St Vincent


Like half an episode of Inside No9.

The show itself was just her with a guitar and a backing track. I thought the staging of it, especially the first half, was really interesting and different in a venue of that size, but be warned: she does spend most of the show towards the back of the stage, which means that there is almost a total disconnect with the audience.

I found it clinical and a bit ‘wipe-clean’ for it to be really enjoyable, tbh.



Cool thanks. Am going tonight in Manchester.
Had a sneaky peak at the setlist and it looks quite methodical: hits from the last albums in chronological order, followed by new album in full. I do love the new album so am really looking forward to hearing it


This is now the Pomplemoose thread


You pays your money you takes your chances I suppose…really hoping it clicks. This sounds a little worrying.


Actually thought it was the other way around. While some of the staging was quite interesting and different in the first half, without anything visual other than her it felt a bit of flat. And with a couple of exceptions (Cheerleader and Rattlesnake) the backing track really didn’t suit a lot of the old tracks and just overpowered it. Birth in Reverse and Cruel were pretty awful tbh.

But I thought the new album was a lot better, much more engaging with the visuals behind her, and the sound suited the new stuff way more, as is to be expected I guess.

I agree that it was a bit clinical and staged to really fall for, but I still enjoyed it overall.


this seems to be the most divisive show since those (2013?) shows by The Knife. intrigued to know what the MCR fam make of it all.


If any one wants to watch the birthday party film in the comfort of their own home. It’s on Netflix as part of an horror anthology called XX.


Just been to the Manchester gig. The guitar + backing worked well for a lot of the new songs and in particular the s/t songs - I thought Rattlesnake and Birth in Reverse were brilliant. Less so for others where, once Annie stops playing and singing, everyone is just sort of waiting for the instrumental to end.


So, saw her in Manc last night.

Do we need to add spoiler warnings for the show? I feel like perhaps it might be needed…anyway.

The idea behind the show, I thought, was pretty spectacular. It was so different to other shows I have ever really been to. Theatrical, yes - but unique and really powerful. Quite surreal and bizarre really…almost Lynchian. The way she drifts about on the stage with balaclava clad helpers moving the mic stand, new guitar every song. The lighting I thought was really quite something. It really added to the atmosphere. The opening set was fantastic, and despite my misgivings with the backing track as per below - I did think the reworked instrumentations were really tasteful. I’m enjoying parts of her new record, but the second set I couldn’t shake the niggling feeling it’s my least favourite of her albums, but I thought the visuals complimented things really well.

The backing track pulled me out of the experience quite a bit. The performance itself was really quiet, so much so I could hear casual conversations taking place around me. I wanted to be engulfed and sadly wasn’t. Having seen her half a dozen times, I must admit too, my preference would be to see her play with her band who are all such rich characters. Those shows had an urgency and particularly the very early self titled shows, were just so exciting. This was obviously very different, but then that is part of her charm. I can’t think of anyone like her doing what she’s doing at her level. She’s a once in a generation talent, seemingly changing it up each time she puts out a record, which should be applauded.


Listened to Masseduction for the first time today (currently on a second run-through). Early on in the album, I was thinking it was kind of like Actor (my favourite St. Vinnie album) but run through the influence of what she’s done since then (if that makes sense). As I go through, that thought kind of waned and occasionally came back.

I’m growing more attached as I’m running through this second listen (btw, I hadn’t really listened to any of it - except for listening to ‘New York’ and ‘Los Ageless’ once each - before getting the whole album). One thing I want to say though is that ‘Slow Disco’ is absolutely beautiful - and one of those moments I love where I find myself floored by the lyrics (as someone who isn’t necessarily a “lyrics person” (though - unnecessary caveat, here - I’m not necessarily not a “lyrics person” either)).

Digging it, basically. I don’t think I’ve had one of my customary St. Vincent binges in quite a while, actually, thinking about it.


i went back to Strange Mercy as a result of this and fuck me it’s good


For me this is the St Vincent album i’ve always hoped she would make. I’ve always admired her albums more than i’ve actually liked them - her talent is obvious but she’s always seemed too keen on showing it off by throwing everything she had at every track. This time she’s allowed the songs to breathe so the melodies (which are superb) show and she’s much more emotionally direct in the lyrics than she usually is. As a result I find the whole thing much more rewarding than I ever have before. The whole thing is great, a genuine AOTY contender, but the 4 track run from Los Ageless to New York is absolutely wonderful.

The best thing about it is that I think it will lead me back to her earlier records, which I had rather given up on.


I think the album’s very good, but I think that run you mention is the weakest part of it. Los Ageless is great, but having Happy Birthday Johnny and New York so close together stalls the momentum a but, and Savior is the one dud on the album.


I love all four of those songs (although Saviour is the weakest of the four). I’m listening to it on vinyl where they span the end of the first side and the start of the second, so that might give a slightly different experience. I think both of the stark ballads are superb although the fans of the earlier albums seem to hate them for some reason. Fair enough.


I’m maybe being a bit harsh on that stretch, I like three of the songs, I’m just not sure about the positioning of the ballads I guess.


She was amazing in session for Lauren Laverne last week. Just her and an acoustic guitar.


Spotted today a nice bit in ‘Smoking Section’ where the sort of pitch-shifted vocal effect that reminds me of that you hear from time to time on Marry Me crops up


These stripped back versions she’s been playing (New York and Los Ageless on Jools Holland also) are just sublime. I’m enjoying the new album but can’t help feeling that some of the songs could and would be much “more” if the arrangements had been recorded as minimalistically as those performances.

(I’ve hit peak ‘female vocalist + minimal arrangments’ phase)


gonna see her in Berlin tonight, gonna be interested given everything that’s being said about this tour


(Not sure if anyone’s posted this)