Blake Rose clearly wasn’t leaving anything to chance. The support act bounded onstage draped in a Saltire, and soon brought up his days growing up in Aberdeen before moving to Australia. That Scottish upbringing helped inspire one of his songs, “Sweet Caledonia”, and going by the lively reaction he received from the youthful Glasgow crowd they were glad to take him as their own.

There is an endearing awkwardness with Dry Cleaning, despite steady success over the past three years. “Does anyone else want a wave?” asked their frontwoman Florence Shaw at one point, almost shyly, before proceeding to do just that in various directions.

It was an intriguing contrast, between a group who seemed slightly taken aback by the size of venue they were playing, and the manner in which they emphatically delivered their material in that setting during this gig.

In full force again for 2023, Scotland’s premier folk music festival Celtic Connections is back with its signature strand of blending and sharing musical traditions. On Saturday, emerging Scottish folk cellist Juliette Lemoine gave a superb early evening recital in Glasgow City Hall’s intimate recital room for what was the official launch of her debut album Soaring.

There was something devilish about Alex Kapranos at this homecoming gig, and not simply due to the blood red shirt the Franz Ferdinand frontman was wearing. Throughout the night the singer would cajole and conduct the crowd with finger-pointing flair, as if tempting them to join him on the dark side, and when he spoke it was to demand more from the audience like a preacher zealously seeking extra funding for a mega church.

If ever a moment summed up the spirit of a gig perfectly, then it is the segment in this arena showcase where Machine Gun Kelly is confronted by the internet, represented by what appears to be a blow up statue with a monitor for a head. As it demands the American rap rocker should be pigeonholed into one genre, he strikes on a solution which involves a helicopter flying in to shoot it. That was a defining trait of this relentlessly bombastic show, of going loud and direct as often as possible.

Presumably before setting out on their current tour the Big Moon smashed a few mirrors, walked under some ladders and crossed the paths of numerous black cats. Not only is this jaunt over two years in the making, endlessly postponed for the usual coronavirus reasons, but the foursome also lost most of their equipment in Spain just prior to hitting the road.

It is a testament to Coldplay’s capacity for reinvention that a good portion of this stadium crowd were not even born when the band first broke through over two decades ago. Such an age range in the audience clearly caught the eye of Chris Martin, who, in a rare moment of standing still, dryly noted that he owns trousers older than some of the people singing along.

The BBC publicity department doesn’t want reviewers to reveal too much about this three-parter in advance, so the description of its content here may seem skimpy. If you watch this mini-series, you will sort of understand why – its plot relies on coincidences (or are they?) and unexpected twists (or just implausible ones?), flashbacks to past traumas (are these reliable?) and nightmarish scenes (real or imagined?)

A guessing game could be played prior to Harry Styles taking to the stage at this gig, the first night of his UK tour and, as he later noted, his first stadium show as a solo act. There were ripples of excitement whenever anyone was near the stage as devoted fans tried to work out if that was the man himself getting ready to appear, and given that some fans had been camping out overnight in Glasgow just to be near the front, you can understand such feverish anticipation.