[1] Concepted upon Björk's ninth studio album, Utopia (2017), it is directed by Argentine film director Lucrecia Martel, and was described as the singer's "most elaborate stage concert yet.

"[2] The show featured several digital visuals created by media artist Tobias Gremmler, while Chiara Stephenson provided the stage design, which was made to resemble fungi.

The live band included a 7-piece flute ensemble, a harpist, a percussion section, electronics and also a number of bespoke instruments, which were implemented in the surround sound stage design.

[5] In 2025, an accompanying concert film directed by Ísold Uggadóttir, documenting the Lisbon show, was premiered on Apple TV+ in a shortened version before getting released to theaters worldwide.

[8] On 12 November 2018, Björk announced her new theatrical production / concert tour Cornucopia at The Shed, a new performing arts venue opening in Manhattan's Hudson Yards neighborhood in the Spring of 2019.

On the musical side, these collaborators include the seven member female Icelandic flute ensemble Viibra, percussionist Manu Delago, harpist Katie Buckley, and Bergur Þórisson on electronics, all of whom performed on Björk's 2018 Utopia tour.

Airfare for the 50-person choir was provided by the Icelandic government, with Minister of Education Lilja Alfreðsdóttir saying, "the state often strengthens cultural events" and "this will be very good for all parties".

[16][17] On August 5, 2019, Björk announced five additional arena shows for the tour, taking place in Belgium, Luxembourg, England, Scotland and Ireland.

"[21] Björk spoke equally well of Poots, complimenting his positive attitude towards "idiosyncratic ideas" and his disinterest in "differentiating between high and low arts.

She envisioned a possible "postapocalyptic" future where "plants, birds and humans will merge into a new mutant species," an idea she created sonically on Cornucopia's 2017 parent album, Utopia.

"[22] Lucrecia Martel was brought onto the production in January 2019,[15] replacing original director John Tiffany of Harry Potter and the Cursed Child fame.

Martel admitted to finding Björk's unique working methods and turns of phrase "a little bit hard to understand" at times and often feared, "this is a disaster," but, she concluded, "when I see everything together, it is incredible."

While Björk did the musical arrangements, Martel added "materiality and physicality"[21] and devised the special projection concept which throws up digital artist Tobias Gremmler's creations against a curtain of ropes placed in front of the stage in addition to the large screen behind the performers.

"[15] Supporting this grassroots, female-led vision is a direct appeal for global climate reform by young Swedish activist Greta Thunberg[21] whose video message appears towards the end of the show unencumbered by digital effects or music.

"[24] Rousteing had to alter each piece to fit the physical needs of Björk and the other musicians, of which he dressed 15 including Viibra, the flute septet and percussionist Manu Delago[22] with particular attention paid to harpist Katie Buckly's outfit.

"[24] For the shows in Dublin, Oslo, Copenhagen and Stockholm, Björk wore new costumes designed respectively by Dilara Findikoglu, Manish Arora, Yuhan Wang and Noir Kei Ninomiya.

In an interview with Vogue Magazine set designer Chiara Stephenson revealed that "Björk wanted Cornucopia to be both intensely intimate, as though the audience could feel her whispering in their ear, and vast, voyeuristic and distant,".

It was designed by an Icelandic /German artist duo called Studio Brynjar & Veronika and built by flute maker Jean Yves Roosen.

[27][28] The show features a set of two organ pipes, which make the tone of E♭ and B-flat major, a xylosynth, an aluphone, a piezoelectric violin made by MONAD Studio and the Segulharpa, a harp whose steel strings interact with the magnetic fields created by the internal analog circuitry.

[29] In addition to this, the show also includes a cocoon-like reverb chamber, a large pod created by meant to recreate the effect of singing alone in nature and the way she often composes music.

[32] Afterwards, Björk sings the Utopia album track "Claimstaker" and the second single from Post, "Isobel", which was re-imagined by Arca and features "percussive intervention".

[33] Before the encore, a video message by Greta Thunberg is shown, in which she addresses climate change and sustainable energy: We are about to sacrifice our civilization for the opportunity of a very small number of people to continue making unimaginable amounts of money.

"[34] The Guardian labeled it "a masterclass in exploration"[35] and Rolling Stone said the show's billing as Björk's most elaborate staged concert to date "would be a tough claim to refute".

They described the digital projections against the stage's forefront curtain of threads as "jaw-dropping" and "lushly layered" and heralded the environmental message behind the show as "gloriously angry in the way Björk can be at her best" and "punk-rock Valkyrian fury.

"[4] Both publications praised the musicians that joined Björk on stage, with The Guardian signaling out The Hamrahlid Choir as opening act and support during the main show, as well as the stark, unprocessed video projection at the end of the concert by 16 year old Swedish climate activist Greta Thunberg.

Rolling Stone called it "a poignant passing of the torch from artist to activist" and said "it put the datastorm complexity of what came earlier into stark, simple, fittingly scary perspective.

[5] Eli Petzold from The Reykjavík Grapevine analysed the theme of the show, noting that "In Cornucopia, coherence, linearity, and familiarity are indulgences rather than givens, underscoring the overarching imperative to reject comfort and precedent in search of a better future".

[31] In a mixed review for the show, Financial Times journalist John Rockwell observed how "Björk's remarkable ear for musical timbres can get lost in a bass-heavy sonic sludge.

[37] NJ.com commended the show for its promotion of climate change awareness, noting that "that's not to suggest this performance was simply a vehicle for Björk's political views, or to say the musicians relied on the room's exceedingly advanced tech as some sort of crutch.