The Hertfordshire market town of St Albans has not hitherto been renowned for its buzzing music scene: its hall of fame contains but a handful of names from the pop pantheon, most notably Enter Shikari and Lowgold (unless you count the fact that David Essex lives there). It’s not exactly Chicago in the 1950s or Liverpool in the 1960s. But now the citizens of this former Roman stronghold can hold their heads high, thanks to the emergence of Friendly Fires.

How do you forge a pop career in the shadow of the biggest pop star on the planet? What is perhaps forgotten about Janet Jackson is that not only did she pull this off, but for a while she actually overshadowed her older brother. But this documentary doesn’t really dig deep enough, in that it never even begins to answer the question: how did she remain so - relatively speaking - level-headed and grounded while growing up in this most famous and, some would suggest, dysfunctional of families?

Funkier than a James Brown bridge, the mighty Soul Rebels Brass Band swung back into town last night and flattened all before them. Possessing that rare combination of serious chops, impeccable stagecraft and down-home soul, they confirmed their position as one of the most explosive live acts on the scene. From the very opening bars of Stevie Wonder's “Living for the City”, taken from their current Rounder album Unlock Your Mind, the Soul Rebels had the entire QEH off their seats.

Where’s the African car? Seun Kuti wanted to know. There are German cars, Chinese cars (he grimaced) even Brazilian cars. At least, anyway, there is “original African music”, not traditional but something new. Actually, not entirely new, as some of the music and some of his band, Egypt 80, were that of his father, that visionary genius, subversive and sex maniac Fela.

Joker, aka 22 year old Bristolian Liam McLean, is one of the most individual talents of the dubstep/grime generation. His long run of dancefloor-directed single releases, some originally recorded when he was in his early teens, showed natural gifts for finding the funk in the sparsest rhythms and for frazzlingly catchy melodic synth riffs which meant his productions leapt out of DJ sets wherever and whenever they were played. Now, following a quiet 18 months, his debut album shows that he's not content to rest on his laurels.

This is a strangely kaleidoscopic approach to documentary. A selection of recently unearthed footage and interviews which shows the Black Power movement in the USA through the eyes of idealistic Swedish film-makers, now re-edited and framed with the voices and music of both modern and veteran black radical cultural figures, it provides a disorienting, shifting set of superimposed viewpoints of a period in which in any case change seemed to be the only certainty.

There’s more than one way to reinterpret or simply embrace the extraordinary wealth of Ethiopian music that Francis Falceto has given us with the still growing Ethiopiques CD series of 1970s Ethio-jazz (as the style has been inadequately labelled). For example, Dub Colossus were seduced by the dissimulating aspect of the music that they felt it shared with dub reggae. And the Heliocentrics embraced its “otherness” over which they imposed their own art-school sensibility. Somewhere between these two approaches comes Switzerland’s Imperial Tiger Orchestra.

I'm not quite sure why Anthony Kiedis bothered to put on his multicoloured frock coat. It certainly wasn't to keep warm. The atmosphere in Koko was positively volcanic even before the Red Hot Chili Peppers appeared on stage at this exclusive Radio 1 showcase. Highlights are due to be broadcast during Zane Lowe's show on 12 September from 7pm to 9pm, but a radio airing will convey only a miniscule fraction of the zip of this age-defying band.

In 1989 when Lenny Kravitz released his debut Let Love Rule people complained that he had failed to quite master the Sixties influences that cut through it. They were wrong. That year it made Kravitz the most exciting black/white crossover artist since Prince. Since then, his path has been mainly a little more straightforward - maybe a little retro, but still consistently stirring. However with Black and White America Kravitz has again thumbed back through his Black-American songbook to find new styles with which to score his treatise on 21st-century race relations. Is it as good as Let Love Rule? Simple answer, no.