Musical re-inventions don’t come much more drastic than that of rapper turned crooner Ben Drew (aka Plan B aka Strickland Banks) who tonight plays host to an evening of retro-soul at Manchester’s Apollo. Liam Bailey prepares the crowd perfectly for the main event with his deep husky tones, performing a short set of bluesy tunes including the raw and beautiful ‘It’s Not the Same’, and soon to be hit single ‘You Better Leave Me’, demonstrating exactly why he’s tipped to be the next big thing in contemporary soul.

Christmas Day 1999 was a day of contrasts for me. On one hand, I finally got a PlayStation and a BMX scooter, which made my nine-year-old head explode. I’d have been happy with these, more than happy in fact, but there was another present to open, which had a distinct, CD shaped look about it. “Great”, I thought to myself. I’d just started getting into music and I was happy to think that my sister had noticed my growing interest in AC/DC, Motörhead and Metallica.

As a plethora of female artists dominate the charts, another joins the party in the form of Jessie J and her recently released debut, Who You Are. Much like everything else in the music world, it’s divided our writers into opposing camps where, on the one hand, this new pop sensation deserves the ever-expanding success thrown her way. On the other, Who You Are is a painful attempt to be different, rendering her another generic pop princess.

Returning to Academy 1 in support of their seventh album, the wonderfully-titled Hardcore Will Never Die, But You Will, post-rock veterans Mogwai deliver a stirring, two-hour set that spans their entire career. They showcase a whole host of tracks from the new record, opening with the chirpy and upbeat ‘White Noise’, with ‘Mexican Grand Prix’, ‘I’m Lionel Richie’ and new single ‘Rano Pano’ also aired, the latter brilliantly blending grinding guitars with subtle synths. This is a band capable of conveying an incredibly wide range of emotion in their music, which is all the more remarkable when you consider that the vast majority of it is purely instrumental.

Ke$ha has been one of the rising stars of 2010, most notable for her “sing-talk” method and catchy songs, but being seen as a “metalhead”, it seems almost unspeakable that I enjoy listening to her music. The lyrics may make very little sense whatsoever, yet Ke$ha contributes a large amount to the writing of her songs, as opposed to many other pop stars who rely on professional song-writers to compose their hits.

Feeder have had a mixed career, from the low points of the unfortunate suicide of drummer Jon Lee and replacement drummer Mark Richardson leaving to rejoin Skunk Anansie to creating their own label, Big Teeth Music, and over 20 Top 40 singles.

Ten is the new album from the Manchester Aid to Kosovo organisation, with all proceeds going to community projects and the construction of the Manchester Peace Park in Kosovo. Marking the tenth anniversary of their first compilation, Cohesion, this second release is an assortment of gems from Manchester’s alternative and indie music scene; compiled by The Travelling Band’s Jo Dudderidge.

White Lies return to Academy 1 tonight after a near two year absence, suffering from a severe case of ‘second album syndrome’. Their sophomore effort, Ritual, has been in stores roughly a month and was met with decidedly mixed reviews; I certainly wouldn’t recommend picking up a copy if you’re hoping for a major departure from their 2009 debut.

With their latest effort, this all-female trio from Brooklyn seek to surpass their ordinary, hastily executed kitsch in pursuit of a more exploratory sound. Emerging from the noise-pop scene of New York that has manufactured the equally derivative Crystal Stilts, the Vivian Girls have reveled in their unpolished and hurried style, stubbornly sticking to their uncompromising, primitive clatter. In Share the Joy these achingly hip darlings of Pitchfork, in some ways succeed in going beyond their familiar C86 like jangles.

“It seems like everybody’s smiling tonight,” notes frontwoman Ninja after opening with the frenetic T.O.R.N.A.D.O., “is it a Northern thing?” You can’t really blame her for forgetting – after all, it has been a full three years since The Go! Team’s last UK tour and even longer since they last played in Manchester. Judging by the quality of their superb third album, Rolling Blackouts, and the way it translates live tonight, it certainly seems to have been time well spent.

Build a Rocket Boys! is Elbow’s fifth album and follow up from their 2008 Mercury award-winning The Seldom Seen Kid. The Brit-Rockers still pedal their guitar-orientated brand of melancholy, but this time have swapped cynicism for nostalgia.

Their new album, The King Is Dead, went to number one in America and tonight’s show is part of their biggest UK tour to date, but the strongest indication of The Decemberists having ‘made it’ surely comes in the form of a pre-recorded message, played before the band take the stage, from the mayor of their hometown of Portland, Sam Adams.

The intimate atmosphere in Academy 3 was the perfect setting for the first appearance of intriguing new sound and beat makers, The Naked and Famous. This New Zealand-originated rock band have fused the ferocious talents of Alisa Xayalith and Thom Powers to create a five-piece band with a style similar to that of MGMT, yet they differentiate with vocals to rival that of Paramore’s Hayley Williams.

Scuba vs SCB, Dark Sky, Pangaea, Instra:mental, XXXY Sankeys 11th March 2011 4 stars

As the show started, and timid guitars gathered together to create a melancholic atmosphere, a fellow spectator echoed my thoughts and turned to ask: “Is this Wolf People?” Yet undeniably, it was. This minimal, almost shy entrance was immediately juxtaposed by the introduction of the anthemic ‘Silbury Sands’ and a raw, guitar-based aggression was installed. At times I found myself returning to the heavy rock heaven of the early ‘70s and, dare I say it, a slight tinge of Led Zeppelin was evident in certain moments, as towering guitar riffs and booming bass lines resonated throughout the jam-packed Deaf Institute.

The Vaccines have been tipped to be one of the biggest bands this year – even featuring in the BBC’s Sound of 2011 – yet it has been hard not to be sceptical of their success due to the contacts they apparently have at their disposal. The vocalist Justin Young used to be flatmates with Marcus Mumford and the guitarist, Freddie Cowan, is the younger brother of Tom from the Horrors, which could suggest that they have the potential to be another over-hyped pop outfit. However, What Did You Expect From the Vaccines? suggests that they also have the talent to compliment their address book.

Apparently, if Swedish songstress, prolific hipster go-to girl and all-round drama queen Lykke Li “ever got as big as Madonna”, she “would want to run away and die”. As charming as this news is, her message, loud and clear, is that the Top 40 simply isn’t for her. She doesn’t need chart figures or sales numbers, especially not when she is producing material on the level of quality of sophomore effort Wounded Rhymes.

After 2008’s insanely popular In Ghost Colours, Cut Copy were always going to struggle to follow up with an album that packed the same punch and ability to fill the dance floor. The Australian quartet’s third instalment provides us with a more serene landscape in which, whilst still maintaining the summertime bounce and sunshine appeal of old, also offers a more experimental insight into the path the band may now take. After due consideration, this path appears one I do not want to hear much more from.

Tonight was always going to be about Reel Big Fish though and with this gig being one small part of their massive 20th Anniversary World Tour, it’s pretty much a given that what will ensue will be rather spectacular. That is, if they can get the microphones to work. With the gig already delayed by a tense 10 minutes, the lights finally dim and no time is wasted as ‘Sell Out’ strikes up, sending a surge of skankers into bouncing their way closer to the front.

News of the eagerly anticipated final Streets album release has excited fans, hearing claims that Mike Skinner had returned to the high standards of ‘Original Pirate Material’ and ‘A Grand Don’t Come For Free.’ Once again Mike Skinner has produced a fresh and impressive album, reminiscent of the early work that made him the success he is. Many feel that it is definitely not his best album, perhaps third in line, and I would have to agree. Whilst this may seem harsh, this still gives Computer and Blues ample high praise.