Review: In a defiant response to the Covid crisis, Edinburgh International Festival brought together a comprehensive collection of major performances on its YouTube channel from a variety of premier international and Scottish artists, together with major national commissions and special light installations in the Festival’s regular venues across the capital.

Review: John Adams’ acclaimed take on President Nixon’s memorable 1972 visit to Maoist China returns to Scotland after 42 years.

Review: Celtic Connections 2020 Highlights

Review: The Sunderland-based art-rockers focus their eager energies on a new set of erudite and historically-themed songs, in the vast cathedral-like setting of Kelvingrove’s centre hall.

Review: One of England’s most idiosyncratic songwriters brings his surreal, angular takes on life to Glasgow.

Review: A visually spectacular retelling of this well-known fairytale.

Review: Glasgow’s Citizens Theatre brings Carlo Collodi’s famous boy-puppet story to life, presenting Robert Alan Evans’ and Lu Kemp’s adaptation at Tramway.

Review: Entertainment in true Glasgow style in Lewis Hetherington’s hilarious take on the pantomime perennial, at the East End’s Platform arts centre.

Review: Featuring the classic song Walking In The Air, Howard Blake’s musical play, based on Raymond Briggs’ much-loved book, has come to Glasgow.

Review: We know the song and maybe have seen the film – how about the musical? Artmag reviews the Glasgow run of Dolly Parton’s smash-hit office comedy.

Review: English theatre company 1927 use music, theatre and projected animation to bring to life thirteen ancient folk-tales in a dazzling, surreal compendium of oddness.

Review: The leading Scottish composer of his generation celebrates turning 60 with five performances at the heart of the Edinburgh International Festival. This culminates with the world premiere of his Symphony No.5: ‘Le grand Inconnu’ and shows off MacMillan’s talent to compose for both voice and orchestra.

Review: Irish indie-folk band Villagers played Leith Theatre as part of Edinburgh International Festival’s contemporary music programme.

Review: The Mercury-nominated singer and guitarist visits Edinburgh as part of the Festival’s eclectic contemporary music programme.

Review: Edinburgh International Festival welcomes Sydney Theatre Company for the first time, prior to touring the UK with the respected Australian novel The Secret River (2005). Kate Grenville’s book is adapted for the stage by Andrew Bovell and directed by Neil Armfield.

Review: ArtMag attended the first night of Scottish Ballet’s production of Arthur Miller’s chilling The Crucible, opening Edinburgh International Festival’s 50th birthday year.

Review: The Magic Flute, Mozart’s magical singspiel rooted in fairy tale heroes and damsels in distress, is presented by Scottish Opera in Glasgow before touring Scotland and showing in London and Belfast later this year

Review: Rhiannon Giddens dazzled with the Celtic Connections Orchestra

Review: Glasgow’s annual folk, roots and world music festival, Celtic Connections celebrates Celtic music and its connections to cultures across the globe.

Review: In this production, we join the protagonist in his later years, with Rebus riddled with COPD, unkempt and struggling to find any joy in his retirement – in short – the Rebus that fans of his novels have come to love. 

Review: There is a palpable feeling of wistful contemplation, apparent through this specific collection, which is brought about by the chosen topic, but above all, it is made possible due to the artist’s understanding and implementation of her craft.

Review: There exists a slight, yet enjoyable cryptic quality to McLean’s pieces, which can relate to a sense of existential eternal wisdom as the backdrop for a raw, profoundly saturated abandon in the present instance.

Review: As of 12th of October the Open Eye Gallery will present to the public yet another outstanding display of talent in the face of three fascinating artists.

Review: This display explores the purity of certain dainty subjects, apparent in the pastel colour schemes, the natural state of the surrounding environment, and the expressions of suave, yet innocent contemplation on the subject’s faces, which Cairns presents with extreme sensitivity.