Vivien Glass. The Enterprise, Camden. Friday 10th October 2014.

In what can only be described as a creaky wooden-floored box bedroom above a pub, there's a new wall of sound about to hit you.

A three piece electronic band, by the name of Vivien Glass, take to the stage at the Enterprise, Camden Town.

Every face in the packed room turns to the three figures on stage; each figure with a piece of electronic equipment in front of them. From the first beat of the opening number Black Magic, the creaks of the floorboards are in tune with the rhythmic patterned sound. Vivien Glass appear effortlessly cool on stage, all stunningly dressed in black, with glitter seemingly everywhere. The influence of late seventies-early eighties synthesiser pop is evident both from the sound and the look.

This is only Vivien Glass's second set as a three piece band. They were formed in 2010 by Melissa Glass (lead vocalist and keyboards) and Jan-Michael Glass (guitarist and synthesisers). By adding extra ingredients in drummer and vocalist Glass Foxx to their line-up in recent months, the band now has some fire-power and drive to their live performance.

Songs like Something Running and Part Machine; both featuring those thundering synthesisers and electronic drums, showcase the powerful sound. Alongside Melissa's lead vocals, Jan-Michael and Foxx's harmonies work beautifully. This is a band that has clearly practised and honed their set. Everything from the new circuitry of lights to the banner stands featuring the band's logo has been considered.

There is a mixture of old and new songs in the set. A couple of tracks are taken from their 2013 debut record Awake, My Sleeper; including the finale The Changing, a fantastic foot-stomper featuring chiming synthesisers and alternating harmonies throughout.

Unfortunately, there was no time for an encore, however, there was plenty of time for warm applause from the watching crowd. This new wall of sound is well worth listening to. These guys are onto bigger and better things; the box bedroom is just the beginning.

Cathal Smyth- Wilton's Music Hall. Wednesday 8th October 2014

In an alleyway in East London, Wilton's Music Hall waves shyly. Blink and you'll walk past it. I don't think the venue itself realises how beautiful it is; currently, it resembles a building site on the exterior, but on the inside it is remarkable.

Chords and notes can reach the ceiling effortlessly. The vocals can stretch up to the balcony which wraps around the seating in the stalls below. Due to a slight tilt of the building, there is a good view of the stage from all angles.

This week, Cathal Smyth is in residency for three nights. The Madness frontman took a seat on-stage in an armchair. Did any member of Madness really sit down? Cathal has poured his heart into his new album "A Comfortable Man"; and -dressed in a dapper smart cream suit with no tie- along with the armchair, he really looked every inch the definition of that.

Backed by the Joe Duddell Ensemble, plus actor and Dexy's singer Madeleine Hyland; this was a show that brought tears to eyes across the auditorium. The orchestra providing the tender tones. There is no heavy heavy monster sound here; it is very deft, each note considered.

This is a touching hour long set, making you smile and reflect throughout. The songs are about love, and the loss of love. You love Cathal all the more for it. The armchair is a lovely touch. For one song it is just Smyth and a piano. Together with the orchestra, it is stunning. The delicate vocal melodies in the final song You're Not Alone, are worth the trip to East London alone. A nod must also go to the lighting director and set designer, providing the perfect ambience and display.

Escapism is rare in this modern world. As the clapping dissipated and I walked away from Wilton's, I realised I had found my escape; between the rumble of the Docklands Light Railway and the lapping tides of the Thames at Wapping.

Hello Earth- Kate Bush Live Review. Tuesday August 26th 2014

On Tuesday evening, there was a mild hysteria in one corner of West London. You could smell it as you alighted the train at Hammersmith. Walking beneath the Flyover, this swelled. The large letters adorned upon the exterior of the Apollo. A well lit sign, clear and concise: "Before The Dawn".

Huddled together, fans chatting, milling about waiting for the show. A giddy, tense feeling in the air. I walked in to retrieve my ticket from the Box Office; a chance last minute purchase on the official website. A man cried out, asking if anyone had a spare as I trundled past. "The man with no ticket in his eyes" scrawled plaintively on a sandwich board draped around his neck. I mouthed a "sorry" in return. I hope he got to go in.

I went inside, where the anticipation was sky-high. When I reached my seat, I realised how much this meant to other people. The woman sat immediately behind me was a super fan; she went to original "Kate Bush Tour of Life" at the same venue, back in 1979. What makes it even more remarkable, is that she now lives in Melbourne, Australia; and travelled over with her friend especially for this show. Their friendship was built on a mutual appreciation of Kate Bush; and as she said yesterday: "the one thing which I've always had over my friend is that I've seen Kate Bush, and she hasn't; until tonight!"

I heard some voices adjacent to me whispering about possible songs she might play in a foreign language. It is always interesting to hear words not in mother tongue, interspersed with song titles you know and love so dearly. Whilst eavesdropping on these words I was trying to piece together, I smiled at a girl sat in the seat to the left of me. It took me a good while before I realised that girl was Lily Allen. The surreal factor intensified.

Picture the scene when Lily; the track from her 1993 album The Red Shoes begins the show. Cue Kate, all in black, marching barefoot in time with the hammering opening bars of the number; leading her five backing singers (including her son, 'lovely lovely lovely lovely Bertie') out onto the stage. We are all in raptures. You can't hear Kate sing her opening line for the hooting and howling raining down from the crowd.

She belts out Hounds of Love, and moves onto Joanni, Top of the City and a brilliant, haunting version of King of the Mountain. These are stunning renditions, tweaked ever so slightly to fit by the seven piece band. At one point she amusingly cries above the roar: "These guys behind me really are shit-hot!"

We're then thrown completely by the action on stage. The audience is akin to Robbie Coltrane being mesmerised by his computer screen in the video for the remake of Bush's Deeper Understanding. The show from here on in is utterly compelling. Her percussionist Mino Cinelu walks out into the middle of the stage and starts whirling what appears to be a bullroarer around his head, accompanied by frantic lighting. Paper confetti is shot out from two cannons; written on it is Tennyson's poetry; The Coming of Arthur, featuring The Ninth Wave.

Arguably, The Ninth Wave is her magnum opus. Written in 1985, it has taken twenty nine years for it to be played live. Here, it rises and falls, theatrically and dramatically. It is both a scary and thrilling piece of music; and live it is superb. The highlight of this section is Watching You Without Me; with both Kate's husband Dan McIntosh and son Bertie all in the same specially built room, with Kate's creepy refrain: "I'm not here". It is a family affair, a privilege to watch.

An Endless Sky of Honey starts the second chapter; cue a small wooden puppet, a large door and a huge painting of a sky on stage. It is pure escapism and totally dream-like. Bertie has his own solo track in this section; called Tawny Moon. He is only sixteen. He is going to be a superstar. I glance around to see faces all the way back to the rafters smiling and cherishing every moment. The applause for the encore is deafening. Among Angels; the penultimate song of the evening is just Kate performing solely with a piano. This drew our hearts to Kate in the first place. The performance is worth the entry fee alone. A moment of pleasure; leaving the hairs on the back of your neck standing on end.

The band return and conclude with the glorious Cloudbusting; and before you know it, the show is over! What? How? So quick! A wonderful evening, a wonderful return to the live stage, echoed by everyone who witnessed it. It felt emotional. I didn't want to leave at the end. I wanted to stay in that world Kate created on stage. As I walk away from the bustling venue back towards reality and the Piccadilly Line, I'm left pinching myself and staring at my ticket. Did that really happen?

Anna Calvi. Troxy. Saturday 8th February 2014

In deepest darkest East London, on a cold February evening, there's a woman howling loudly into a microphone. A warm vocal. So warm and rich, you wouldn't need to light a fire during Winter.

She's standing tall, in a cream blouse, and a pair of black slacks. She is prominent centre stage. Her guitar is draped across her. She is every inch the rock star. 

An illuminating set of songs from her two albums to date, make up a haunting show under the lights of the former bingo hall at Troxy. Her debut album was nominated for the Mercury Prize in 2011 and featured heavily throughout, with songs such as a Blackout and the hugely underrated No More Words. With tantalisingly good vocals, Calvi is making huge waves in the music scene. 

Along with the huge guitar riffs, it is clear why she is revered so much. The magnificent Suzanne & I swells and roars so mightily, Calvi's voice like a theme park ride with the rise and fall. The delicacy of her voice also a joy to hear during the softer parts of the records; a beautifully crafted sound. 

The set reaches a huge crescendo with her final song Jezebel; containing notes which really only Anna can hit. The passengers on the Docklands Light Railway trundling along nearby would certainly have been able to hear her final refrain. 

The best songs of 2013

Here is an arbitrary list of my favourite songs of 2013.

This isn't a definitive list, and I may definitely have forgotten some tracks; but here are 30 favourites of mine from the last twelve months. You can find the Youtube playlist here. The Spotify playlist is here.

1) CONNAN MOCKASIN- I'm The Man That Will Find You.
There is something so listenable and appealing about Connan's style and delivery, yet one cannot put a finger on why. The most unique sounding performer of 2013? Quite possibly.

2) SARAH BLASKO- God-Fearing
This track waltzed into my ears earlier in the year, and hasn't really escaped since. The chords throughout; in addition to Sarah's vocals, are a total joy.

3) VILLAGERS- Nothing Arrived
A day in the life of Terrence Bliss. Lead singer Conor O'Brien's vocal style works so well here. A 'goosebumps-inducing' song which builds to the looping, haunting lyric "I guess I was busy". It is unforgettable.

4) MIDLAKE- Antiphon
Antiphon has such a wonderfully deep and melancholy sound. May require a few listens, but is quite remarkable.

5) ANNA CALVI- Eliza
There was a period of time over the Summer months, where I could not escape the song. Every time I turned the radio or television on; Eliza would be leaping out at me. There is so much power, so much oomph, and I may be biased fan, yet is is superb.

6) HAIM- Don't Save Me
There's something magical about Haim. I don't know what it is. The magical formula might be that musically they're so tight as a band of Sisters, all in harmony here. Don't Save Me is a real grower. Try listening three times, and you'll love tuning in.

7) EFTERKLANG- The Ghost
I was captivated earlier in the year at their live show by The Ghost from Efterklang. There is something about how this develops which is enchanting. Just hear the way that this builds. Totally eye-catching in a live setting.

8) WHITE LIES- Big TV
Every single one of White Lies' records has been so epic. Listen once and you'll remember the rise and falls instantly. Then proceed to sing loudly whilst lead singer Harry McVeigh belts this out at the live show.

9) GRIZZLY BEAR- Gun Shy
This is a work of art; like most songs that Grizzly Bear produce. Builds relatively slowly to a waltzing layered finale. The two sets of lyrics rolled above one another is an enchanting masterpiece. "The sky keeps staring at me"...

10) LADY LAMB THE BEEKEEPER- The Nothing (Part II)
By chance, I saw Lady Lamb play a support set for Sarah Blasko at the Barbican Theatre. I went and bought her album (Ripely Pine) from the little merchandise stall outside the arena, and my purchase subsequently became my favourite record of the year. The Nothing Part II is a stand out tune.

11) SAVAGES- I am Here
Quite possibly the most powerful track of the year. If you want to forget the world or any troubles, press play on I Am Here by Savages. N.b It must be played loud.

12) QUEENS OF THE STONE AGE- My God Is The Sun
Doing it once again. Josh Homme and his boys hit the marks with their stand out record.

13) MADNESS- Misery
Continually bringing out the goods. Now they are older and wiser, the lyrics follow suit.

14) CAT POWER- Bully
Purely chosen following her performance on Later With Jools Holland earlier in May 2013. The Jools' clip is taken in a single shot. The performance has so much meaning; so much depth. I had such an emotional reaction after seeing and hearing this.

15) BOMBAY BICYCLE CLUB- Carry Me
Fairly new stuff from Bombay Bicycle Club; which sounds pretty good to me. Am going to have to see these live in 2014.

16) DUTCH UNCLES- Fester
I saw these supporting Everything Everything earlier in the year; this track was so hypnotic. Much more will be seen and heard of these in 2014.

17) STEALING SHEEP- Rearrange
Really ace little ditty. Not sure of the specific genre of the group; but is incredibly enjoyable to listen to.

18) DAUGHTER- Still
The most delicate sound. The most delicate of vocals.

19) MAJOR LAZER (FEATURING EZRA KOENIG)- Jessica
Something deeply unnevering about listening to this, yet at the same time utterly compelling.

20) EVERYTHING EVERYTHING- Don't Try
Simply a glorious tune, which rises and falls and in the live show is somewhat of a climax. "Cos it'll have you in the end! Whoah!"

21) POLICA- Chain My Name
Cannot put my finger on why I enjoy playing Chain My Name by Polica. The sign of a good record, perhaps?

22) ST VINCENT- Birth In Reverse
There's new St Vincent material in 2014; something which I cannot wait for. If this is anything to go by; we should be in for a treat!

23) THE STAVES- Facing West
Watford's finest siblings; this makes the hairs on the back of your neck stand on end. Not many songs make you want to hug the radio during playing. The harmonies here sound effortless; and it is audibly quite beautiful.

24) METRONOMY- I'm Aquarius
OK, it's only just squeezed out at the back end of 2013. So exciting a sound. Metronomy return in 2014 with a new record and a tour; and I cannot really wait. Matching the heights of Night's Out and English Riviera is going to be difficult. The first offering of any new material from Devonshire's finest.

25) JAMES BLAKE- Retrograde
The last three tracks have included many "oohs" and "aahs". The song lends itself to Blake's vocal. I am transported to a different place. Quite rightly the winner of the Mercury Prize. The album hasn't been far from my record player.

26) WILD BEASTS- Wanderlust
The first new offering from Wild Beasts since the Smother album in 2011. The sound is so rich, so deep and has such depths. The amount of work to get this sound so right is amazing. I cannot wait to hear more from the Beasts.

27) WARPAINT- Love Is To Die
I had the bars and guitar swirls drifting around my subconscious via continuous rotations on the radio throughout the latter part of the year. Warpaint have that organic ingredient that all bands should have; and that is that they are really, really good.

28) CATE LE BON- I Can't Help You
A track that found itself in my ears via radio play. I had to find out who this was by. I couldn't. Then I found who: Cate Le Bon.

29) LORDE- Royals
Possibly the only song on the list which is a "pop phenomenon". Don't go searching to any remixes or alternative versions; the original is the best.

30) DAVID BYRNE AND ST VINCENT (LOVE THIS GIANT)- I should Watch TV
A musical dream team, if you like. I saw their live show earlier in the year, and it was the happiest concert that I have ever been to. I Should Watch TV is taken from the collaboration album Love This Giant; which is well worth a listen.

What were your favourites? Have I missed any that really ought to feature here?

(This list was created purely for my own memories of 2013.)

Lady Lamb the Beekeeper- Hoxton Square Bar and Kitchen. Monday 14th October 2013.

To a room full of quiet appreciation and a dizzying flickering glitterball, Aly Spaltro took to the stage in total darkness. Anticipation to hear songs from her debut album Ripely Pine was the reason for the busy little crowd. Singing into the void with her opener Up In the Rafters; this opener was not an indication of how the set would turn out!

Bang! Straight into Bird Balloons. A song so utterly crazy with a ridiculous time sequence. Songs such as Aubergine and Hair to the Ferris Wheel shone out. The use of a drummer to assist was extremely welcome; and added some welcome oomph to the punchier numbers. The drummer wasn't always present; disappearing while some of the softer numbers in the set like Little Brother were played out.

Really though it is tracks like You Are The Apple and The Nothing Part Two which is the main reason why there is such a packed little crowd in this corner of East London. With the finale Crane Your Neck hitting all the right notes, Lady Lamb left you wanting more. She heads back to her homeland in the States tomorrow; but there is no doubt that she'll be back.

Lee Thompson's Ska Orchestra- St Albans Arena. Friday 3rd October 2013.

It wasn't so much a gig, more like a family party.

The St Albans Arena was not even a quarter full on Friday evening; but those who were in attendance; were either hardcore fans or relatives. Which made for an intriguing spectacle.

The Lee Thompson Ska Orchestra appeared on stage to around two hunded and fifty people; you could eavesdrop on every conversation in the room. In between songs the banter was rude and crude. Thompson is an entertainer; bouncing across the stage from left to right; saxophone in hand, cajoling and interacting with audience and his own band.

The songs were all from Lee Thompson's latest incarnation of solo work aside from Madness. The Benvolence of Sister Mary Ignatius has been a widely received album; and on the whole reviews have been quite complimentary. Ticket sales on the other hand have been poor; and for an eight piece band selling two hundred and fifty tickets for a show; the profits may just about have covered the last train home.

"We are a real proper band"; says Thompson as the set winds through. And as each track hit the spot, I loved it.