“Very traditional, but fun,” ran the verdict of one fellow-traveller as we waited for a bus outside the Royal Albert Hall on Saturday night. No one can gainsay the infectious fun that the Budapest Festival Orchestra bring to every gig. For all its musical accomplishment, Iván Fischer’s all-singing (yes, they did) if not quite all-dancing (yet) outfit never forget that they belong to a, rather elevated, branch of show business.

Casting the Runes, Pleasance Courtyard ★★★★

Trojan Women, Festival Theatre ★★★★★

FOOD, The Studio ★★★

There’s no denying it: Los Angeles-born Geoff Sobelle is a theatrical magician (quite literally – it’s how he began his career). Through a string of visually spectacular shows on the Fringe and more recently at the International Festival, he’s unleashed wildlife into the streets of Edinburgh, drawn aeons of history from a cardboard box, and even constructed an entire house on stage.

Heaven, Traverse Theatre ★★★★★

Stuntman, Summerhall ★★★★★

The Death and Life of All of Us, Summerhall ★★★★

Victor Esses was 16 when he first discovered his grandmother had a sister – someone the family had never discussed. It was just a year after his own first illicit visit to a gay sauna.

This album promises to be an expansion of the sound and ideas of its 2021 predecessor Heart Shaped Scars, and boy does it deliver. HSS was the Scottish singer-songwriter Dot Allison’s first album in some nine years, and only her seventh in the 28 years since she first appeared with the space-dub-country-torch-song trio One Dove.

The farewell for KISS has lasted so long that this Glasgow show, their final ever UK gig, came four years after the End of the Road tour first stopped off in the city. Admittedly that is partly down to the coronavirus scuppering touring plans for a couple of years, but even without that there is a suspicion a group who have monetised themselves so effectively over the years might have found a reason for another trip back here.

Even when Peter Gabriel is bleak, he has reasons to be cheerful. Early on in his set he opined that soon enough “none of us will have jobs anymore”, referring to the ongoing rise of artificial intelligence, although this was followed by him stressing the positives that can be found in such new technology. It seemed fitting, because Gabriel himself, now 73, showed on this evening that optimistic possibilities of the future occupy his thoughts as much as ever.