Eclectic. Look up the word and find a picture of St. Vincent. It sounds like a cliché. Except it could be true.
In the shape of St. Vincent, Annie Clark is a true musical chameleon who changes significantly from album to album. Not just with varying musical expressions but also with accompanying personas and costumes that support and complete the expression. St. Vincent delivers the full package.
There’s a reason why St. Vincent is called a worthy heir of David Bowie. She also toys with various identities with a special attention to detailed aesthetics, taking cues from his flashy fluidity.
Previous records (2014's St. Vincent and 2017’s MASSEDUCTION) were like latex-wrapped synth-pop and prog-pop with guitar-rocking twists. Earlier in 2021, Daddy's Home – her sixth album – was released, and it offers silky 70s-sounding soul and funk, played in true St. Vincentesque fashion. The record plays into personal themes about parenthood, family relationships and gender issues.
Past years have been busy and highly productive for St. Vincent. In addition to Daddy's Home and a tour, she's also made a film with Carrie Brownstein from Sleater-Kinney. It’s a mockumentary about... yes, the persona St. Vincent (watch trailer). She has also provided a soundtrack with 19 songs full of as much drama as the film.
As exciting as following St. Vincent's record productions is attending her live shows. Her ambitions are as towering here as they are in the studio. At Roskilde, we have previously seen her as a techno priestess and as some kind of Barbieficated dominatrix. Most recently, she has been spotted on stage wearing go-go boots and a vintage pajama set, taken from the visual aesthetics of Daddy's Home.
You can be sure that St. Vincent always brings an incredibly well-playing band, an accomplished scenography – and when she steps on stage she owns it!
It's impossible not to be enchanted by St. Vincent whoever she turns out to be this time.