She also noted that throughout her career as a live performer, her fans have enjoyed the various reworkings of her back catalog, indicating that the same will happen on the Utopia tour: "There isn’t necessarily a one correct version of each song.

[citation needed] A seven-woman flute ensemble, composed of members Melkorka Ólafsdóttir, Áshildur Haraldsdóttir, Berglind María Tómasdóttir, Steinunn Vala Pálsdóttir, Björg Brjánsdóttir, Þuríður Jónsdóttir and Emilía Rós Sigfúsdóttir, rounded out the touring band; this is 5 fewer flutists than what appeared on the studio album, a decision Björk said would allow the listener to focus on the individual sounds each flutist is playing.

The Reykjavik Grapevine said that though the concert was billed as a 'dress rehearsal', "No such qualification was needed: it was a slick, arena-ready live presentation, with lavish sound, staging, choreography and visuals."

[19] Writing about the choreography of the 7 female flutists, Icelandic website Visir noted that "it was simply amazing to watch the flutes play and dance at the same time" and praised the work of previously unannounced touring band member and harpist Katie Buckley, who also played the harp on the studio album, and summed up the entire evening as a "dazzling good concert with this magnificent artist."

[20] Björk's headlined the final day of the first All Points East Festival located in Victoria Park, London as the debut performance of the summer leg of the tour.

[21] While billing the Festival as a "rather disparate series of shows", The Guardian journalist Rachel Aroesti praised Björk's performance, describing how "it provided an undoubtedly sublime climax to the weekend".

[22] Likewise, James Eaton from Metro praised the stage design and setlist choices: "with gold glitter mimicking the light of a million fireflies, an angry storm raging over north London in the distance, and a stage covered in flora, fauna and visions of nature, Björk performed songs that spanned her career [...] "Human Behaviour" and "Isobel" from the mid-90s brought familiarity, while the sparse soundscapes of Utopia, with its flutes and soft electronica played up to the conditions and capped one of those summer evenings that make London well worth enduring.

The highlight was set closer "Notget", with its mesmerising snare drum rallying through ever-growing layers of Björk’s sublime vocal.

[24][25][26] El País journalist Luis Hidalgo commended the show by saying "Everything was delicate, everything was tenuous, everything was beautiful, fruit of an imagination that does not work by accumulation of effects, but by the appropriate gradation of them, always seeking to suggest rather than stun".

[28] Björk's setlists for major festival dates was noted by several critics, such as Ryan Butcher of The Independent, who noted that people, "expecting to hear "Hyperballad", "Army of Me" and "Declare Independence" - henceforth known as "the hits" - (are) going to be disappointed," though he lauded Björk's song choices and performance as "truly unique" and called her "a world-class artist who stands alone, peerless" and "a one-of-a-kind performer who will never even come close to being equaled, let alone surpassed.

"[29] Sam Walton of Loud and Quiet wrote, "The setlist draws heavily on Utopia, her newest and toughest record, rarely alighting on anything familiar to the casual Bjork fan, and her vision is clear and pure: this is a show about womanhood, the ecology and human survival and rebirth, told with seriousness, tenderness and huge amounts of passion, and any toe-tapping melodies that happen to creep in along the way should be chalked up as a bonus.