From the clubs of Berlin to the pubs of Birmingham, via Somerset and New York, our new music writers select their most memorable gigs of 2014.

Various Artists: I'm Just Like You – Sly's Stone Flower 1969–70

There were silly hats, and venerable, bouncy songs for all the family at the O2 last night. The traditional Madness December tour was Christmas come early for most of the audience, who sang about home, love, and the Middle East as they might do in church next week with rather less enthusiasm. The band’s original hits still hit the spot, though there was also a sense that, as with Christmas carols, the new ones mean well, but just aren’t as good.

Various Artists: Millions Like Us - The Story of the Mod Revival 1977–1989

Have you been to a record shop lately? Now that our honeymoon with virtual music is revealed as completely lacking romance, record shops are thriving again. And it’s not CDs these shoppers are after. Those have been squeezed off into a far corner stocking only immediately sellable fare such as The Beatles, The Smiths, Led Zep, and early Oasis. No, the rest of the shop has been taken over by hoards, layers, tranches of alphabetized 12” vinyl, ordered by genre. Whether it’s regarded as whacky retro chic or simply a return to the “good old days”, vinyl boom times are here.

The Human League front-load their set to such a degree it’s unclear how they’re going to maintain such momentum. Their stage set is amazing, just for starters. Stage-length steps rise up to a podium at the back, on which two synth-players are placed either side of the drummer, the backing band, all of them and all around in white. Surrounding the whole lot are three layers of equally white hoarding upon which projections and lighting effects envelop the performance. It’s extremely well designed, impressive and effective.

The Czars: Best of

With just over two weeks to Christmas, thoughts might be turning to which of the deluge of 2014’s reissues might be suitable as a gift, worth putting on your own wish-list for Santa or even merit buying for yourself. So if help is needed, theartsdesk is happy to provide a one-stop guide to the essential reissues covered so far this year.

The last time I saw Jon Hopkins he was bangin’ out techno to a marquee full of sweating ravers at a festival on the Silesian plains of Poland, one man and a small gaggle of black boxes. Today the boxes have expanded from a small gaggle into a congregation and he is joined, upon occasion, by guitarist Leo Abrahams and a violinist, as well as a hefty dose of backdrop visuals and lighting. He also has a grand piano to which he occasionally retreats so that he might play lilting pieces culled from his soundtrack to 2010’s giant-aliens-take over-the-Tex-Mex-border movie Monsters.

“I have quit smoking!” the rock star exclaims to rapturous applause, taking a luxurious drag on an e-cigarette. And the artificial smoke dissipates across the stage, revealing a 67-year-old Marianne Faithfull perched on an antique leather chair, shoulder raised and pouting as if caricaturing her own youth. It is a subtle and triumphant reference to her past of destructive drug abuse and yet tonight quite clearly shows that for Faithfull the stage (alongside nicotine replacement and a wooden walking stick) is now her crucial crutch for rehabilitation.