Expectations are high as I walk into Albert Hall tonight. That can be dangerous, but I’ve a feeling this sold out crowd is in good hands with St. Vincent. Backlit by a single spotlight and a lot of fog, Annie Clark ushers in the set with Reckless, largely just her voice and the ominous piano backing her up. It’s understated, but wildly theatrical and as the band crash in with thunderous lights accompanying them, its spine tingling. This is going to be good. ‘Fear of the Future’ is brutal. Big booming bassy drums and the sort of guitars that will rearrange your brain. This is a full on rock gig. Yes there’s pop melodie’s, massive sumptuous synths, but fuck me the riffs would make Muse blush. Three songs in with ‘Los Ageless’ and the crowd is putty. They’re bloody sexy too, lavish layers of synth sauciness underpins the effortless confidence of ‘Big Time Nothing’ as the funk factor dials up and megawatt search lights probe the room. This brings us back to the latest album, that I believe is being re- recorded and released in Spanish. I was hoping for maybe a bit of that tonight, but it’s still amazing in English. All three wielding guitars play them like they’re plugged into their bloodstream, writhing as they pull some truly spectacular noise from every string. Charlotte Kemp Muhl on bass is more controlled, but still looks cool as fuck. I’m often struck by the bass player (bassists need more love), but she’s something else. “This is nice and I’m really fucking enjoying myself” declares Annie and we certainly are too. The pace slows for ‘Dilettante’. Annie balletically teasing the crowd, before wailing into what looks like some sort of Frankenstein microphone. Beautiful as this venue is, the stage clearly is barely big enough to contain St. Vincent. This is a massive sound and Annie moves a lot, she’s utterly captivating to watch. Much is made of how she’s one of the best guitarists of her generation and deservedly so, but she’s no slouch with the vocals either. ‘Violent Times’ is haunting stuff, darkly romantic and cinematic. I like the rest of the audience am transfixed. The pop banger ‘Digital Witness’ cranks things up again and paves the way for ‘Sweetest Fruit’. The tribal drums sound monstrous and set the tone with everything kept tight and controlled. There’s little chatter, just killer songs. ‘Flea’ is what you’d get if you mated Pixies with Goldfrapp and invited Prince to watch. That sounds brilliant doesn’t it. It really is. ‘Cheerleader’ switches from sweet to full on stadium rock anthem, people are swaying. Guitars feedback as their necks are entwined and half the band end up on the floor as Mark Guiliana beats the shit out of his drum kit. I don’t usually applaud drum solos, but he’s got me. ‘Broken Man’ teases with its striped back intro before that synth riff tears through the room, this is what my ears crave. It’s everything I’d hoped for and more. Like NIN at a rave. Annie’s in the crowd surfing one minute, then up on the balcony the next. Impressive stuff. ‘Birth in Reverse’ is as close as they get to chaos. Space invader effects mixed in the garage rock maelstrom. Before things go all ethereal goth on ‘Hell is Near’, soaring vocals and a beautiful bassline that I get totalled absorbed by. Please let this gig last forever. ‘Candy Darling’ changes pace once more with Annie knelt down at the front of the stage. Again just with Rachel Eckroth’s piano… and backing vocals from Charlotte and Justin Falkner between their sweet little breaks to chat together on the drum riser. After we’re asked to name our favourite Manchester bands on the count of three. As you can imagine the response is indecipherable, but it’s amusing. We then get introduced to the band who I have to admit or ridiculously great. I know Annie IS St. Vincent, but these five together on stage are one of the best collection of musicians I’ve seen in a while. ‘New York’ is really intimate, Annie sitting on the edge of the stage, legs dangling over as she reaches out to the front row. We’re getting to this business end now though so the bangers are soon back. ‘Sugarboy’ nearly takes the roof off. Moroder synths, duelling angular guitars and those drums. Mark sounds like a machine, he’s that tight. ‘All Born Screaming’ on the face of it doesn’t feel like a set closer, but it’s all about the finale for me. I mean it’s all great and you can’t really appreciate the dark without the light, but god when they hit that dark disco coda, it’s stunning. It’s a single song encore, the soft and reflective ‘Someone Like Me’ gently sends us on our way. Pacing the set like a giant bell curve. It’s been quite a ride. I had high expectations, I knew I wouldn’t be disappointed, but this really was quite special.
St. Vincent, Albert Hall. 14th October 2024
Updated: Oct 18
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