Because the theatrical profession generally attracts more radicals than reactionaries, these performances tend to be rallies for the Yes campaign.
Superbly acted, aggressively and imaginatively directed and providing great variety, these dramas will make thousands of Scots think again about their country.
With this re-release of the 1970 documentary, the question is really how many different versions of “Suspicious Minds” you want in your life.
When it comes to music such as northern soul, there is a tendency to regard men as the experts, relegating women’s stories of what it felt like to be there to the status of anecdote.
Performances by James Ehnes and the BBC National Orchestra of Wales had the Royal Albert Hall audience listening intently.
For the past three years, an international Beckett festival in Enniskillen has attempted to establish a more positive Google footprint alongside the one established by the IRA bombing at the town’s cenotaph in 1987.
From Brahms’s chamber music to Mozart opera, the little Swiss ski-village provides a musical feast.
Clare Teal brought an imagined “jazz off” between the Duke Ellington and Count Basie bands to the Royal Albert Hall.
In Shakespeare in Love, he is more Bart than Bard: a feckless, penniless hack dramatist with writer’s block who has terrible ideas for plays – “Romeo and Ethel, the Pirate’s Daughter”.
A concept album of sorts, this claims to chart the emotional experiences of an imaginary woman – from romantic activities to pain, deception and more.
100 years after British foreign secretary Edward Grey said that “the lamps are going out all over Europe; we shall not see them lit again in our lifetime”, a programme of John Tavener’s music provided the perfect soundtrack for quiet remembrance.
A triumphant return to the Proms for the John Wilson Orchestra with the original 1948 version of Cole Porter's great musical.
A small Austrian town tucked almost against the Swiss and German borders on the magnificent Lake Constance, Bregenz has claimed a place on the cultural map.
Two generations after their record sank without a trace, Donnie and Joe Emerson’s music has finally found the teenagers it was written for.
Feelgood gag-and-punchline stand-up is bigger than ever, but a certain stratum of comedians have already moved on to a place where the audience is laughing inside rather than out, or not at all.
Disciplined it might be, but military music is awful. Luckily, there's greater depth to this season than a first glance suggests.
Two of the standout London productions of this year are the scorching version of The Crucible at the Old Vic and the Young Vic’s brilliant rethinking of A View from the Bridge.
Bob Stanley takes a look at long-overdue rereleases for Crosby, Stills, Nash & Young and Frankie Valli and the Four Seasons.
Ireland is currently split between people who are mortally embarrassed by the cancellation farrago and those who declare it to be of the utmost importance. What is it with the Irish and country music?
As once estranged Libertines frontmen passionately reunite, they highlight the dearth of stormy musical partnerships in today’s music.
It's a case of knee jerk by proxy, says Nicholas Lezard.
The Manic Street Preachers talk to Dorian Lynskey about meeting Castro, losing faith in politics and why Europe is a “unified art movement”.
So-called “seasoned theatregoers” have complained about the audience clapping during Martin Freeman’s West End appearance as Richard III, in what is nothing more than a display of blatant snobbery.
While it’s generous and sensible to give the fans what they want, the familiarity of the material starts to feel weird.
A rising star in Nigeria, frustrated at the fading news coverage of Boko Haram's abduction of more than 200 schoolgirls, has offered up her virginity.
With their backcombed hair, dreads, tutus, ripped tights and Doc Martens, the Slits were the most anarchic and badly behaved band on the “White Riot” tour.
The singer’s new album is a sad indictment of post-feminism – a culture in which women may achieve what they are told to and still feel brutally unhappy.
Alexandra Coghlan reviews Jonathan Kent’s new production of Manon Lescaut at the Royal Opera House and Shadwell Opera’s In The Penal Colony at the Arts Theatre.
Classical music perhaps wouldn’t be everyone’s medium of choice to shout about issues, ideas and beliefs but two recent events made a strong case for why it should be.
Until state-funded arts organisations like the Royal Opera House can advertise their work to people who don’t already love their art form, they will never attract broader audiences.