bjork.com | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001

05 oct friday USA New York Radio City Music Hall Presale started on Friday, August 17 at 1:00pm ET / 10:00am PT. Regular tickets went on sale Monday, August 20 at 10:00am ET. Gig at 8pm. Date and Time: Friday, October 05, 2001 8:00PM Price: $51.50 - $76.50 Charge by Phone #: 212-307-7171 Seating Chart.

Tracklist Part 1 01. Frosti 02. Overture 03. All is full if love 04. Unravel 05. Harm Of Will 06. Generous Palmstroke 07. It's Not up to you 08. I've seen it all 09. Cocoon 10. Unison Part 2 11. You've Been Flirting Again 12. Isobel 13. Venus As A Boy 14. Pagan Poetry 15. Possibly Maybe 16. Hyperballad 17. Army of me 18. Bachelorette Encore 1 19. Jóga 20. Human Behaviour Encore 2 21. In Our Hands Pictures two fabulous drawings by Norn Cutson photos: lemon nytimes ticket scanned by Heidi   setlist scanned by Kristopher (and signed with a heart by conductor Simon Lee! hehe) photos by Matt Toscani pic: mbl.is Reviews   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   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   Cab ride, home to bus station (roundtrip)---$18 Bus fare, Hartford to NYC (roundtrip)----$42 Going to my first BJORK performance-----PRICELESS!!! rangzen   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    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.   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.    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   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.   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 :] ** lauren shopp laurenwishing@hotmail.com [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 :] ]   A friend and I drove from South Carolina to see this show, which had been planned since I obtained the tickets back in August. I have been a fan of Bjork for almost 10 years, and must say that I understand her songs much more after seeing them performed live. Listening to her CD's provides an intimate account of her musical intentions, but the energy and overpowering sensuality of her voice in live concert transcends any effects  that can be captured through advanced recording technology.   Although other fans were quite enthusiastic during and between songs, I must admit that I could only sit mesmerized by the sounds coming from the stage. Witnessing the same innocent and girlish movements (along with these sounds) from the one who so emotionally portrayed Selma was simply too much to handle. It seemed as if the audience cheered not only for Bjork and her songs, but also for her acting abilities in von Trier's heart-wrenching flick.   The set list was very well-balanced, giving enough of Vespertine to display her shift in musical approach from Homogenic and Post, but also providing an array of established songs we all know so well and love so much. High points (in my opinion) were "Unison," whose lyrics mean so much to me after the terrible events in New York City only three weeks ago, "Isobel," which has been a favorite of mine for years anyway, and the encore "Human Behavior," which is the first song I ever heard of Bjork and subsequently rendered me hooked to her unique style. Isolating only a few songs, however, does not imply that all else was inferior. The entire concert was a high point for me and will stand as the pinnacle of artistic experiences, measuring each and every concert I attend from this day forward.   James Schmidt ...now an even bigger Bjork fan... Columbia, SC    songs that always struck a chord, where truly struck for the first time...Oct 5 Being my first show, my basis of comparison lied within the filming of Shepards Bush along side t.v. appearances.  October 5th was my time. For someone who takes true compassion and enormous time, effort, and pride in their abilities, it was simple jaw dropping to see all those elements expand and explode before you.  Before the concert, the lobby flooded with anticipation, in a scene I can only describe as a place where crocodiles and kittens can coexist.  Matmos set the mood of unexpectedness, blowing minds with their visual and audio feast for the brain.  Ingenuity melted over the core of the actual album releases, primarily milking from A Chance to Cut Is A Chance to Cure. An intermission divided Matmos and Bjork.  I sat (im)patienly watching the orchestra members taking their seats one by one, rosining their bows and flowing with pride and confidence.  Now it was time for our girl. The magnificently much seen swan dress hit beautiful reality when she entered from the left, while greeting a stool to sit, entrapping within her hands the upliftingly shiny sounds of a small music box, which she continued to fondle after a large praise for the crowd.  Frosti produced enchanting chimes, while snowflakes flutterede around her, then bleeding into the thrill-building Overture, which perfectly primed the crowd for the much expected and needed All Is Full of Love.  My seat was positioned in the second row on the left (stage right), which I was excited for in the fact that it is (supposedly) know that she's more likely to drift to to the left, which I did find thankfully to be true.  I didn't witness past review accountings of her looking or feeling as if she was bored or tiresome, simply the beautiful medium of pleasant intimacy, and pure thrill. Songs that had always struck a chord felt like they were being struck for the first time.  Occasional sniffles and sobs ran throughout the crowed, throughout the show, obviously touching and approaching people differently, in different places, and evoking different emotions, brining forth true thought an feeling, controlling the subconscious (how many people can do that!). The first set was strong, leaving me in heartbreak, just for the fact that there was an intermission.  (15 mins) The second set was definitely more nostalgic, which I know her, as well as the fans and I, were having fun with.  The sounds of You've Been Flirting Again arose to praise and surpassed normality with Icelandic lyrics.  The much adored Hyperballed received  proper treatment (Matmos' mixing adds to the resume of skills(throught the show)) and received a standing ovation, which was overly well deserved.  Tracks where hitting new places, reaching new grounds, which simply could not be reproduced in any other way than the way we were observing.   Keeping a mental tally, I knew throughout the incredible redition of Bachlorette (god bless those strings) that the show was reaching a close, as well was my heart.  But, of course, it was ripped back open again by two encores that couldn't have had better timing/planning/feeling/extacey.  Joga seemed to be the icing on the cake, entrancing feelings, times, places, and events in peoples lives that were shown and expresses in the most incredible way, through Bjork. Human Behaviour was icing on top of the icing, sweetening everyone's memory of an evening that would be hard for anyone to forget.  Though despite it's notion of leakage onto the net, I postponed my hearing of Our Hands to a live experience, because I knew it was going to happen, and it insured the possibility of ending the night on a questionable note.  It simply stood on it's own; an explosion of simple meanings, meaning so much.  The song hit hard, really hard, and I can see why it was exstracted from Vespertine, because it did stand out, which worked as a perfect closure. Though, in essence, there could be no perfect closure.  I never wanted closure from the place that she was able to put me in, giving me straight chills from beginning to......an endless lifetime of peace and beauty.   Well, I thought I would help out and send in the set list for this show, but you guys are really on the ball.  I didn't think you would have it up already.   I could't have even imagined a more perfect performace.  I knew she would be incredible, but she far surpassed that.  I drove 3 1/2 hours and spent an hour on a train to see her, and she did not disappoint.  The last time I cried so much as last night was when I watched Dancer in the Dark.   Anyways, you have a excellent website.  I wanted to thank you, because without your great up to date information, I probably wouldn't have even known about the show.  Keep up the great work!   Thanks, Christopher Dahl (Bjork's Biggest Fan in New Hampshire!!!!)   On Friday, October 5 2001, Bjork outdid herself again. Her performance at Vespertine City Music Hall was even better than the stunning show she gave here on Thursday night. You'll have to forgive me spewing adjectives, hyphens and superlatives. Words will not capture the nuances of why. It was mostly Bjork that set this evening apart. She owned the theatre, electrified with a two-way energy flow that every performer dreams about. She knew that she had it and that she'd be taking it for a ride.   The sound quality was somehow better than the night before, which was already shimmering. This was absolutely pristine. Even the mix was better - somehow. The same can be said of the lighting, performers and even the audience. There were many repeat customers here, all agreeing that this was just over the top, somehow. By 'performers', I include the conductor and entire orchestra. They were one. To quote Bjork, there was "Unison". Once again you felt the wood and brass sympathetically vibrating in the orchestral instruments. The conductor was definitely in control of everyone down in the pit. You could see and feel his confidence. And his pride, if you could just stop looking at Bjork.   Zena had amazed everyone the night before, with her glorious tone and sometimes furious attacks on the harp. Tonight she achieved much more - at times gently caressing each string to set it vibrating, and then choking them when they were no longer needed. A virtuoso, doing what she does best.   The Inuit choir was more dynamic then I'd ever seen them. They seemed to be enjoying this night with everyone else. Their voices filled the air. Sometimes it was an Icelandic winter wind. At others, especially during Vespertine's finest moments, it was angels in harmony. And the girlish 'She loves him, she loves him...' They were chosen by Bjork to record her music. And tour the world. What else do you need to know?     Matmos: Wow. They tick-off where every beat belongs and deliver many of them by hand. Human-generated percussion in real-time. Plus, as a bonus you get every sound ever recorded - and many that never were.   The Vespertine tour is meant to convey an intimacy between Bjork and each fan, as an individual. At times, we were alone with her. During the opening song she put the microphone next to her  music box so we could hear it's internal mechanisms clacking and torque-ing as she cranked it. She deliberately let us hear it wind down into silence, and the audience, thinking it was over, applauded. Then we learn there is more, and we hear clunking, re-cranking and shuffling about - just as you would if you were right next to her. Even in the third mezzanine, you were there. Right there. The subtleties of her delivery were well received.    The first set was mainly Vespertine and recent material. She did 'Frosti', 'Overture' and 'All Is Full Of Love'  Then we went to Bjork's house. Home, actually. Friday's crowd seemed more familiar with the newer songs than Thursday's. The second set slammed her most famous and pounding gems into a stratosphere that she created in the first. The crowd went ape! It was great to see a reaction like this - and to be a part of it. Her voice was as smooth as the weathered blue icebergs that filled the giant screen in back of the performers. It was effortless, beautiful and natural. There was much more, but it can only be felt -  not reduced to language.   'Human Behavior' and  'Joga' were some of the crowd's favorites. I know of at least one man who wept each time she sang the line, "The riddle gets solved, and you lift me up to this state of emergency...'. There was pandemonium when she sang about humans being moody and incomprehensible. Again, it was amazing to see and feel  the magnitude of the reaction between Bjork and her fans. Many rushed to the front during the frenzied final songs. There were brief moments when I thought I saw her actually take flight in that gigantically-red-feathered 'flamingo' dress. I had to accept that it was most likely an illusion. But she pranced and swooped and leaped and rebounded with such energy and grace, that each one seemed to leave acres of stage behind. It was fluid and surreal, cranked up to eleven.   The audience was a mixture of human cultures and generations. As a people watcher, I observed them mingling before the show.You can imagine the eclectic group that assembled here.  I spoke with many of them and they seemed to have a creativity and openness to them. Many had traveled from other states and even other countries to attend. During the show there were shouts of, "WEE LOOVE YOOU!!!" and other, pleading yelps of sincere affection. There was a free spirit that never faded. Even after the show, in the streets of Manhattan - on a dark Friday night.   She did it again.   Michael Delia www.mdelia.com   I wrote this poem after the concert and it's like a review but in a poetic fromat, so I would very much appreciate it if it went in the reviews for the october 5th gig :) Thank you very much ... She's Our Angel Four angels swooped from above, they lifted me off my bottom My blood stream flowing with only milk and pixie dust And I stare in the most amazement at my idol The one who has changed my life, only by making her's complete We stare in awe at this definite angel and we melt far beyond affection Pure affection for this lovely, gorgeous, hyper, happy woman The one with a smile that could knock you senseless The one singing for us and not anyone but us And we're here to enjoy and feel small and feel huge because our lives have just changed We have seen an angel sing and now scream and dance and make us tingle We know her magic inside and out and we are her people We know we are her people, though for a magnificent moment we feel as though she is ours Our own to idolize, obsess over, and solve her complex beautiful mind She puts love in your thoughts and an untouchable sense of purity in your hearts Her sound and energy is what we live for, and what we strive to be like No such uniqueness as hers exists anywhere No voice so entrancing and gentle The bombs are hitting and she is singing, and you can't help but dance For you can leave everything behind for your "3 minute high" and just "travel through her unknown" With her creativity, yelps, and casual dance You can't help but know that this angel will never leave, she'll never end, and she'll feed you more as you'd like   Tracklist:  1.  Frosti (stopped in the middle, I think to fix the musicbox) 2.  Overture 3.  All is Full of Love 4.  Unravel 5.  Harm of Will 6.  Generous Palmstroke 7.  It's Not Up To You 8.  I've Seen It All 9.  Cocoon 10.  Unison INTERMISSION 11.  You've Been Flirting Again (in Icelandic) 12.  Isobel 13.  Venus As A Boy 14.  Pagan Poetry 15.  Possibly Maybe  (some new lyrics) 16.  Hyperballad 17.  Army Of Me 18.  Bachelorette 19.  Joga 20.  Human Behavior 21.  Our Hands Review:     The show started out, of course, with Matmos, who were great, as always.  At the end of their opening act, they put some balloons on a string and set it afloat to the ceiling of the theater.  During the intermission, a stage crew guy popped all the balloons.     Now, the Bjork part:  She came out in her pearl-like swan dress, playing Frosti.  However, within the first thirty seconds of it, she stopped (I think that she had to rewind her music box or something just went wrong, or it was supposed to happen).  Some people screamed, after she stopped, but a few seconds later, Bjork continued.  After the second intermission, Bjork wore her red bird dress, which was amazing.   All of the songs were great, especially Army of Me, when the lights turned red, and Bjork hopped around the stage.  The backgrounds were very beautiful, often showing sea shells, plants, and water.  After Bachelorette, Bjork left the stage, and there was a standing ovation.  When she came back on stage, she performed Joga, with only the orchestra.   Following that was Human Behavior, where Bjork gladly shouted portions of the song at sections of the crowd.  She was quite the energetically happy one, especially during this song, when she jumped up and down several times.   After Human Behavior, Bjork said something like,"  Now, I would like to introduce the people who made this possible.  Matmos, Zeena Parkins, A choir from Greenland, an orchestra lead by Simon Lee from, well you tell them, NEW YORK! (everyone cheered and clapped)  We have one last song tonight (everyone moaned aw)  It's a song that we haven't released yet."  Then, she performed It's In Our Hands, which was great.  The choir from Greenland clapped during parts of the song.  Everyone was shouting and clapping. and it was great.  After that song, Bjork ran off of the stage.  I will never forget this experience.  -Corey Wanna contribute? Copyright © 1995-2001 by Björk Overseas Ltd. All rights reserved. See our privacy and copyright statement for more information.