albarn, being something of a native as he hails from nearby Colchester, closes tonight's set by The Good, The Bad & The Queen by displaying his intimate knowledge of the A12. It's perhaps not the most rock 'n' roll way to end a festival, but then The Good, The Bad & The Queen aren't necessarily going to play by the rules.

The madchester boys are back with first record and full tour in 15 years

Gorillaz involved in the staging of ancient Chinese literature classic

Damon Albarn and his Ladbroke Grove galacticos take a psychogeographic trip through the streets of London

In most cultures, seven is a magic number. Not in rock'n'roll, where to sustain any degree of originality beyond album three or four is about as rare as a sober Shane MacGowan.

First and Third world meetings in music