The interplay between the xx’s members is evident in an album which is both instrumentally varied and emotionally intimate, making I See You their strongest album yet, writes James Gill

Geographical metaphors abound in a strong selection of tracks released in the last week, by Joe Casson

William Bain deliver’s The Mancunion’s verdict on the deceased icon’s final recordings: a fond farewell to an exceptional career

“2016 is gonna be MY year”, you said on January 1st, and chaos descended thenceforth

Tara Bharadia reflects on the legacy of pop star and gay icon George Michael, who died on Christmas Day

Amy Matthews sits down with rockers VANT to talk about Theresa May, Manchester crowds and their forthcoming album DUMB BLOOD.

VANT’s energetic live performance as main support for Nothing But Thieves have the audience roaring for more, writes Amy Matthews

With their refreshingly modest and empowering performance, Honeyblood are ones to watch, writes Nancy Colbert

Childish Gambino confidently trades rap for funk with his latest release, writes James Gill

Messy, chaotic, dangerous, and something we don’t see enough of anymore: It’s classic Peter Doherty

At his first headline show in Manchester, Sampha shows he’s as comfortable in the spotlight as in the shadows ahead of his debut album’s release, writes Harrison Kersey

Remembering David Mancuso, founder of the legendary ‘by invitation only’ loft parties that transformed New York’s club scene in the early 70s

For our first feature on what our students are getting up to, Harrison Kersey covers a student-run dancehall night

Peter Doherty returns with a second solo album. Once again, it’s just alright

Twenty years on, head music editor Joe Casson revisits the Glaswegian indie darlings’ high watermark, a singular work of delicate loneliness and wry observation that demands your devotion

Despite some indications that Abel Tesfaye can supply the poetry and melodies he offered so effortlessly in previous work, he appears to have bitten off more than he can chew this time around

White Lies play a divine set at the Albert Hall, but their bombast and lack of nuance leaves Ben Lomax looking for a higher power

Matthew Whitaker’s album launch may have lacked a defining artistic sound but the potential shown was undeniable, writes Liam Killeen

Sleigh Bells fourth album is an underwhelming attempt to deviate from the style they’ve established, writes Calum Pinder

Finding yourself out of the loop when your musical friends talk classical? Stuart Grantham has compiled an introduction to catch you up in no time