Love her. She retains that innocence she had when first seen singing "Birthday" all those years ago.
If anything she has improved herself as a result of her fame, which is a beautiful thing.
By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Adults attending the evening concerts at the Hall of Science won't get precisely the same experience as the approximately 50 New York City kids who attend the Biophilia Educational Program, though the singer does intend for the adults-only shows to communicate some of the same principles. "I don't want technology to be in one corner and nature in another and music over in a third—it's all the same thing," she says. (Her subsequent Roseland Ballroom shows will employ some of the same gonzo instrumentation, though not in as pure an art-installation fashion.)
"I only realized last week why everything's so crystal clear in the music: It's because I wanted that simplicity. Where Volta is kind of chaotic and sort of the state before a solution, Biophilia is the solution, in the broadest sense of the word. And if you think of teaching arpeggios with lightning—I hope it doesn't sound too far-fetched—but it's part of the same kind of mind-set. . . . And I think this 21st century is going to be very much about that."
Does that sound far-fetched? Perhaps just a little. But Björk will hardly be the first lecturer to spice up her patter with quasi-mystical concepts and props. And macro-sales figures to the side, her classes in Queens this month are sure to be full: The New York Hall of Science shows will only accommodate 650 adult-aged students a night. Prepare yourself for a waiting list.
Björk performs at the Hall of Science on February 3, 6, 9, 12, 15, and 18 and at Roseland Ballroom on February 22, 25, and 28, as well as on March 2.