Five dates in the UK and Eire planned by the eccentric rockerTom Waits has announced four UK and Ireland shows as part of his forthcoming ‘Glitter and Doom’ tour in Europe this Summer [Please note this story was published in 2008: apologies for any confusion]. The legendary performer's only UK shows will take place over two nights at Edinburgh's Playhouse on July 27 and 28. Waits will also play Dublin's The Ratcellar venue on July 30, 31 and August 1 as part of his 15-date European tour.

19 years since he last donned the Fedora, an older and slightly creakier Dr Jones is back...

“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.

Welcome to our first report from this year's Cannes Film Festival, featuring Clint Eastwood, Woody Allen and Roman Polanski... Cannes, this year as ever, is about reputations. Some live up, others don't, but in 2008 the big directors are hanging onto their mantle while the arthouse darlings are slipping. Towering over the festival this year, Clint Eastwood is easily in the former camp, bringing a fantastic new film, Changeling (or is it The Exchange? The title keeps, ahem, changing), that proves that, at 78, Eastwood is effortlessly maintaining the rich twilight of an already magnificent career.

The singer is confirmed for main stage, just before Jay-Z

Ray Manzarek and Robby Krieger's band recruit new rocker for live show

The Billion Dollar Baby is in the Uncut hot seat, ask your questions here

Slowhand pens two tracks with the Grammy winning soul legend

“NEW HARMONY ON AN AWESOME SCALE,” announces Will Oldham on “Missing One”. Somewhere in the shadows, there’s a singer called Ashley Webber playing a discreet Emmylou to his Gram, the latest harmonious foil chosen to track his tremulous voice. Oldham’s voice is much less wayward than it was on the Palace and early Bonnie “Prince” Billy records, of course, but it’s strange how he’s recently found it useful to match his voice against another: on “The Letting Go”, Dawn McCarthy from Faun Fables; on last year’s overlooked covers set, “Ask Forgiveness”, Meg Baird from Espers.

To accompany the Mael's 21 night residency, a visual retrospective