Cult Called Man launched their second EP, Mr. Wednesdae, in Whelan’s last Thursday. The six piece from Meath have been gigging around Dublin for a few years now and the practice they have put in is really starting to show.

They hit the headlines earlier this year by writing an open letter to Modest Mouse asking for a support slot. Their bid was unsuccessful but they did gain plenty of exposure in their attempt. Also, given the general reaction to Modest Mouse’s Helix appearance and the appalling sound quality, it might be for the best that they didn’t get the slot.

They kick off on the main stage at 2200 and the kinetic energy is abundant from the first beat, with all six of them constantly in motion and dancing frenetically. The set is diverse in influence and in execution, drawing from ‘70s glam rock and ‘80s new wave dance music. Like an old pop band, each song has a different feel and rhythm to the last. The diverse selection of tunes is delivered flawlessly and with great enthusiasm.

And no one is more enthused than lead singer Luke Razmo. Razmo has the look of Neil Hannon about him but, rather than The Divine Comedy’s louche baritone, his vocal style is reminiscent of Kevin Rowland, with a bit of David Byrne thrown in for good measure. While the rest of the band lay down harmonies that are tighter than a gnat’s chuff, Razmo yelps, croons, and howls over them with a degree of vocal control and finesse that is rare. He comfortably mixes smooth pop singing with expressive performance, even while singing through a megaphone.

The rest of the band are no slouches either, delivering those harmonies with verve and panache, and looking damn pleased to be doing so. If Razmo is Kevin Rowland then Cult Called Man make a fine Dexy’s Midnight Runners, though thankfully without the dungarees. Like Dexy’s, the style is open and they refuse to stick to a single genre or approach from one song to the next. They are tight and accomplished without feeling the need to show off, and possessed of an unapologetic pop sensibility. Every note and beat serves the delivery of the song.

Cult Called Man are a genuinely talented band and an uplifting live experience. Word seems to be spreading about them and they are doing well to get a couple of hundred people into Whelan’s on a Thursday night. They’ve come a long way in the past few years and it will be very interesting to see where they are a year from now.

Despite the soaring temperatures outside we find ourselves, in what feels like a sauna as Frankie & The Heartstrings are about to take to the stage on the day that their third album Decency is released. They’re in typically high spirits as Frankie Francis and the rest of the guys take to the stage, it’s been a remarkable two years for these guys with awards for being the hardest working in band in music. As well as running the wonderfully successful Pop Recs in Sunderland, and despite the small glitch in the life of Pop Recs we hope it will find a new home very soon.

They waste very little time in getting stuck into the new tracks with title track Decency being the first out of the blocks, as ever Frankie rules the stage as he shimmies about the stage crooning over this adoring crowd. As the older tracks provide epic sing alongs Photograph being the first of the evening but its followed by a plethora of others including That Girl That Scene.

Their jaunty prowess is never in doubt, yet these classic tracks provide the perfect reminder before they delve into the bowels of their new release. Balconette is perhaps the closest to the older tracks and subsequently garners a similar reaction to the aforementioned tracks. However, the other tracks from Decency go down incredibly well to, they’re more mature in their sound and outlook but still contain that Frankie & The Heartstrings magic.

Hate Me Like You Used To being the perfect exponent of this, its harsh undertone and heartfelt lyrics go down well despite the jovial atmosphere. As does the equally deep Someday Anna, their set moves along at a phenomenal pace as Frankie welcomes a horn section to the stage. As they take to the stage the set transcends its previous pace and moves everything up a gear, Money easily becomes the highlight of the night.

Its upbeat party atmosphere that’s cut with Frankie’s trademark deep lyrics, providing a moment to savour. Frankie & The Heartstrings are in insurmountable form this evening, an undoubtedly jubilant celebration to mark the release of their incredible new album. As the band close out the night with a quick costume change into their striking blue suits, rousing versions of both Think Yourself Lucky and Hunger capping off an incredible evening of fantastic music.

Though it may not have the same bank balance as the country's bigger festivals, for its size Y-Not can still pack a pretty big punch in terms of line-up. Previous acts over the years have been the likes of Jake Bugg, Maximo Park, Feeder and Miles Kane have all graced the various stages on offer, but with this year marking the festival's tenth anniversary, organisers have pulled out all the stops to bring Y-Not regulars something really special. And though we can't highlight every band on offer, below are a few Muso's Guide will be making sure we see.

Snoop Dogg: Someone who needs no introduction, Snoop will be headlining the main on stage on Friday, and with a career that spans three decades, you can guarantee he'll drop some absolute classics in to his set list. From gangster rap to his bizarre sojourn in to reggae as Snoop Lion, even the occasional foray in to pop, there's not much Snoop hasn't touched on over that time. Thankfully it's been a good few years since his visa ban, so we can rest safe knowing that those of us at the main stage come the Friday evening, will definitely be in for something special.

Honeyblood: Another of Friday's Main Stage band's, Honeyblood are a Scottish duo, whose fuzz-soaked indie-pop is sure to brighten up anyone's afternoon. With their debut self-titled LP released last summer to much critical acclaim, their sun-bleached fuzz-pop is the perfect antithesis to the Peak District's often grey weather. And if, above all expectations, the sun does make an appearance, it'll go down even better.

Less Than Jake: Anyone who has seen Less Than Jake before can attest to how good they are live. Upbeat and somewhat anarchic, the Gainsville ska-punks will headline the Quarry stage on Friday. A definite difference to Snoop over on the Big Gin, but for those who prefer their music to include a less bass and a lot more brass, Less Than Jake would be the ideal ending to the first day.

Alright The Captain: Fans of crazy time signatures and noisy post-rock could do far worse than spending an hour with Derby's Alright the Captain. From the abrasively discordant to puzzlingly harmonious, for just a trio the band make a noise that's as uncompromising as it technically proficient. Leave any preconceptions as to how songs should be structured behind and go and kick off Saturday by losing yourself at The Giant Squid stage.

Allusondrugs: Arguably one of last year's break-out bands, Leeds grungers Allusondrugs have been tearing the UK a new one since the summer of 2012. Tipped by the likes of Kerrang! and NME amongst others, you can almost be certain it won't be long before the band are gracing the main stage at the likes of Reading & Leeds or Download. Catch them on Saturday afternoon on the Giant Squid stage to see for yourself what the buzz is about.

Summer Camp: Influenced by both '60s girl groups and '80s synthpop, husband and wife duo Summer Camp will be bringing their own brand of indie pop to The Quarry Stage on Saturday afternoon, offering festival goers a break from the weight of The acts on the Giant Squid stage. With the band's somewhat downtrodden lyricism juxtaposed by their sunny exterior, it's sure to be a set you don't have to feel guilty dancing to.

Ocean Colour Scene: '90s legends in their own right, Ocean Colour Scene take to the main stage on Saturday before headliners Basement Jaxx. Much like last year's Shed Seven, OCS offer those old enough to remember them a chance to relive the '90s in a much purer sense than hearing 'Common People' played for the fiftieth time at your local indie club. Also, having given us the soundtrack to TFI Friday as well, it's easy to imagine the band enjoying a pending surge in popularity.

Johnny Marr: Perhaps one of the most prolific artists on the line-up this year, former-Smiths man gone solo (by way of Modest Mouse and The Cribs, amongst others) Johnny Marr is Sunday's penultimate main stage act (Primal Scream will close out the festival). Easily one of the country's most loved indie musicians, his set promises to blend tracks from his days in The Smiths with his more recent solo material, making for a memorable final evening.

Augustines: Before Johnny Marr however, Augustines are on the main stage, making for a clear choice of where we'll spending our last few hours. Known for their intense live shows and fraught lyricism, the Brooklyn-based trio will set the bar fairly high even for the headliners. Having lost the 'We Are' prefix from their name last year's self-titled Augustines, and segued in to the realms of stadium rock, there's no doubt that, even for a three-piece, they'll make a huge impression.

Rolo Tomassi: More noisy math-rock on Sunday courtesy of Sheffield's Rolo Tomassi. Taking their name from the fantastic LA Confidential, the band were making big waves on the underground before breaking through in the mid-00s. Now on their fourth album (as well as more than a handful of splits and EPs, Rolo Tomassi are proof that being a little bit different works. You can catch them on The Giant Squid stage on Sunday afternoon.

King Pleasure and the Biscuit Boys: A count-down of some of the best acts of the weekend wouldn't be complete without the bonus inclusion of Y-Not staples, King Pleasure and the Biscuit Boys. Having become a regular feature of the Y-Not line-up it wouldn't feel like the festival without getting to hear some swing. Taking to the main stage on Sunday afternoon, they're sure to inject a little silliness in to the weekend's timetable.

But follow it it did. On balance it probably actually even surpassed it, a feat in no way thought possible a mere 24 hours before.

Newcastle’s Ferriday Fireballs started us off tonight with their stripped back and primitive (lap steel guitar aside) rock ‘n’ roll. Clear winners in the least amount of drumkit stakes they pounded their way through recent single ‘Your Love Must Be Destroyed’ and plenty of other original material along with The Damned’s ‘I Feel Alright’ and Bo Diddley’s ‘Who Do You Love?’, a tune fast becoming ubiquitous this weekend. Well received by those sensible enough to be in a the start of the night theirs was a pithy reminder of the basics required to whip up a crowd.

Next up was an act that, for a few of us, were practically a litmus test of the whole event. Having seen The Baron Four just a couple of months ago at Cosmic Trip and been pretty underwhelmed (not that they were too pleased with the set up themselves) their performance here had a lot riding on it. What followed was like the difference between black and white. In intimate surroundings and with practically perfect sound to boot they were little short of wonderful. On record their commitment to authenticity clearly belies the fact that they can thrash it out and leave a crowd breathless when playing live.

Described later by one festival goer as almost a “religious experience” their interpretation of Swingin’ Blue Jeans numbers as well as their own recent single on State Records and many more originals, Mole being a highly entertaining drummer to watch and Mike Whittaker getting in amongst the audience elevated this to one of the finest performances I’ve seen at home or abroad in the last few years. Incendiary is probably the best way to sum it up in a single word.

Following this was always going to be difficult but Hipbone Slim & The Kneetremblers, providing Bruce Brand with his third stint of the weekend behind the drums, were on hand to give it as good a try as possible. Opting for the jumping on the table method Sir Bald Diddley managed to create some excitement at the risk of personal injury (it wasn’t a large table) and as with the opening night it was good to see an upright bass being put to good use. They inspired plenty of dancing and upcoming single ‘You Ain’t Got A Leg To Stand On’ shows they’re not slacking off in terms of new product.

The penultimate act tonight were what passes for a supergroup in the confines of the UK garage scene, featuring as it does a Thane, a Masonic & a Milkshake. The Wildebeests combine that wealth of experience and musical knowledge into a package that sees them time and again play as both the utmost covers band and one with at least as many classic originals as they’ve been part of in their day jobs. At times there’s almost telepathy going on as they joke, heckle each other and hammer their way through a set that proves, by dint of the lateness of the hour, too short but which nevertheless once more boiled the audience to a frenzy.

A state that was further improved upon by closing act The Shook Ups! Playing like men running out of time the Wigan sextet invaded the crowd, surfed atop it, tried to kiss it, had more exits than your average shopping centre and generally entertained with a level of theatricality seen nowhere else over the previous two days. Larger than life and with a comic book-like aura provided by their all black attire & singer Dan Coyote's exuberant persona they were definitely the right band in the right place tonight. A highlight at Hipsville in 2013, in the enclosed atmosphere of the Franklin they were like a controlled detonation from 1967 only now being felt in its entirety. “Mental” was the thought that kept occurring as they sweated and pounded to a close (helped in no small measure by some of Cornwall’s finest fortified alcoholic export) and they could no doubt have gone on for a few numbers more had the bar not had to shut. Amazing stuff and a glorious finale to an exceptional event. 

Angus, Calvin, Colin & the rest of the team behind putting the festival on can all feel justifiably pleased with themselves as it did exactly what it said on the tin. A thoroughly entertaining few nights of top class music and performances from some of the best acts of their kind that the UK has to offer. The future is bright, the future is Franklin.