Isabelle Huppert has always had a wandering soul, ever since she cropped up as a strawberry blonde cowboy’s moll in Michael Cimino’s fabled folly, Heaven’s Gate. That was 30 years ago. Middle age has by no means withered but certainly has hardened her pretty freckled moue into something fierce and obdurate. The owner of that forthright jawline ploughs a self-sufficient furrow these days. The characters she chooses to embody are, for one reason or another, doing it for themselves out on society’s limb.

Afro-Cubism is the fruition of the World Circuit label's original intention for Buena Vista Social Club album, which was to have been a stellar collaboration of musicians from Mali and Cuba. In 1996, the African contingent of Bassekou Kouyate and Djeliomady Tounkara claimed they couldn't get visas and so the label used the studio time to record the Buena Vista album, and the Rueben Gonzalez one, and the Afro-Cuban All Stars' first album, a trio of classics. (Another story has it that the Africans were offered a better paying gig at home - if so, bad call, gents, as the Buena Vista album has sold many millions by now...)

“Tragedy reminds us how to live,” declares Moira Buffini’s democratically elected heroine, Eurydice. It’s a reminder the playwright herself and her latest work, Welcome to Thebes, is eager to provide. Following on the well-worn heels of last season’s Mother Courage at the National comes a new play that once again places women in the front line. Leaving to Brecht the barren fields of Western Europe, Buffini sets up her stall in the fertile dramatic ground of contemporary Africa – a place where gang-rape and murder are just the prologue.

This month's most delicious sounds found by our reviewers include a return to form by jazz pianist Keith Jarrett and bassist Charlie Haden, new electronica/grime from Rude Kid, impressive debuts from Villagers and Hindi Zahra, and the latest from Band Of Horses, Tracey Thorn, Teenage Fan Club, Nina Nastasia, Konono No1, Bobby McFerrin and the Ipanemas. CD of the month is by the "lovely and kaleidoscopic"  Afro-Colombian band Choc Quib Town. Reviewers are Robert Sandall, Sue Steward, Howard Male, Graeme Thomson, Russ Coffey, Bruce Dessau, Thomas H Green, Marcus O'Dair, Joe Muggs, Peter Quinn, Alice Vincent and Peter Culshaw.

From his tall column in Trafalgar Square, Admiral Lord Nelson won’t be able to glimpse the new work on the Fourth Plinth, since he faces the other way.

With Fela Kuti's old band playing Brighton this evening fronted by his son Seun and on the same bill as Tony Allen, the drummer who co-created the increasingly influential Afro-beat sound, it seemed a good excuse to revisit the first interview I ever got published, which was with the great African pop star in 1984 (in Blitz magazine, also a version for the Observer). A polygamist, with at one point 28 wives, a political and musical revolutionary, Fela was one of the most extraordinary musicians ever to walk the planet.

Brian Eno’s on the phone. He’s been up all night.

Religion, and a sense of the revival of belief, is such an important part of everyday life in the wider population that it is one of the stranger facts about contemporary theatre that so few plays tackle this subject. In fact, the last new British play to do this at the National was David Hare’s Racing Demon in 1990. Now, 20 years later, the same Cottesloe theatre space bears witness to a new play, which opened last night, about the same subject.

David McVicar's new Aida production had an opening mise en scène of such unashamed ugliness, a revolving main feature (a wall of scaffolding) of such audacious featurelessness, a wardrobe of such brazen tastelessness (think Dungeons and Dragons), that my critical faculties sort of went into a coma.

Rokia Traoré has always seemed most comfortable creating at trysting points, darting between different worlds without ever quite belonging to any one of them. The daughter of a Malian diplomat, as a child her favourite locations were airports, “this middle point between two places; the idea of leaving a place to go to another one was the most interesting part of my childhood”.