Jon Fosse talks a lot about thinking. He also thinks – hard – about talking. His prolific and award-winning career in poetry, prose, and drama, might be said, in fact, to unfold a digressive single thought, uttered always in a characteristically reflective and deceptively simple grammar: "thinks" and "says" are the main verbs of this thought, the syntactic centres around which he constructs his gently serious investigations into the life and limits of various verbal worlds.

Picture this: framing the stage are two pearlescent clouds which, throughout the performance, gently pulsate with flickering light. Behind them on a giant screen is a spinning globe, its seas twinkling like a million stars.

Suddenly, this magical image is rent asunder. Thunder and lightning shake the heavens and torrential rain cascades down in stair rods. Spotlights flash and dance through billowing smoke while Laurie Anderson serenades the tempest on her violin and Kenny Wollesen lashes symbols and drums into a clamorous frenzy. The Apocalypse!

DEATHLY HUSH.

This record keeps you guessing. It starts off with “Hybrid Romance”, an ambient piece that’s very pretty but has swooping glassy synths that crack and fracture and could easily be about to break into some super jagged Berlin deconstructed club music at any minute.

But less than two minutes later and we’re into “Chlorine”, a song in the modern country-inflected pop style which wouldn’t sound out of place on most daytime radio channels, and you could easily imagine the Californian Ded Hyatt performing as a support act for Taylor Swift or Harry Styles.

The first K-Music festival landed in London for than a decade ago, and has brought an eclectic range of bands and musicians from Korea to the stages of the capital, whether that’s the sorrowful storytelling tradition of Pansori, the sonic attack of bands like Jambinai or Black String, who return this year to King’s Place on 30 October, with the extraordinary sound of the gayageum – part harp, part oud, part theramin – under the hands of band leader Youn Jeong Heo.

For men, navigating through life whilst maintaining strong friendships is not easy (I’m sure the same can be said for women, but Yasmina Reza’s multi-award winning play, revived on its 30th anniversary, is most definitely about men). What brings blokes together – work, sports, pubs – is seldom founded on deep emotional connections, though it can be and sometimes does morph into that.

Laurie Anderson is what Leonardo da Vinci would have hailed as una donna universale: inspired by science and technology, she's wide-ranging artist, a writer, film-maker, and explorer. She has a remarkable gift for story-telling, and her latest offering, an imaginative account of the woman aviator Amelia Earhart’s last voyage, taps into many of the creative currents that distinguish her.

I won’t give it loads about the atmosphere and attendees at We Out Here – suffice to say that in its fifth edition, it has maintained all the strengths I mentioned last year, with the added benefit of slicker-operating infrastructure having ironed out any remaining wrinkles in its new Dorset site. The navigability, sound levels, smooth running bars etc were all just a little better, which only added to the good vibes that have been there from the start.

Before a word is spoken, a pause held, we hear the seagulls squawking outside, see the (let’s say brown) walls that remind you of the H-Block protests of the 1980s, witness the pitifully small portions for breakfast. If you were in any doubt that we were anywhere other than submerged beneath the fag end of the post-war years of austerity, the clothes confirm it. And a thought surfaces and will jab throughout the two hours runtime: “How different are things today in, say, Clacton?”

In a discussion recently a friend compared generative AI to self-driving cars back in 2017: the makers were convinced, perhaps rightly, that they had solved 99.9% of the problem, and therefore would have a viable product within the year. The problem for self-driving cars back then, and generative AI now, is that the last 0.1% is something special. Intractable.

Some icons sit back and bask. Kim Gordon does not. She has occasionally intimated that her New York cool and relentless work rate may be down to a smidgeon of imposter syndrome, even after all her years on the frontline. Whatever the truth of it, her output since Sonic Youth (and her marriage) dissolved in 2011 has been prodigious.