Walking into London’s cavernous O2 Arena for Peter Gabriel’s So 25 show last night felt like stumbling onto the set of some David Lean epic: Peter of Surrey, if you will. With a number of imposing lighting and camera rigs framing the already roomy stage, the show’s chroniclers sat perched perilously in suspended chairs with their equipment focused on the band setting up before us.

Of the many challenges facing a contemporary jazz quartet, there are, perhaps, several more pressing than becoming a gentleman. For this extraordinary band, their conviction derives from the affection, respect and detail with which they synthesise such a breadth of jazz tradition. Just arrived in London for the final leg of a tour to launch their second album Internationally Recognised Aliens, this first night of four at Pizza Express was an utterly compelling statement of that identity, spanning several genres of the contemporary jazz guitar.

“We grew up like animals,” says FAME Studios’ founder Rick Hall of his upbringing. “That made me better… I wanted to be somebody.” He did become somebody, and in the process put Alabama’s Muscle Shoals on the map. This film tells the story of how a small city birthed some of the greatest American music of the 20th century, and of the ripples which subsequently spread. The Rolling Stones recorded there in 1969. Five years earlier they had released their version of Arthur Alexander’s “You Better Move On”. Hall was behind the original, his first production.

Thirty seven years since first breaking into the public consciousness and following a period being regarded as punk’s pantomime dame, John Lydon is now finally reaping wider musical recognition and kudos. Recent times have seen a revitalisation of Public Image Ltd (albeit in the guise of a cottage industry and completely on their own terms) with extensive touring and the muscular return-to-form album, This is PiL.

Madness: Take it or Leave it

"We got 42 years of music to lay on you" is an audacious opening statement for any live band, but when the speaker is Phillip Bailey, lead singer in the current reincarnation of the legendary Earth, Wind & Fire, it is a statement of intent. Playing at the palatial Albert Hall in support of their new album Now, Then & Forever, the current line-up of young session players, complementing the core trio of Bailey, bassist Verdine White and drummer Ralph Johnson, proved without a shadow of a doubt that they still have the energy and skill to hold a crowd enraptured.

Without doubt, 2013 has been the year of Rudimental on Planet Pop: a second number one single with “Waiting All Night”; a number one debut album with Home, hugely successful festival appearances, and plenty of TV coverage. It’s no wonder that the youth of the West Midlands (and some of their mums and dads, by the look of things) turned up to see the band in their droves at this O2 Academy show that’s been sold out for weeks.

You couldn’t help marvelling at how good Alison Moyet looked. It wasn’t just her dramatically slimmed-down physique, but also the sense of her being truly comfortable in her own skin. Partly, that may have just been a result of an increasingly optimistic outlook. But also it seemed to emanate from Moyet's confidence in her new material. Since its release in May, her new album, The Minutes, has been well received. Could the songbird from Billericay also work that synth-heavy magic, live?

Read anything about rock music in the Seventies - about British hard rock music in particular - and three bands are pushed forward as titans: Black Sabbath, Led Zeppelin and Deep Purple. However, while both Black Sabbath and Led Zeppelin have gone on to receive widespread critical acclaim and massive sales since their glory days, Deep Purple have assumed the position of a guilty pleasure – at best. How is it that the band who produced songs such as “Black Night”, “Highway Star” and “Smoke on the Water” have not been subject to a whole Friday night’s coverage on BBC Four?

If Glasgow was to find a little corner for the traditional spirit of vaudeville to live on, it would make sense if it was this one: set the basement of a 19th century church with an audience sitting in lines on gold-painted seats; and two highly accomplished songwriters introducing each other with the sense of ceremony you so rarely find at concerts these days.