Ten years in and now at their 23rd album, this series, like the TV show that Bongo Boy also curates, is the perfect way to find out precisely what is happening in the music world. Although much of the upper echelons of today’s music is run by the same few record labels who dictate to the masses what they think we ought to be listening to and, more importantly for them, buying, labels such as Bongo Boy are torch-bearers and champions, much like the all-important independent labels of old. And like those early movers and shakers, they reflect what is happening in the world. As such, this album series does not represent what music the powers-that-be have decided is suitable for us; instead, it is a snapshot of the groundswell of creativity pushing up from below, the sound of the music world growing from the roots up. How refreshing.

Things kick off with Ado Bantula joining the L&M Project Band for Monkey on My Back, a song that starts out in the sonic realms of understated funk, a region beloved by bands such as Red Hot Chili Peppers and then proceeds to a place that sounds like the natural successor of 90s rap-rock. And yet, it all feels like the most of-the-moment music possible.

Lizzie Ura pulls off a similar trick on Crashing, though here, she takes the deftness of golden-age Fleetwood Mac and the sass of Pat Benatar and brings them bang-up-to-date, making them fit for purpose for a whole new audience.

As a reminder of how widely Bongo Boy searches for the best music, no matter what genre, sound, or style, Simonne Draper is next up with Eclipse. Adept at blending the agility of the classical guitar with more world music sounds, in this case, a sort of arabesque mystic reminiscent of the likes of Loreena McKennitt, here things are taken a stage further via this Jon Kennedy remix, turning it into a chill-out sound that is as much late night, back room of the most eclectic nightclub in town as it is a world/classical fusion.

A brace of sassy rockers comes next. Lou Mezza’s Little Bit of Dreamin’ mixes the accessibility of 80s rock anthems with the drive of a more modern rock sound, whilst the ever-dependable NEW Bardōts kick out their trademark, timeless rock and roll grooves with Little Left Behind. Groove is precisely the right word, as they seem to understand that rock and roll is not about trying to be big and clever, ornate, or high-brow. Rock and roll was only ever about one thing: getting them to dance. Play this and try and stop ’em!