Taking place at the Theatre Royal, Andy Hamilton’s show is entitled An Evening with… rather than a straight stand-up and mainly consists of the comedy writer/performer and gameshow regular answering audience questions. During the first half this is done via raising a hand and shouting out questions; during the second half by leaving pieces of paper on the stage front during the interval.

Now going for over a dozen years, ever-busier since Live Nation took over its parent company in 2015, The Great Escape Festival is the annual multi-venue band showcase and music conference which sees Brighton swamped with music biz sorts.

Five years ago this Kneehigh Theatre production caused a stir with its vibrant modern retelling of John Gay’s 18^th century satirical classic, The Beggar’s Opera. It’s currently on tour again and it’s easy to see why a revival was greenlit.

If there’s one thing to learn from Ben Okri in this evening of conversation at Brighton Festival between the Famished Road writer and author Colin Grant it’s how to “upwake”.

The Nature of Why is not so much a concert as a multi-discipline happening. To assess it is to relate a human experience rather than just an aesthetic appreciation of the new orchestral work by Goldfrapp’s Will Gregory which is at its heart. On the surface, it’s an hour-long piece in nine short movements, interspersed with old BBC recordings of the Nobel Prize-winning American physicist Richard Feynman explaining how magnetism is unexplainable in layman’s terms.

Flight is a show by experimental Scottish theatre company Vox Motus, adapted from the novel Hinterland by Caroline Brothers. It’s about two Afghan child refugees making their way across Europe to the fabled land of “London” and is based very directly on her own interviews with asylum seekers as a journalist. So far, so narrartively straightforward but Flight is unlike anything most people will have seen.

The Komedia is a Brighton Institution and celebrates its birthday tonight in a suitably raucous fashion. The Komedia began in 1994, founded by the directors of the Umbrella Theatre Company, and styled on the cabaret spaces they’d experienced touring Europe. It moved to its current premises in 1999, turning a ramshackle labyrinthine building that housed a hippy-style market (before that a Tesco) into a labyrinthine building housing a bar-venue-cinema complex, with the central hub in the large basement.

Will Gregory (b.1959) is best known as one half of the alt-pop duo Goldfrapp but has a long career in music that dips into many areas. Throughout the 1980s and 1990s he was a working musician who toured with multiple bands, notably, Tears for Fears, as well as playing on sessions for albums by artists ranging from The Cure to Portishead. He is a multi-instrumentalist valued for his saxophone and woodwind playing (from Moondog and Michael Nyman to Peter Gabriel and it’s him on Spiritualized’s Lazer Guided Melodies), but as much for his general studio and arrangement abilities.

Suede finish “Sabotage”. It’s a mid-paced, elegant number set off by swirling, circling central guitar. Frontman Brett Anderson hangs from his microphone stand on the left apron of the stage to deliver it, with the lights down low. Afterwards he paces back to his bandmates, body taut, hair a-flop. He tells the audience he’s been involved in a long ongoing experiment; “standing in front of VOX AC30 amps for 30 years.” The resulting problem, he adds in a rising shout, “is that I can’t hear you.”

“I don’t know if I’m going to recognise any of it,” I say to my accomplice as we drain a couple of light ales amid the sea of grey beards in The Old Market’s bar. “I don’t think they’ll play the hits,” he replies, deadpan, “but don’t worry, there should be some onstage banter that’ll give you a couple of the titles.”