For a moment during the Arctic Monkeys final live performance of 2009, perhaps even a micro-fraction of a moment, I was fully sold and convinced the lads from Sheffield were the world’s biggest rock stars. Listening to all three of their distinctive records, I can believe it, but up until this point each of their Montreal shows were listless and provided conclusive proof there were in fact teenaged Britons hidden behind their shiny Brit-pop armour.

So what made this gig, in support of the supremely underrated and mature Humbug, that much different from the generational zeitgeist that followed them to the late Spectrum in 2006? Or the alcohol-free daycare snoozer a year later at Olympia? Or a deuce of Osheaga sets? Well, like any good rock band in the proper British tradition, the Arctics have been taught to stand there and re-enact, occasionally pacing around with Gallagherian/Brownian swagger to denote old school, “I Am The Ressurection”-style attitude. Their early shows suffered as the hyperactivity of the material prevented them from even taking a swig of beer in-between songs, but conversely that was a major part of their youthful charm they played fast and they played infallibly. Top marks for not trying, if you will.

Anyway, the aforementioned Arctic Monkeys eureka moment happened not as they were hammering out crowd pleasers “Brianstorm” and “I Bet That You Look Good On The Dancefloor” with the type of blinding speed that would have you assuming the stage smoke was emanating from their melting hands. It was during the southwestern-flavoured Humbug openers “My Propeller” and “Crying Lightning,” both of which make up for their lack of flash with steady build-ups and intricate layering. They might seem like stoner rock downers on the Josh Homme-produced record, but on stage, the lugubrious, ominous “coax me out my loves” from the former ticked like an imminent time bomb set to go off, and frontman Alex Turner didn’t disappoint when the time came to whip the crowd into a frenzy, over-annunciating every “propeller” like a skeevy cowboy who’d spent too much time in the cactus patch. Humbug is twisted, horny and less about the big hook than the murk in-between it. Turner got most of the credit, but Jamie Cook stole the show on “Lightning,” with every piercing guitar twang cutting through the dusty musical desert.

Popstar Leona Lewis is hoping that her new album release will go as well as her previous material. The singer from East London shot to fame of reality TV show X Factor. Leona Lewis has recently said that she wants to get into film script writing as she is such a huge movie fan.

While the sales campaign for Leona Lewis’ mine was run-free, setup for his follow-up of “ECHO” – released November 16 in the United Kingdom on Cowell’s Syco Music and a day later in the United States on J – has been anything but satisfactory.

Only in mid-August, three songs from the album sessions leaked on the Internet, reportedly after Syco’s IT system was the Bank.

Then Leona Lewis was assaulted Oct. 14 in a London book signing for her autobiography, “Dreams.” The man was accused of stamping her in the head were committed under the UK Mental Health Act.

“It was a shock,” Lewis said of the attack, which left her bruised. “I was very sore. The important thing is that I am is still alive.”

With time billboards caught up with her for two weeks after the incident, she was able to smile through it, especially the voice reports to Lou Al-Chamaa – childhood sweetheart with whom Lewis still lives in her working-class neighborhood home in Hackney, North East London – hastened to deal with her assailant.

“He’s not even there,” she said. “It makes me laugh. I am sure that he was present, he would have. My dad and my brothers were not there (either). They will generally be different things I do. But I’m running so glad that they were not. Because, oh, my god … ”

The anti-piracy measures that have been the butt of much criticism and protest recently are all set to become law soon. This was confirmed by business secretary Lord Mandelson. The tough stand against piracy and file sharing came as response to an appeal for stern measures against such illegal activities by some industries like music and movies.

Lord Mandelson has confirmed that these regulations will come into force in 2010. Initially, they will be milder provisions that will authorise bandwidth squeezing for those users who are suspected of such illegal online use. Warnings will be sent to repeat offenders. If these warnings fail to deter them, a second law that will be enforced in 2011 will authorise disabling of internet account for habitual offenders. However, the user will still have the option of appeal.

Costs for these monitoring systems will be borne by content providers and internet service providers. Ofcom has been asked to take charge of monitoring and tracking usage online.

Predictably, providers have raised their objections in response to this announcement. TalkTalk, one of the topmost internet service providers, has made its stand clear. The provider is set to go to court if asked to implement any monitoring measures within the purview of this new law. Providers and the public have been making their disapproval of this law very evident ever since the plans were first outlined.

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The unbelievably talented Scottish bloke with an Italian name, Paolo Nutini, keeps the charming and soulful hits coming, with ‘Pencil Full of Lead’ being single number three from his most recent album “Sunny Side Up,” which was released in May this year.

Despite being a relatively short track at just 2:27, ‘Pencil Full of Lead’ is a feel good, up-beat event with lyrics “I got a shelf full of books and most of my teeth / A few pairs of socks and a door with a lock / I got food in my belly and a license for my telly / And nothing’s going to bring me down.” The use of a jazz trumpet gives the track an old school 20’s flapper vibe and a blazing harmonica interlude sneaks in a little country for good measure.

Paolo Nutini released an official video for the tune in October, which sums up the song nicely, if not a little disappointing to be void of the actual man himself. A more authentic and definitely more enjoyable rendition of the track shows Nutini playing with his band The Vipers backstage at a preview show he performed back in April.

Nutini has concluded that Sunny Side Up is his “light at the end of the tunnel” album, and ‘Pencil Full of Lead,’ is definitely dazzling proof of that.

Backstage at London’s Hammersmith Apollo he answers questions thoughtfully in a thick Scottish accent. And, as tonight’s joyful performance shows, his recent American tour has left him match fit.

“We covered lots of ground over there and it had a nice vibe,” he says. “The shows were recorded and made available to buy as people were leaving the gig. That brings pressure, but in a good way.”

Nutini’s world class vocal sound got him taken under the wing of legendary Atlantic Records mogul Ahmet Ertegun before his first album. Now he looks after his greatest asset in his own way.