When you have quite as much going on as 10-piece (in their current form) experimentalist Canadian indie band Arcade Fire do, it’s hard to know where to look. It’s a fact they’re aware of, and it seems like they even riff on it quite heavily with the overwhelming presence of the fragmented, fractured aesthetic of their latest album Reflektor at Earls Court, on the first of their two-night run.

Oasis: Definitely Maybe

Sliding onto the stage of the O2 Arena in a leotard emblazoned with her own mouth and tongue, Miley Cyrus immediately starts bouncing around screaming, “I’m not going down without a fucking fight!”

There might seem to be a world of difference between Israeli director Eytan Fox’s last film, the coming-out-of-grief, intimate drama Yossi, and his new movie, the delicious, prove-what-you-can-do comedy musical Cupcakes. But both are about moving towards a better place, and overcoming the obstacles encountered along the way, with a little help from your friends.

When the red curtain opens - or drops with delicious melodrama - on the second night of Taylor Swift’s residency at the O2 Arena, the first thing you notice is her eyes. We’re a crowd of thousands, packed into the second largest stadium in the UK, and with our monumental collective gaze directed at one person you wouldn’t expect such intimate details to translate. But Swift need move only her eyes to elicit screams like you’ve never heard in your life. She swoops them oh-so-slowly to the right, pauses, then to the left, pauses, smiles.

Once upon a time, there was an assumption that the DJs and remixers who emerged in the late 1980s would kill off touring bands like Depeche Mode. As it turns out, nothing could be further from the truth and 34 years since they first got together, Basildon’s finest are not only still providing remixers with plenty of raw material for their craft, but they are reproducing their recreations in the live arena.

Despite his nickname and habit of doing a bunk, George “Shadow” Morton was one of America’s highest-profile and most distinctive producers and songwriters. He was responsible for shaping the sound and style of The Shangri-Las, Janis Ian, Vanilla Fudge and The New York Dolls. Until the release of Sophisticated Boom Boom!! – The Shadow Morton Story, the musical side of his story had not been told. A consummate collection, this significant release was pulled off with style. The packaging was superb, as was the annotation. Its music was amazing too.

Screens dominate the stage at London’s O2 Arena for The Big Christmas Reunion, which seems fitting given the show is an extension of ITV2’s reality series following 5ive, Atomic Kitten, Honeyz, Liberty X, B*Witched and 911 as they get back on the pop wagon a decade after they were all disbanded or dropped by their labels. The giant TV portals loom not just physically but structurally over the whole event, introducing each act with a reel of bland skits and intro VTs borrowed straight from the small screen.

There’s something in the vocal delivery that calls for comparison to countrywoman Leslie Feist - a subtlety, an unreal-ness - but on her third, self-titled album Canadian songwriter Hannah Georgas has honed a sound of her own. What could easily have been your run-of-the-mill, heart-on-sleeve singer-songwriter material spent a little time in the studio with Graham Walsh of Toronto-based electronica act Holy Fuck and came out with its soul intact, but with just enough bite to make these songs stand out.

Oh dear, there it is – the career-plateau pot-shot at “journalists” and “critics”. It comes about halfway through the album, on the otherwise really good 1970s blues-rock-sampling “Looking Down the Barrel”, and it cements a sad feeling that's been growing throughout the record that here is an artist who's achieved some success and now has nothing to talk about except what it's like to be an artist who's achieved some success.