With its wild, windswept seascape and cliff-top settlement, the first scene of The Northman, Robert Eggers’s first big-budget movie (around $90 million in the making), harks back, a little, to The Lighthouse (2019), a one-of-a-kind black and white marvel with only two protagonists. (Cinematographer Jarin Blatschke has worked on all Eggers’s films, including his first, The Witch, as has costume designer Linda Muir).

Grimes, the Canadian art pop performer, made headlines last week when she predicted the end of musical performance as we know it on a podcast interview with theoretical physicist Sean Carroll. Live music, she said, would be “obsolete soon”, while she gave a window of a couple of decades in which artificial intelligence would become “so much better at making art” than human creatives.

Visits from major foreign ballet companies are always news, but a two-week London season by one of America’s “big three” is something to get excited about. San Francisco Ballet doesn’t rest on its laurels. Eight of the 12 pieces offered in the coming Sadler's Wells season were premiered by the company only last year.

For the past decade, Victoria Park in east London has been host to the Field Day and Lovebox festivals, both homegrown and both still growing in size and influence. Last year’s headliners included rare appearances from Aphex Twin (Field Day) and Frank Ocean (Lovebox), bringing huge crowds to this vast and beautiful Victorian lung.

I'll be straight: I wasn't sure what to expect at this show, because I've never been a Björk fanatic as such. I loved – and saw live – The Sugarcubes as a teenager, I've raved to her Nineties Debut and Post era tracks, and I've enjoyed plenty more since, not least the intimacies of Vespertine [2001] and the wild expansiveness of Volta [2007].

Australia and Japan were first to host Björk Digital, but it lands at London’s Somerset House with fresh, never-before-seen work. The immersive virtual reality exhibition collates several digital- and film-based works born from Björk's critically acclaimed album Vulnicura. Arguably her most revealing release to date, Vulnicura – in all its forms – documents the destruction of her marriage, with devastatingly unguarded lyrics.

For an album exploring the theme of heartbreak in wintry, coiling musical phrases, peppered with stark, fractured lyrics, the reception of Björk’s original Vulnicura was ever so slightly lukewarm. Her spacious and probing compositions were admired rather than adored, her analysis of breakup seeming to have a steely, cerebral edge. So it was a brave decision to adapt these songs for strings, an alteration that’s unlikely to make them any more accessible.

In October a special tribute will be paid to the late great DJ Frankie Knuckles, the man who defined house music in the 1980s. A former bank In Chicago, now known as the Stony Island Arts Bank, which houses an archive relating to black culture, will be showcasing his gigantic record collection.

“How will I sing us out of this sorrow?" Björk wails over jagged cello arpeggios, six songs into her string quartet-led break-up album Vulnicura. Though heartbreak may be the theme most often stewed and chewed up by singer-songwriters, optimism - a belief in music's healing power - is the driving force of this nine-track record.

While Lady Gaga’s conceptual antics left the crowd cold in Camden last Sunday, Björk’s Ally Pally spectacular last night showcased the musical artistry that sets her so far above other female pop pretenders. While Gaga’s affected oddities have always jarred with the mainstream sensibilities of her music, Björk’s strangeness perfectly fits and feeds her sound.