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    Review: Arca Struts the Catwalk Between Diva and Meta Diva

    In “Mutant;Destrudo,” her show at the Park Avenue Armory, the experimental musician delivers what is essentially a traditional concert.Amid the boundaries that the musician Arca has explored over the past decade — between technology and nature, male and female, vulnerability and aggression — another has arisen recently: the line between a pop diva and an artist commenting on pop divas.As with those other binaries, Arca hovers somewhere in the blurry, ever-evolving middle of this one: a Schrödinger’s diva, simultaneously performing stardom and deconstructing it.“Mutant;Destrudo,” her four-performance show that opened on Wednesday at the Park Avenue Armory in Manhattan, is essentially a traditional concert. There is a stage, a large screen behind it that shows a mixture of live and premade video, and a catwalk protruding into the crowd.Regularly during the two-hour show, a camera at the end of the runway relays a thighs-down view of Arca strutting in spike heels as she sings, à la Beyoncé. There’s a piano on one side of the stage, at which she sits for some quieter moments, à la Lady Gaga or Taylor Swift. There are reggaeton beats overlaid with flowing, easygoing raps, à la Rosalía or Bad Bunny. She takes selfies with phones handed up to her.If you squint, this is pop.That is a world in which Arca, the pseudonym of the Venezuelan-born Alejandra Ghersi, has spent time. She started as a producer for Kanye West, FKA twigs, Björk and others as she built a following for her own music, including the kaleidoscopic five-album cycle “Kick,” released in a flurry in 2020 and 2021.But if parts of “Kick” and “Mutant;Destrudo” seem like plays for mainstream eyes and ears, Arca stubbornly resists being too digestible. The Armory show, like Swift’s touring behemoth, picks and chooses from a catalog that is, after only 10 or so years, widely varied. But unlike Swift, Arca’s eras are spiky and hard to define; she doesn’t do anthems. “Destrudo” is billed as being structured in three acts, but the divisions between them are murky.This is restless, unsettled music, evoking both exhilaration and anxiety that a single person can produce — and can be — so many different things. Wednesday’s set began with murmured lullaby torch songs, in the airy yet sultry, prayerful, sometimes crooning voice of “Arca” (2017) and the fifth “Kick” album. The evening’s climax — long, seething, groaning, grinding synthesizer instrumentals — could hardly have been more different.Arca at the synthesizer where she made the kinds of sounds she specialized in at the beginning of her career: glitches, explosions, video-game-style machine-gun rounds, spacily stretched tones.Hiroko Masuike/The New York TimesBetween those extremes were hip-swaying bits of reggaeton, from the second “Kick,” and explosive electronics; in one number, smooth vocals and a low-slung beat were disrupted by metallic squeals. Songs seemed to end almost arbitrarily, as if Arca were simply ready to move on to something else. The mood was twitchy, fractured, a perpetual transformation.For all the arresting high-tech video imagery — psychedelic layers superimposed until they took on hologram-like pseudoreality — there was a studiedly rough, decidedly non-stadium aspect to the show.Arca’s first costume change — out of a slinky, shimmering black dress into a plastic breastplate with lights at the nipples and a patchwork miniskirt — took place in full view of the audience, without much rushing or showmanship. The awkwardness of how long it took, the lack of spectacle, seemed intentional: This, she seemed to be saying, is the glamorous drudgery we put female artists through. We sometimes saw Arca on video as she lay on an examining chair, as if our perspective was that of her surgeon.Her piano — unlike Swift’s or Lady Gaga’s — is prepared with magnets that turn it into an electroacoustic machine of woozy, otherworldly lyricism, tinged with buzz. And unlike most pop divas, Arca had a synthesizer setup on the other side of the stage, at which she grinned maniacally and made the kind of noise that she specialized in at the beginning of her career: harsh shards in wet earth, glitches, explosions, video-game-style machine-gun rounds, roars, spacily stretched tones.It was the kind of soundscape that fit the show’s title: “Destrudo” is a term relating to the Freudian death drive, a theme in keeping with Arca’s gothy-cyborg self-styling. But while the music occasionally got loud on Wednesday, there was little of the heavy, disorienting, oozingly morphing melancholy of her early work. Lacking the encompassing (if changeable) moods of the albums, this was a performance more endearing than emotional; even the dancey parts were too brief to build up much joy.“Destrudo” follows “Mutant;Faith,” her 2019 production at the Shed. In that period, when she began identifying as a nonbinary trans woman, pre-“Kick,” it landed more squarely on the side of experimental performance art. Arca did the show in a dirt pit, wore hoofed stilts, used a stripper-pole synthesizer and rode a mechanical bull.Now, trying more than ever to have it both pop and not, she is still fascinating, but — maybe inevitably — not fully satisfying.At the Armory, she was charming, game, sweetly grateful to the crowd. “This is fun, right?” she said, sincerely, as she paused to correct something wrong with the technology in her high heels that seemed meant to translate her steps into sounds. And it was fun — sort of.ArcaThrough Sunday at the Park Avenue Armory, Manhattan; armoryonpark.org More

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    Mitski’s Sharp Take on a Creative Life, and 12 More New Songs

    Hear tracks by Arca featuring Sia, Kelis, Tambino and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Mitski, ‘Working for the Knife’Mitski monumentalizes an artist’s self-doubts — the creative impulse versus the editorial knife — in “Working for the Knife.” The track begins as a trudging march with stark, droning synthesizer tones, but Patrick Hyland’s production expands into ever-wider spaces with lofty, reverberating guitars. Mitski sings about missteps and rejections at first, but her imagination perseveres: “I start the day lying and end with the truth.” JON PARELESArca featuring Sia, ‘Born Yesterday’This unexpected collaboration just had to happen. Sia has a memorably broken voice and a songwriting strategy of victim-to-victory that has brought her million-selling hits, both on her own and behind the scenes. Arca, who has made music with Björk and Kanye West, has an operatic voice and a mastery of disorienting electronics from eerie atmospherics to brutal beats. In “Born Yesterday,” Sia wails, “You took my heart and now it’s broken,” confronting a partner’s betrayal. Arca twists the electronic track all over the place, bringing in and warping and subtracting a four-on-the-floor beat, pumping up the drama as Sia decides whether she’ll be “your baby any more.” The twists never stop. PARELESTainy with Bad Bunny and Julieta Venegas, ‘Lo Siento BB:/’Cynics might see a Tainy-produced track featuring Bad Bunny and the beloved pop-rock icon Julieta Venegas as the type of collaboration engineered in major label conference rooms. But “Lo Siento BB:/” is a seamless matchup that leverages both artists’ capacities for pointed vocal drama. Venegas’s sky-high melodies and funereal piano transition into El Conejo Malo’s signature baritone. Sad boys, sad girls and sad people, consider this your new anthem. ISABELIA HERRERARobert Glasper featuring D Smoke & Tiffany Gouché, ‘Shine’The Black church has been close to the center or at the very root of many big changes in American popular music; and over in the jazz world recently, gospel has been reasserting its influence. The pianist and bandleader Robert Glasper is a main driver of the trend, and this week he released “Shine,” an early single from the forthcoming “Black Radio 3,” featuring the rising M.C. D Smoke and the vocalist Tiffany Gouché. Glasper gifts the session with a signature sparkly harmonic vamp, and D Smoke projects farsighted conviction on his verses; Gouché’s vocals are beatific. This is the trinity that made the first “Black Radio” a smash, and has fed Glasper’s star formula: a gospel core, backpack-generation rap wisdom and bravado performances from female singers. But the track’s low-key showstopper is the bassist Burniss Travis, who’s doing more here than you might at first realize, which is exactly the intent. GIOVANNI RUSSONELLOglaive and ericdoa, ‘Mental Anguish’This is one of the standout tracks on “Then I’ll Be Happy,” the new collaborative EP from the rising hyperpop stars glaive and ericdoa. At the beginning, it has some of the parchedness of early emo, but then lightning-bolt squelchy synths arrive, and fraught vocals that sound like they’re being microwaved in real time. JON CARAMANICAJames Blake featuring SZA, ‘Coming Back’James Blake is smart to let SZA upstage him in “Coming Back.” It starts as one more slice of his usual keyboard-and-falsetto melancholy, but when SZA arrives she challenges both his morose narrative — “Don’t you have a clue about where my mind is right now?” — and his stolid music, as she bounces syllables around the beat and brings new zigzags to the melody. Blake rises to the competition, chopping up the production and pepping up his tune. Even so, the song may not convince her to come back. PARELESJustin Bieber featuring TroyBoi, ‘Red Eye’It has been clear for a long time, but just to spell it out: Justin Bieber is the world’s savviest beat-shopper. While the lyrics of “Red Eye” flaunt the prerogatives of glamorous bicoastal American living — “You should be hopping on a redeye”— the track, by the British producer TroyBoi, plays with electronics, reggaeton, Afrobeats, dubstep and dembow: so digital, so professional, so perky, so slick. PARELESC. Tangana and Nathy Peluso, ‘Ateo’Latin pop’s geographical borders are dissolving. C. Tangana, a rapper turned singer from Spain, and Nathy Peluso, an R&B-loving singer from Argentina, find a meeting place amid the light-fingered guitar syncopations of bachata, a style from the Dominican Republic. “Ateo” translates as “atheist,” but the song quickly makes clear that desire and bachata add up to “a miracle come down from heaven”; now they’re believers. PARELESKelis, ‘Midnight Snacks’Kelis’s first new song in seven years sneaks up on you. Full of whispered astral funk and understated steaminess, it’s a welcome return for one of R&B’s left-field luminaries. CARAMANICATambino, ‘Estos Días’Tambino lets genres slip through his fingers like fine grains of white sand. On “Estos Días,” a sliced-up baile funk rhythm blends into dance-punk verve, only to burst into the soaring drama of a pop ballad. The track is a meditation on the protests that spread across the world last year, and the police violence that continues to plague marginalized communities. “Nos mata la policía,” he intones. “The police kill us.” But in the trembling fragility of the Peruvian-born artist’s voice, there lies a kind of radical hope. “Yo voy hacer mejor/Dejar todo el dolor,” it quivers. “I’m going to do better/Leave behind all the pain.” HERRERASusana Baca, ‘Negra del Alma’Susana Baca, the Afro-Peruvian songwriter and folklorist who has also served as Peru’s Minister of Culture, marks the 50th year of her career with her new album “Palabras Urgentes” (“Urgent Words”), connecting age-old injustices to the present. “Negro del Alma” is a traditional Andean song commemorating a complicated past, when Andean natives met Afro-Peruvians and fell in love. Baca complicates it further, meshing disparate Peruvian traditions of marimbas, hand percussion and horns. But her voice carries through the song’s anguish and determination. PARELESSuzanne Ciani, ‘Morning Spring’Suzanne Ciani’s “Morning Spring” is the first taste of “@0,” a new charity compilation showcasing the works of ambient creators past and present. Here, orbs of synth bubbles float to the surface like a cool carbonated drink, while others wash beneath, ebbing and flowing like the low tide. Ciani — a synth pioneer recently celebrated in the documentary “Sisters With Transistors: Electronic Music’s Unsung Heroines” — renders an aquatic concerto, its symphonic movements receding and transforming at every turn, like the curling crests of ocean waves. HERRERAKenny Garrett, ‘Joe Hen’s Waltz’As his contribution to “Relief,” a forthcoming compilation benefiting the Jazz Foundation of America’s Musicians’ Emergency Fund, the esteemed alto saxophonist Kenny Garrett provided an unreleased outtake from the sessions for his standout 2012 album, “Seeds From the Underground.” With a teetering melody and a swaggering mid-tempo swing feel, “Joe Hen’s Waltz” pays homage to the saxophonist Joe Henderson, nodding to his knack for slippery melodies that seem to move through a house of mirrors. In Garrett’s quartet at the time, much of the energy was being generated by his partnership with the pianist Benito Gonzalez, whose playing is rooted in Afro-Latin clave and the influence of McCoy Tyner, but has an effervescent phrasing style of its own. RUSSONELLO More