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Well-clad in red Mary Janes, red tights, black skirt, white shirt and ascot, St. Vincent took the stage to a background of swirling, strobe light stars, chirping birds and an empty, yellow birdcage. While it might sound like the setting to a B-rate high school musical, it was the platform for Annie Clark to purvey her brand of finger-picking, guitar rock.
After listening to and watching her pluck on the strings for less than ten minutes it was evident that all of the rumors and hype were true. This girl can play. She navigated her way around the fret board like a seeing-eye dog leading the blind. It was effortless, elegant and flawless.
St. Vincent stood alone on stage, with only her two guitars (and the birdcage) to keep her company (this tour, apparently, does not feature the keyboard and drums). She needed nothing else.
On "Marry Me," the title track from her upcoming album due out July 10th, she brought out a close friend to add violin to the aura. What is more, she professed her love for John Vanderslice (unfortunately, that love is unrequited) by asking for his hand in marriage (indeed, the song goes, “Marry Me, John. Marry Me, John; I’ll be so good to you”). The violin complemented Annie’s beautiful, high-reaching voice perfectly with its bow-led whining. "Marry Me" is nothing if not a pop song (and that’s not a bad thing), but without the drums and keyboard to add the extra luster it was merely good – not great.
The highlight of the show was "Your Lips Are Red," a thrashing, heavy song. Utilizing a kick-drum effect pedal (which she also used on a number of other tunes), distorted guitar and a secondary, muffled microphone (also used on a few other jams), she brought the light foot-tapping of the Johnny Brenda’s crowd to a full-on head-bob - a crowd favorite, to be sure. With all of its effects, far-reaching vocals, and quirky lyrics, the song sounds like the product of a three-way with St. Vincent, Clap Your Hands Say Yeah and Fiona Apple (and this is a good thing). Once again, the song, as performed live, was simply good when it could have been great if she had been accompanied by a touring band.
Image Credit: http://www.myspace.com/stvincent - Tod Seelie
Throughout her performance, St. Vincent did nothing short of amaze me with her guitar mastery. Her constant finger-picking, plucking, and tapping of the strings created sounds I did not think were able to resonate from a guitar strapped to anyone other than Tom Morello.
Standing alone, she captivated the audience, roughly 50 strong. She led us on a mystery tour of musical genius. Her creativity and talent are made clear through her lyrical prowess (as stated on her MySpace page, her lyrics can be “weird or tongue-in-cheek or dead serious” - and I can attest to that assessment), musical composition, and execution.
Through her performance, I think we’re supposed to believe that this is what it is like to be a 23-year-old. I’m not buying it. I do not remember being critically-acclaimed as a great guitar prodigy when I was 23. Nor do I remember being a part of The Polyphonic Spree or Sufjan Steven’s touring band.
What I do know is that, though it was a good performance by a supremely talented woman, I could not help but wonder what it would have been like with a tour-dedicated drummer and keyboardist.
But that’s just me and maybe I’m just as fickle as a paper doll.
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I had the exact same sentiments when I saw her in New York. I just kept wondering how much better the show could have been with the addition of a drummer.