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| Info | Setlist | ||||||||||
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01. Musicbox Intro 02. Overture 03. All Is Full Of Love 04. Unravel 05. Cocoon 06. It's Not Up To You 07. I've Seen it All 08. Generous Palmstroke 09. An Echo, A Stain 10. Tagaq throatsinging solo 11. Hidden Place 12. Play Dead 13. You've Been Flirting Again 14. Isobel 15. Venus As A Boy 16. Pagan Poetry 17. Hyperballad 18. Army Of Me 19. Bachelorette encore 20. Human Behaviour 21. It's In Our Hands |
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| Pictures (email) Observe that there usually is a NO camera policy at these concerts. | |||||||||||
| Reviews |
| Send in your own review here! |
/pictures - 3138 |
| OooOOoOoOohhhh Alright. So I obviously love Bjork and never even fathomed I would have the chance to see her perform.. I did get a chance to see her on the street in NYC and also once I said bye to her at a photo studio and she said Bye back to me-- i was then very satisfied as Im not soo tacky as to tell her (I somehow feel she knows) that i love her and shes changed my life and at times saved my life - mentally anyways. but then the day came. It was amazing....i for some unknown dark reason was not able to get tickets for either of the 2 secret shows (even though i was typing and clicking like a maniac)..but good things come to those who wait..and they sure do.....i was not at all dissapointed, i felt and feel like she gave so much.. It was a sure sign of something amazing wonderful and heartstopping when the first song with vocals All is Full of Love started.....the show was perfect Matmos was amazing as well and should not be discounted at all. I was thrilled when Ive Seen it All came on and moved with Unison. A true deep delight came with Youve Been Flirting Again (in Icelandic even!)---By the time Hyperballad came on i could sit no more and most of the people in orchestra section left couldnt stay seated either- it was like energy from somewhere else--I nearly passed out from the rapture when Bachelorette started...and there could be no greater first encore than the ever so beautious Joga blared through my heart and soul. Im sure noone will forget the incredible Our Hands encore=----- brilliant and aesthetically pleasing...fun too! it was like we were all doing something constructive together. i am lucky enough to have a copy of Our Hands so I was able to really get excited about it. clapclapclapclap! it was too much fun. Im sure me as well as most of the fans were reeling in delight, thrilled to see our bright little star smiling at us or in general and revving us up with her marvelous energy. The choir was darling, Zeena Parkins was great, the orchestra was great!. The lighting stage and costuming was precious. This experience was unforgettable and incomparable, so personal for a concert. I send you many thanks for enriching my life and all the little verbal visual and intangable gifts bjork has given me and shared with me. im very grateful for having the opportunity to have seen her perform even once in my lifetime. /Aster Luu - 3076 |
| Just wanted to let yall know that I was waiting 4 years for this wonderful event. I live in Key West, and drove up to New York (picking up a few friends along the way!)for the October 5th show. Yes, I said drove- and it was well well well worth it!!!!!!!!!!!!!!!! Bjork is everything I dreamed of + 10 times more. Her voice is simply earth- shattering. As Bono once said "She has a voice like an icepick that cut straight through to me heart!..." My friends and I were literally on the edges of our seats with our mouths wide open the whole time- just in complete awe of her, and the magical music she (and the rest) was making right before our eyes! I have to say that the sound in Radio City was also amazing. The bass in Pagan Poety was vibrating my seat! I loved it! And Joga was just touching... she came out all by herself and sang with just the orchestra... beautiful purple lighting... she said nothing about 9-11, and I know that was her own little tribute... thank you Bjork! I would drive gladly 3,000 miles to do it all over again. I wish I could! My only complaint is that the crowd was very conservative, and didn't dance.... they even wanted to stay in their seats during HyperBallad!!!!!!!!!!! So we just had to jump in the isles so we could move our little bodies along with Miss Bjork.... especially for the new song Our Hands!!! I love you Bjork! You rocked the house!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Much Love, /Miss Megan - 3075 |
| Cab ride, home to bus station (roundtrip)---$18 Bus fare, Hartford to NYC (roundtrip)----$42 Going to my first BJORK performance-----PRICELESS!!! /rangzen - 3074 |
| I just wanted to say that the show at radio city music hall was perfect. My friend and I planned a trip from Orlando, Florida months before and it was everything I could have hoped for and more. I got chills up and down my spine at least once a song from Bjork's powerful voice. The audience was eating up the energy she was giving off in the second set as she danced around the stage. You can very much tell that she is in love and such songs written in that state only make her fans echo the feelings as our love for her grows and the energy transends. I was wondering what production company is being used on this tour? Is the crew from the states? Everyone did an excellent job and it is a concert i will not forget. It was good to see such a powerful event take place in a city that is in the process of healing. /Wes Anderson - 3073 |
| http://www.livedaily.citysearch.com/news/3765.htm Review: Björk at Radio City Music Hall, New York by Jon Zahlaway LiveDaily Staff Writer OCT. 8, 8:40 P.M. ET NEW YORK--Björk's Friday night (10/5) performance at New York City's famed Radio City Music Hall was an amalgam of extremes that, despite the distinct potential for disaster, were masterfully combined to produce a mesmerizing musical experience. From the moment she took the stage for the second night of her two-night stand, Björk captivated the sold-out crowd of 6,000-plus. The Icelandic singer was backed by a 54-piece orchestra, an Inuit-girls choir, harpist Zeena Parkins and electronica duo Matmos. The production was divided into two parts, the first half of which was comprised almost entirely of songs from her recent album "Vespertine" (Elektra) and from last year's "SelmaSongs," an EP of music from the film "Dancer in the Dark," in which Björk starred. Clad in the white swan dress that garnered her so much attention at this year's Academy Awards, the pixyish singer began the show seated on a stool, holding a music box that plinked out "Vespertine"'s "Frosti" while fake snow fell from the lighting truss. The wintery imagery continued throughout the show's first half, with stunning pictures of blue-hued glacial ice formations frequently gracing the giant screen that served as a backdrop. Parkins wove her lavish harp playing in and out of the orchestra's swelling arrangements, while the choir delivered its lush backing vocals. All of this was punctuated by Matmos' library of beats and synthesized sounds. Soaring above it all, meanwhile, was Björk's otherworldly voice, which never once faltered or failed to hit the highest of notes at full strength, and which stood out from the exceptional instrumentation with crystal clarity. First-half standouts included "Generous Palmstroke"--released as a B-side on "Vespertine"'s first single, "Hidden Place"--and the set-closing "Unison," the final track on "Vespertine." After a 15-minute intermission, the houselights dropped and Björk returned to the stage for the evening's second half, which was stacked with songs taken from 1993's "Debut," 1995's "Post" and 1997's "Homogenic." Gone was the swan dress, the blue and white lighting and the chilling imagery. Instead, the singer wore a red-sequined outfit that featured a flaring skirt of giant red feathers, the lighting was warm and red, and the giant screen displayed odd, red-tinged drawings of aquatic creatures. The well-paced second set began with a flurry of mid-tempo songs, and hit a feverish crescendo by its end. Björk gleefully danced her way through the up-tempo "Hyperballad," from "Post," and received a standing ovation at the song's end. She continued the momentum with the "Post" hit "Army of Me" and the set-closing "Bachelorette," a "Homogenic" track whose majestic orchestral arrangements, electronic beats and powerful vocals were perfectly delivered. The crowd applauded thunderously and cheered non-stop for several minutes before Björk and her team of musicians returned to the stage for an initial encore that included the equally stunning "Homogenic" track "Jóga," and the "Debut" track "Human Behaviour." The latter song found the crowd on its feet, clapping to the beat while Björk ran along the front of the stage, pausing before each seating section to jump up and down and pump her fist in the air, eliciting a frenzied response. After leaving the stage again, Björk and company returned for a second and final encore. "I think we only have one more," she told the crowd, who responded with disappointed moans. "It's a new one we did that's not out yet," she added, winning back the audience's favor. With that, she ended the night with a new song titled "In Our Hands," a mid-tempo number featuring a thumping bass line that kept the crowd on its feet until she left the stage a final time. Björk's tour continues on Monday night (10/8) in Toronto. /livedaily.citysearch.com - 3072 |
| http://www.nytimes.com/ Celestial Excursions, Complete With Harp October 8, 2001 By JON PARELES The music in heaven, by some accounts, comes from choirs, harps and angels dressed in white. For the first half of her concert at Radio City Music Hall on Thursday night, Bjork arrived in a white dress (with pearls, sequins, a tulle ruffle and a swan's head over her shoulder). She brought along a harpist, Zeena Parkins, and a choir of 11 women from Greenland. She also had a 54-piece orchestra in the pit and an electronica duo, Matmos, creating rhythms out of crackling static and homely sounds like cards being shuffled. Panoramic glacial landscapes filled a screen behind her. Bjork's heaven is a realm of timeless purity and modern details, of whispered secrets and swelling cinematic crescendos, where the desires of the body and of the spirit are all fulfilled. "Who would have known a beauty this immense," she sang in "Cocoon," which details a night of lovemaking. Sex between lovers is heaven in countless pop songs, but the music for Bjork's songs, most of them from her new album, "Vespertine" (Elektra), turned it into a place with few landmarks and no edges. Women's voices, harp glissandos and orchestral strings or horns all materialized like clouds; when Matmos provided a beat, it was usually a throb or a pulsation, without sharp percussive attacks. Bjork's melodies are often just a few repeated phrases, but the way she sang them - fragile and confiding, breathy and awed, or suddenly opening up to an impassioned wail - made them sound as if each phrase was a new foray into the unseen or the intimate. Such dreamy, introspective songs are made for private listening, and they had some setbacks at Radio City. Bjork's voice was sometimes swallowed in the mix; stray imperfections poked through the celestial haze. But there were also long, exquisite passages when the songs simply defied gravity, undulating mysteriously as Bjork sought rapture. For the second part of the concert Bjork came down to earth. Her dress was red; her backdrop was drawings of undersea creatures, like diatoms and giant squid. And the songs, many from Bjork's 1995 album "Post," examined love's more mundane aspects: flirtations, quarrels, worries, breakups. The set started with the wounded "You've Been Flirting Again" and ended with the post-separation bolero "Bachelorette," with a symphonic arrangement that harked back to a bygone Hollywood. While the songs spoke of anxiety, they were determined to transcend it; Bjork's final encore was the unreleased "Our Hands," which insists that fear and self-doubt can be conquered. The music retained its orchestral sweep while playing down the beat of the older songs. But as the set continued, Matmos's sounds grew more aggressive, Ms. Parkins sometimes switched to a distorted electric harp, and Bjork let loose some growls. She had taken a few coltish steps in her first set, but soon she started to dance, and her domelike feathered skirt amplified every shake of her hips. And when a full-fledged disco beat kicked in during "Hyper-ballad," the audience exploded into cheers. Music can evoke other worlds, but concerts take place in this one, and Bjork made sure to share her bliss. /nytimes.com - 3071 |
| Much has been said about the performance, so I won't repeat it...it was the greatest musical experience I've ever had, and I'll leave it at that. I just wanted to point out the sound quality on Friday was above and beyond anything I've ever heard at a concert. Sure, the acoustics are perfect in Radio City (and the fact that I was sitting on the second balcony, right in the middle, four rows up from the mixing board didn't hurt much either), but EVERYTHING was on point the whole show. The orchestra was mixed with Matmos' electronic sounds perfectly, and the choir was balanced just right with Bjork. Also, in what's definitely a first for me, the concert appeared to be mixed in surround sound somehow...I thought at first this was my ears playing tricks on me, but when we left for the first intermission/cigarette rush (you guys that were there know what I'm talking about), we noticed a row of speakers along the back wall. Matmos' sounds would actually LITERALLY circle around the room, from front to back and side to side. It couldn't have been more perfect. So kudos to the sound people for an EXCELLENT job, and as for Bjork- you are officially worshipped in NYC...come back anytime!!! /The Don - 3070 |
| The reviews of Bjork's 10/5 show at Radio City Music Hall are pretty much dead on... I hope what I add isn't overkill, but I have to add a few of my own words: Her performance of "Joga" was absolutely one of the most beautiful pieces of music I've heard in my entire life... just Bjork's voice gliding, dipping, rising over the orchestra. Never heard anything like it -- magnificent, hope somebody taped it. The second half of the show just launched the concert into the stratosphere -- Bjork got really animated, playing off the crowd, dancing, twirling, and the energy just went through the roof. As she left, rose bouquets sailed onto the stage. It was just unreal... something I will never forget... thank you Bjork. /unknown - 3069 |
| Icelandic horses dot the Arctic landscape, their long, knotted manes serenely billowing in the frozen wind. Although their petite legs pale in comparison to that of the typical American horse, the Icelandic horse has developed a reputation as being fiercely reliable, strong, and beautiful. And with her shoulder-length black hair, doll-like stature, and thick Icelandic accent, it is no wonder Björk resembles the horses of her home country. For almost twenty years Björk has cantered, trotted, and high-stepped her way through pop and electronic music’s avant-garde while collaborating with throngs of artists: Mark Bell, the Brodsky Quartet, Tricky, Eumir Deodato, and Graham Massey. However, on her new album, Vespertine, Björk strips herself of her trademark pulsating beats and elaborate arrangements to showcase the simplistic beauty of hermit-like solidarity. On tracks like “Cocoon”, “Pagan Poetry”, and “Unison”, Björk deluges her listeners with intimate, breathy lyrics and sound samples reminiscent of those January days when snow keeps one locked inside their home, a new sound for Björk. “I don’t think we’d be here if Björk had made four albums that were all alike,” said fan Maria Caruello. “I like artists who challenge themselves, and Björk comes back with something new everytime.” “Vespertine is all about trying to create a paradise in your own home, a very introverted euphoria, a quiet ecstatic state, in that you're self-sufficient with your heaven,” Björk told CDNow in an August interview. “You don't need stimuli from the outside world. All you need is imagination and human spirit, and faith to want to get there.“ But on October 5, 2001, Björk was faced with the challenge of creating an intimate atmosphere inside one of America’s largest theaters, Radio City Music Hall--a pit stop on her current international tour. Adorned with nearly perfect acoustics and glazed in golden art-Deco architecture, Radio City’s 6,000 seats[all of which were filled] seemed to be a far cry from the smaller venues Björk has made her trademark. But somehow Björk managed to perform atmospheric alchemy, transforming a 78 degrees New York City night into a mouthpiece for the sounds and colors of a Scandinavian winter. David Fricke, Senior Editor of Rolling Stone, had seen Björk perform the previous night at Radio City. “She was dead brilliant,” said Fricke. “The show was wonderful, the way she uses electronics and pairs them with natural sounds like the harp, Björk is very much her own artist. You can tell how emotionally attached to her music she is, she is amazing.” The concert started at approximately 8 PM and was launched by the experimental group Matmos, who also helped engineer tracks on Vespertine. The group tantalized the audience with their extremist sound--on one number, the group played a hamster cage. Their set complete, Matmos retreated backstage. After a fifteen minute intermission, Björk appeared from the left side of the stage wearing her famous sequined swan dress. The first half of Björk’s set was comprised of songs from Vespertine and Selmasongs, music from her motion picture Dancer in the Dark. Her set opened with the instrumental music box track “Frosti” in which Björk cranked a clear music box while snow fell on her from above. When the song finished Björk was accompanied by a female choir from Greenland, harpist Zeena Parkins, Matmos, and a 78-piece orchestra from New York City. The group joined Björk as she sang her way through Vespertine. One high point of the first set was her goosebump-inducing rendition of the song “Cocoon”, in which Björk’s voice was as fine as the hair on a newborn baby. The audience shrieked with applause during the song as Björk hiked up the note scale. Leah Feldhem, a self-proclaimed obsessive Björk fan, said Cocoon was her favorite song of the set. “I loved Cocoon, her voice sounded so beautiful, just amazing,” said Feldhem. “The sound quality was amazing.” During the second set Björk bounced on stage in a red sequined dress resembling a feather duster. The dress was hooked up to Matmos’ equipment and lights inside dress would go when the band hit certain frequencies. The second set was full of tracks from her first [Debut], second [Post], and third [Homogenic] albums. The audience screamed with delight as Björk sang “You’ve Been Flirting Again” in her native tongue, Icelandic. However, the audience’s applause was so loud during Björk’s performance of the fan favorite “Hyperballad” that the lights on Björk’s dress went off. At the song’s end lyric, “Safe up here with you/I’m safe up here with you”, the audience jumped to their feet for a spontaneous standing ovation. The show ended with the unreleased track “Our Hands”, which featured clapping from the Greenlandic choir and Björk. Björk jumped with ecstatic fervor at the audience, punching her fists and feet in the air with a monstrous smile upon her face. Galloping across the stage in a plethora of feathers, sequins, and lights, Björk led every audience member by their hand back to a place of peaceful inversion. **hi everyone, this is my article i did for my journalism class on the björk concert. thanks to everyone for answering my questions when i came up to you and begged for answers! you were all very polite and i appreciate it a lot :] ** [ps--thank you to the mwc for making such a wonderful page...i wouldn't be as into bjork as i am without a wonderful page like the ultimate intimate and now bjork.com to escape to. your page means a lot to me...please know that your work is appreciated by one 17 year-old girl from cornwall, pennsylvania :] ] /lauren shopp - 3068 |
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