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

Rediscovered folk artist Scott Fagan plays at the Deaf Institute, making Oscar Talbot wonder how he was ever forgotten in the first place

Ultimate Painting’s 1980s-indebted indie pop warms the band’s typically shy audience, writes Joe Taylor

From sold-out arenas to atmospheric basements, this Freshers’ guide shows what Manchester’s array of venues has to offer

Daft antics and shredded faces make Mutoid Man’s gig one to remember

On this showing, Liturgy didn’t earn the “transcendental black metal” badge they’ve pinned themselves with, but the return of Greg Fox salvaged some of their wonder

Like a cat, the green-eyed Bon Vivant prowls just off Oxford Road to see what she can get her paws on

This Is The Kit’s gentle folk rock makes for an intimate, friendly peformance

Philip Selway holds the audience’s attention even as the general mood puts the audience into an ethereal, contemplative haze

Viet Cong’s set is precise but fundamentally unimaginative

Canadian up-and-comers Alvvays manage to charm their sold-out crowd

Neon Waltz’s performance lacked energy

The Staves continue to amaze with their bewitching brand of folk-pop

Rhodes leaves the audience wanting more with his soulful performance at Deaf Institute

Rae Morris has charming qualities, but her songs are two dimensional

Noah and the Whale please their fans with a free, request driven gig

Farao is captivating, though lacking in substance without her backing band

San Cisco perform a fun set but their performance lacks edge.

Ghostpoet transforms his songs in a live setting to mesmerizing effect

Splashh fail to make waves but perform an enjoyable set.