St Vincent at Somerset House
Once a baroque pop darling, Annie Clark, aka St Vincent, has really amped up her stage performances since the release of Masseduction almost eight years ago. She has proven herself the stunning showwoman, and with age, has only become more invigorated as she traverses her domain. This is none more apparent than during her stellar show at Somerset House.
The set leans heavily on her latest album, All Born Screaming, and begins with a frenzied rendition of Broken Man. With fuzzy guitars and impassioned vocals, Clark completes the sublime opening with dance moves that alternate between sensual and vaudevillian, which aligns with the strobes. It’s the perfect opening for a spectacular gig.
A truly mesmerising presence, Clark commands the audience with her every contortion and Klaus Nomi-esque theatrics. It’s less posturing, but rather, the songstress losing herself in the music – and that’s, of course, the natural extension of her artistry.
One of her more accessible numbers, Los Ageless sparks an enthusiastic sing-along from the crowd. With cryptic gesturing, Clark is able to engage with the simplest of hand movements. Meanwhile, Flea’s industrial stylings veer into Trent Reznor territory, recalling the moodiest of moments from The Downward Spiral.
The ruminative New York serves as a love letter to the audience, whom Clark serenades after getting onto the shoulders of a security guard (after asking for their consent and ensuring they had no back problems, that is). For an artist who has long held a somewhat aloof persona, it’s endearing to see Clark so engaged with her adoring fans. Seemingly having fun with her newfound playfulness, Clark has come a long way since that elusive figure whom David Byrne professed to knowing absolutely nothing about, despite recording an entire album (and touring) with her.
In recent years, and perhaps in part due to some high-profile relationships with female celebrities, Clark has leaned fully into her status as a queer icon. During Sugarboy, she and bassist Charlotte Kemp Muhl simulate an erotic act, to the delight of fans.
The tight quintet blends together impeccably. Forget power chords: Clark teases all sorts of strange sounds from her fretboard. Her guitar work blends technical virtuosity with theatrical sensuality. It’s marvelling and baffling in equal measure and testament to her idiosyncratic oeuvre.
The pre-encore closer All Born Screaming is a fitting end to a flawless showcase. Clark seems genuinely happy to be here, revelling in the communal joy of music as she celebrates the fact that all of us – with our disparate lives – are joined together here at Somerset House.
With her ice-cool assuredness, Clark has cemented her status as one of the leading figures of contemporary popular music. This was a powerhouse performance of emotional weight from indie’s undisputed empress. Peeling behind her namesake persona, fans got to see St Vincent and, indeed, brief glimpses of Annie Clark through moments of grounded reality over dramatics. We may be all born screaming, but the phenomenal St Vincent leaves her audience screaming for more.
Antonia Georgiou
Photos: Virginie Viche
For further information and future events, visit St Vincent’s website here.
Watch the video for DOA here:
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