It should have been a complete disaster. Not announcing your festival’s programme until barely a week before it started ought to have guaranteed that nobody knew about it – no press, no audiences, other plans made, other things booked.

But still they came. It’s testament to the Cottier Chamber Project’s now firmly established place in Scotland’s summer musical life – this is its sixth year – that even keeping audiences in the dark as to what was planned didn’t deter them.

There’s been wave after wave of successful acoustic singer-songwriters this century, whimpering so-and-sos from David Gray onwards, through Damien Rice, Newton Faulkner, James Blunt, Ed Sheeran, and on and on and on. Every year sees a new heap of them dumped on the public like bowls of flea eggs. Meanwhile, and here’s the real point, one of the genre’s giants remains relatively unheard. Malcolm Middleton’s dourly humorous, existential albums are studded with gems of heartache, wry gloom and inspired observation. Unfortunately, after five of them, he closed up shop in 2009. Until now.

For a festival of wild, genre-colliding musical experimentation, Tectonics is almost starting to feel like part of the establishment. Which shows, if nothing else, that it must be getting somewhere with its boundary demolishing. The 2016 weekend over 7-8 May was its fourth outing in Glasgow – conductor Ilan Volkov founded it in Reykjavík in 2012, and since then it’s spread its all-embracing eclecticism worldwide to Tel Aviv, Adelaide, New York and beyond.

With a slightly changed cast and set-up from its Hogmanay-themed pilot, screened on New Year’s Eve 2015, this was the first of a six-part sitcom (written by Simon Carlyle and Gregor Sharp) about the residents of a street in suburban Glasgow.

Bill Forsyth’s slice of Glasgow noir never received the praise showered upon its predecessors Local Hero and Gregory’s Girl. The bonus interviews included on this disc hint at the reasons why: Forsyth admits that his script could have been tightened up, and Claire Grogan suggests that the film’s payoff doesn’t feel like a proper ending.

Forget your celebratory Messiahs and your crowd-pleasing Strauss galas. Instead of easing listeners gently into 2016 with conventional New Year fare, the BBC Scottish Symphony Orchestra went for the shock approach in its 2016 opening concert: non-stop, back-to-back, uncompromising contemporary music. And it felt like a marvellously bracing, ear-cleansing, provocative way to kick off the year’s concerts.

It would take a brave soul to mention Peter Mullan and “national treasure” in the same breath. To start with, he’d be more than clear which nation has his allegiance, and then suggest, in the gentlest possible way, that maybe he was, well, a wee bit young for any such honorifics...

Glasgow has a brand new concert hall, and the Royal Scottish National Orchestra has a brand new home. A move for the Orchestra from Henry Wood Hall, a converted church in the city’s West End it has occupied since 1979, has been on the cards for several years, but few could have predicted the scale and intricacy of the final project. The New RSNO Centre snuggles conveniently right next to the Glasgow Royal Concert Hall, and brings new offices, an education suite, a digital centre and practice rooms right to the city centre.

Exactly three years ago, Imagine Dragons played to 150 people in Glasgow. This time, there were 12,000 people in attendance. The ascent of the Las Vegas quartet (swelled to a five-piece for this tour) brings to mind Peter Cook’s withering assessment that David Frost “rose without trace”. Their 2012 debut Night Visions and this year’s Smoke + Mirrors have shifted in their millions in both the US and UK without the band making any discernible cultural impact.

Sometimes it’s visual art with a sonic slant; sometimes it’s music with a visual slant. Glasgow’s Sonica – created by producers Cryptic, now in its third year and bigger than ever – feels like a thoroughly modern festival, defying genre boundaries and instead focusing squarely on the intersection of the sonic and the visual. That might make some of its offerings hard to categorise, but there’s nothing wrong with that.