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Combining the raw sexuality of PJ Harvey with the chameleon-esque self-invention instincts of David Bowie, St. Vincent (aka Annie Clark) has had a pretty good ride since ditching her early stints in Polyphonic Spree and as a touring guitarist with Sufjan Stevens to stake out her own journey. And it’s been quite a ride so far, with eight records, a collaboration with David Byrne and a soundtrack so far, and her pace shows no signs of slowing.
All Born Screaming is her latest effort, the first released on her Total Pleasure Records label. You know you’ve made it when you get your own vanity label. Seriously, it’s an achievement that allows her full automony in her creative endeavors and a bit more leeway financially as well. The previous record, Daddy’s Home was a bit of curveball from previous works, showing a predilection towards slinky ’70s grooves, whereas the most recent album brings more dance-forward material to the front.
But the show with start with the stark “Reckless,” a silhouette of Clark framed inside one of the arches that would move position around the stage throughout the show. She’s noted for her exquisite guitar talent, but I don’t think she gets enough credit for how good of a singer she is as well, and this song perfectly showcased her abilities. “Candy Darling” was another song which underscored this, her guitar histrionics shelved to let her voice carry the day. “Flea” featured flip-flopping shots of her face projected on the screen at the back of the stage while she skated around the simple blues background a la Polly Jean Harvey before the song exploded into the air, bolstered by booming digital bass.
“Year Of The Tiger” sprung from the gates with a tribal beat before retreating to the golden sounds of the FM radio era, and “Sugarboy” picked up the familiar strains of her guitar playing with Adrian Belew a prime source of inspiration, with stage acting of writhing around with guitarist Jason Faulkner like it was an outtake from Spinal Tap.
Clark paid tribute to her time spent in Boston, first asking if anyone from Allston, Everett or Lynn was present before telling us that her Berklee keynote speaker was none other than… er… Bill Cosby. She left the school before earning her full degree, telling people to not learn so much you start hating music. Clearly that flame still burns brightly.
This is the start of the fourth stint on the All Born Screaming and the first for Yves Tumor as tour support. The eclectic performer brings a hard-hitting energy to their sound, steeped in dance music but certainly with a deep rock sensibility. Also heavy into their overall presentation is clothing choice, visually arresting combinations that would leap off the pages of Vogue were it a hundred times cooler.
Unfortunately very few people in the venue could make out tonight’s fashion styles as Tumor presented the building with an onslaught of high-powered strobe lights and chemical fog so thick that rumors were circulating that the venue was considering building two lighthouses tonight for navigation purposes. The songs rang out clearly however, with Tumor supported by what looked to be an entirely new band from last year’s show.
In their typical ‘fuck people’s expectations I’ll do it my way’ strategy, Tumor decided to skip most of the songs that Spotify would indicate are the most popular, and I’m glad that the plangent “Meteora” made the cut once again tonight, a song that ends with the most unlikely sample this side of Dr. Octagon’s use of Bartók in “Blue Flowers.” A somewhat challenging performance from a performer who delights in upending the apple cart, I always look forward to their next move.
