They say that you discover who your true friends are when you find yourself in direst need. East Neuk Festival, our success story on the Fife coast, which should have been happening this week, faced the deepest crisis in its 16-year history this spring when, due to the pandemic, 2020’s festival was cancelled.

Singing in a choir can be terrific therapy for anxiety, depression or loneliness, but one of the cruellest effects of the coronavirus is the way it has restricted normal human interaction. The notion of social distancing might have been designed to sabotage the proximity and togetherness which is so much a part of collective singing.

From the biggest man band of all time to a rising Doncaster DJ, from the lofts of New York to the garage studios rooms of Scotland, the best of current musical lockdown life is here. Dive in!

Take That/Robbie Williams: Meerkat Music Concert

As Covid-19 puts a halt to live events around the world, the BBC Scottish Symphony Orchestra has delivered its annual festival of new music, Tectonics, online, with a selection of recordings from past performances.

The UK-wide lockdown has thrown the cinematic release schedule into chaos. Some films are postponed indefinitely, while others have opted for direct digital releases. It’s not ideal for anyone, but in a strange way it may play to The Whalebone Box’s favour. Specialist arthouse streaming service MUBI has secured the exclusive rights, and their captive subscribers are the ideal audience for such a strange, hypnotic piece.

With everyone in lockdown, observing physical if not social distancing, a story about isolation can have a particular resonance. And there are few places in the UK that are as isolated as some parts of the Scottish Highlands. Ali Milles’s tartan gothic thriller, The Croft, is partly a study of the advantages and disadvantages of living in a remote location, and partly a more speculative and suggestive account of how family tragedy repeats itself down the generations.

Run is the story of disgruntled 36-ish Finnie (Mark Stanley), a big, dour worker in a fish processing plant in the Aberdeenshire port of Fraserburgh – writer-director Scott Graham’s hometown. Long married to his onetime high-school sweetheart Katie (Amy Manson), and the father of twentyish Kid (Anders Hayward) and adolescent Stevie (Scott Murray), Finnie wants to get the hell out – or he thinks he does.

There is something enjoyably spikey about Halsey, even when she is adhering to pop convention. At one stage she told the crowd how good they looked, before dryly adding it was praise they wouldn’t have heard before. These are brave words when playing to a Glasgow audience.

Critical and commercial success haven’t gone to the head of Lewis Capaldi. The 23-year-old opened his first of two sold-out nights at Glasgow’s 14,000-capacity enormodrome – booked when he was yet to release his debut album – with a video montage poking fun of his po-faced reaction to Billie Eilish beating him to Song of the Year at the Grammys in January.

Fast is fine in Beethoven, so long as you find breathing-spaces, expressive lines and crisp articulation within it.