Back in 2006 the Fratellis came crashing on to the music scene on the crest of an Arctic Monkeys shaped wave. Two years and two albums later they are still going, despite being constantly lambasted by music critics for their simple pub rock band approach to song writing. They achieved great chart success with the debut but their follow up has not been received well and John Fratelli has been on the offensive since the release date. Tonight they play the second night of their two night tenure at the Roundhouse in Camden, not bad for a pub rock band.

Before they take to the stage fellow Glaswegians Sergeant are first on the bill. Touted as one of the bands to break big next year, they are full of confidence and their spell supporting Oasis seems to have rubbed off on Nick Mercer; for most of the performance the singer swaggers, Liam Gallagher style around the stage. Their sound is clearly rooted in the sunshine pop of the nineties. ‘Sunshine’ and ‘I love It Here’ are so La’s sounding that I feel like I’m back in school again listening to best of Shine 94. However it’s not all jangly guitars and Pop harmonies, debut single ‘K-OK’ has a much sinister and darker sound. For a band so young they are incredibly tight and Mercer has great voice which doesn’t falter once during the set.

With the roundhouse now full, a voice comes over the Tannoy and announces please welcome ‘The greatest Living Rock Band in the World’ - quite a claim for a band so early on in their careers. As you would imagine they work their way through tried and tested singles ‘Chelsea Dagger’, ‘ Mistress Mable’, ‘Creeping Up The Back Stairs and the crowd love it - there are scores of middle aged men and women dancing in the rafters, but I’m just stood still in the middle of it all confounded. Their appeal seems to be simple rock music with a nice catchy chorus, which even the most musically bereft person, can sing along to. Radiohead this is certainly not, John and co seem content bashing out songs that Status Quo would be proud of.

OK maybe I’m being little harsh. They do try and expand their sound on a few new songs, and the bass player is wearing a pink Floyd t-shirt, which is probably the most artistic moment of the night. But when they crank up the reverb and the distortion to try and create one of those much sort after walls of sound, the crowd just seem bemused by what’s going on and happily wait till they can all chant ‘ do d do, do d do’ once again. Clearly they are nowhere near being the greatest rock band but they do seem to be serving a purpose. If you fancy going to gig to get pissed and chant along to catchy rock songs at the top of your voice, then they’re the band for you.

Reinventing the one man band is not an enviable task, but when you’re the son of a mutli-million selling artist, it might just be possible. Liam Finn is the offspring of Neil Finn, of Kiwi soft rockers Crowded House fame. However do not be off by the connection. He hasn’t followed in his father’s footsteps and penned a load of bland easy listening tunes, instead the dishevelled pint sized rocker, opts for a much more experimental approach to song writing.

The Scala is packed tonight with his fellow countrymen, many of whom seem to have adopted his vagrant style and are sporting impressive unkempt bushy beards. Liam arrives on stage to a warm reception, and begins with the rather tame ‘Better to Be’. Things soon pick up when Liam shows why he is so good live. He picks up his guitar and starts hammering out the riff of ‘Better to Be’ and records it live, next picks up a bass guitar and does the same. With both tracks now recorded onto his box of tricks he jumps on to the drums and emphatically pounds away to give the song a devastating crescendo.

Liam continues in this manner for the rest of the set, injecting some much needed life and energy into songs that sound too pedestrian on record. However the set is not all crashing drums and psychotic effects pedals. The gentle harmonies on ‘To The Chapel’ bring a more peaceful element to the proceedings. On the title track of his debut L.P ‘I’ll Be Lightning’ he invites his co writer Charlie from support act Connan and the Moccasins, for a sing along. With Liam’s stage partner liza-Jane Barnes also taking to the harp for the song, the music quickly develops into live jam session.

Before he finishes he continues to impress the crowd with outlandish guitar antics and live mutli-layered recordings. No more so than on ‘Lead Balloon’, on which he invites the crowd to offer some vocals for recording. With the ‘Yeah Yeah Yeah’ backing vocals now taken care of he unleashes himself on his guitar, laying down some visceral riffs, and is joined by Barnes for some frantic rocking out.

Tonight Liam has done what every great live act should do. He has taken his songs to another level by reinterpreting them live, and injecting as much energy and life into them as possible.

There was a heightened air of anticipation surrounding tonight’s gig. As we began to queue the Russian bouncers informed us that this is one of ULU’s busiest ever gigs, so busy in fact that they had to man every bar in the venue. The bars themselves were packed four deep, with indie veterans who remember when The Strokes were lacing up their first pair of Converse and Nu Rave didn’t exist outside the world of The Rapture. During this time The Walkmen were considered just as an exciting prospect as Jack and Meg, but for some reason they just didn’t break the mainstream. With five albums now under their belts maybe now is their time.

Before they play tonight, Sheffield garage rockers The Hosts stylishly take to the stage all dressed in black suits and adorning vintage guitars. Their sound seems to mimic the headliners, but with a more upbeat tone. As front man Tom invites the crowd to sing on ‘Don’t Waste Your Time’, their pop sensibilities appear and the crowd duly respond. New single ‘Wake up’ goes down well; it’s catchy enough for those who haven’t heard it before to enjoy and yet still shows off the bands musicianship. They finish their set to mild applause, which I thought was a little unfair but indie vets are notoriously difficult to please.

The crowd eagerly wait in anticipation for Hamilton Leithauser and co. to appear, pushing their way to front of the stage. After a long interval, which was due to Hamilton having to teach the brass section all the songs before the show, they walk on to the stage to loud chants. The beautiful melancholic guitars of ‘New Country’ begin to play, then Hamilton’s Dylan-esque voice gently plays above the effortless music. They continue to showcase the new album, including current single ‘In the New Year’ until old favourite ‘Thinking of a Dream’ picks up proceedings with it’s more direct and powerful sound. Hamilton begins to show off his vocal talents as he delivers each line with brooding passion.

The old favourites continue with and ‘Donde Esta’, which stirs the crowd before launching into ‘The Rat’, which sends them into raptures. They finish on ‘What’s init for me’, a perfect example of their ability to craft beautiful dramatic songs. As they walk of stage the crowd chant for more and as expected the encore ensues. To finish their mammoth 15 song set they play the beautiful ‘Louisiana’. With its catchy melody and Hamilton’s poignant vocal harmonies it’s amazing how this song is not more widely know. The Walkmen have shown their strength in depth tonight, and hopefully more and more fans will hear of this much over looked gem of a band.

In a music scene where bands can headline a festival of the back of one album, where so called indie heroes are farmed at private drama schools, and the cut of your jeans is just as important as your musical influences, there surely needs to be a reversion to the days where bands wanted to make music for the love of it and not just to find their fortune and glory. Thankfully Barnsley, of all places, might have just found the answer.

But before we get to the main event, northern lads The Glavins start the night off. They play a very nostalgic set of nineties Brit Pop style songs, which leave very little to the imagination. If you was there the first time round and listened to anything by Cast or John Power's previous incarnation the La’s you’ll find yourself very much at home with these songs, however for the rest of the audience it’s enjoyable upbeat music but just a little bit tame.

To bring us back up to the 21st century, Domino State try very hard to achieve Verve style grandeur yet seem to fail at the last, leaving them sounding more Snow Patrol. Their sound is strong in places, but just does’t fill the room. Instead it stays confined to the stage very much like the front man’s faux passion, which fails to make any connection with the audience.

With the niceties now over the crowd wait in anticipation. As The Doves anthemic classic The Cedar Room begins to play, out swagger Exit Calm like their about to headline Wembley. With no introduction they launch straight into ferocious opener, ‘Don’t Look Down’, their music is instantly arresting, a powerful yet ethereal wall of sound, underpinned by a heavy bass groove. Unlike most bands who attempt such epic musicianship, the singer is not lost amongst all the swirling guitars. Instead Nicky Smith’s presence is bigger than the sound the band is making. Like every good front man he needs no instrument to hide behind, he is lost in the music feeling every note that is played, yet still mangers to passionately deliver his brooding lyrics.

Rob Marshal’s control over his guitar is astonishing, as he frantically plays he produces a relentless sensory onslaught which leaves you transfixed, yet still manages to produce some very delicate and intricate melodies. As ‘Higher learning’ begins the haunting intro is spine tingling until the bleeding guitar kicks in and blows you away. It’s a song that would easily sound at home on the Verves debut L.P ‘A Storm in Heaven’. As Simon Lindley settles into another bass groove for ‘You’ve Got it all Wrong’, Nicky goads his band mates into playing louder and harder, building the intensity of the performance. The crowd seem unnerved by the sheer force of the music yet all gently nod along in unison, until the set ends on their forthcoming single ‘ Were On Our Own’.

For a band that has only released one single, they already have a live show that is unrivalled by any other new band. What sets them apart from the rest is the sheer intensity of their music and their passion for playing it, as Nicky recently said in an interview “We mean it. No fucking about.”

Like most people on a Tuesday night, I’m often found sat in front of the telly watching cockneys berate each other, however the offer to see a band touted by some as the next Manchester greats and a chance appearance by guitar god Nick McCabe, was more than enough to persuade me to give it a miss. So once again I find myself upstairs in a charming east end boozer, this time the Old Blues Last. With it’s blacked out windows and lowly four school chairs the venue certainly has a rustic charm, which is more than complemented by openers The Shutes appearance.

Standing at the front of the tiny stage, front man Michael champion releases an unnerving shriek. A look of confusion suddenly appears on the crowd’s faces as they try to comprehend the bizarre shrill coming out of the singer’s voice. However by the second song ‘Alternative Away’, all fears are gone. The singer’s voice begins to play majestically with the bands retro garage rock, resulting in a multicoloured psychedelic rock sound, reminiscent of the Stooges and The Doors.

‘Park Bench Blues’- yes that really is the chorus, reveals their ability to build a song out of seemingly nothing. Beginning as something you’d expect a couple of stoned students to knock out in an evening, the song eventually builds into a driving anthem. ‘Hits Like The Morning’, is a beautiful sun drenched pop song that could have easily been lifted of Rubber Soul. The only downfall is that their set lacks any thread. The songs go from Beatles-esque pop to full blown psychedelic, then back to garage rock, but without any direction. However given their quality they could well follow in the path of their musical and home town luminaries the Bees.

With the room now packed Lowline cram themselves on to the tiny stage and without any introduction launch straight into opener ‘Last Chance’. Robbie Rush’s vocals are powerful and the guitars ferocious, leading the crowd to draw nearer the stage. ‘Army of youth’ is a straight forward over drive laden rock tune, with distorted guitars and a driving beat. By the time they reach former single ‘Monitors’, a song crafted in the great Manchester tradition, Robbie seems more relaxed and confident as he delivers his brooding lyrics. As the set continues with ‘Outside’, Lowline seem to be invoking the spirit of the great shoegaze bands of the past and blending them to create a devastating sound of their own.

‘Sound of music’ is an awe-inspiring song to finish on, the pounding beat drives on as the bleeding guitars build and build, whilst Robbie voice towers above it all, leaving the crowd thunderstruck. The band walk off to the sound of rapturous applause and screams for more, something I’m sure they will have to get used to. On the evidence of tonight’s show, Lowline do live up to the hype and quite possibly could be the next Manchester greats.

The job of a club promoter must be hard at times, having to book the right bands to attract a big enough crowd, setting the bill just so as not to bruise any egos and finding the perfect blend of musical genres to make a night a success can’t be easy. The promoter behind tonight’s event is either trying to break the mould or had taken a few too many narcotics when setting tonight’s bill. They have combined straight up Indie Rock, sixties physcadelica, Indie Disco and in the bar Dubstep and Drum & Bass. This might sound like Late of the Pier performing their new album, but in fact the music comes courtesy of London’s Officer Kicks, Northern lads Alvarez Kings and Welsh psychedelic throwbacks Radio Luxemburg.

First up on the eclectic bill are Officer Kicks, the four piece casually stroll out on to the stage and lead singer JR, toting over sized white sunglasses and a sparkly head band the result of four days at the secret Garden Party, promises us we are in for a "Fucking Rock and Roll Show". From the first song the band duly deliver, they play uncomplicated, pounding, riff laden rock music. Despite the room only being half full the band still manage to stir the crowd, enough so that three business men to the left of me, who at the start looked like they had walked into the wrong pub, have started head banging like giddy teenage boys at their first Guns and Roses concert. Their music is incredibly infectious and uplifting, you can’t help but feel the urge to rock out when you here the likes of, The Chopper and Dirty Sally.

Having just witnessed a classic rock n roll show, we were eager for some more music. Next up were the Alvarez Kings, the four piece from all other the north look like the archetypal band skinny jeans, trucker shirts and Beatles hair cuts. Unfortunately they don’t seem to have the music the back up the look. The set does start well, the bass lines are thumping, the drumming is frantic and the guitars are piercing, however after a few bars this all just melts into one big noise. As the set continues it becomes hard to distinguish between the songs, usual highlights 'Despair On The Stairs' and 'You Me Them and Us', just fade into the background, this sentiment is not just felt by me but by the rest of the crowd who begin to head for the other bar. Having heard their music on record I was surprised at how bad they sounded here, their musicianship is normally excellent, but tonight they boys just can’t seem to get it right.

After the last band’s failings hopefully Welsh kings of Psychedelic rock Radio Luxemburg can end the night on a high. On stage appears a Donny Osmond look a like, in jumbo flares and a Hawaiian shirt, closely followed by the rest of the band who resemble a bunch of sixties, Pink Floyd obsessed students, at this point I can’t help but feel that this is going to be terrible. However the set does start well, their sound is very powerful almost like Syd Barret era Pink Floyd on speed. As they continue, they draw upon more influences such as Arthur lee’s love, for Voyage to St Louiscious, and more than once the Beach Boys to produce a mesmerising set of psychedelic pop. On the evidence of tonight’s performance Radio Luxemburg effortlessly blend psychedelic rock with beautiful harmonies to produce infectious pop songs, however It’s very hard see where they fit in today’s music scene but if you are into your retro sixties music they are well worth the money.