Concert review: Saint-Vincent at the Hollywood Bowl


Annie Clark, known professionally as St. Vincent, is a musician, singer, producer and actress from Tulsa, Oklahoma. She started her career as part of The Polyphonic Spree, then began touring with Sufjan Stevens’ touring group and eventually formed her own group in 2006. St. Vincent took to the stage at the Hollywood Bowl this Friday, September 24th. Crowds filled almost every seat in the amphitheater, delighted to enjoy the live music once again.

The concert began with a brief set from R&B singer Mereba. The relaxing rhythms of the drums, coupled with the calming vocals, radiated throughout the room. The stage was illuminated in shades of purples, pinks, blues and orange to complete the calming performance. Mereba interacted with the audience between and during each song, encouraging the crowd to snap photos or sing along. The set ended with her song “Black Truck”, a bewitching mix of heavy bass with a smooth, flowing vocals, a great way to end the set and set the stage for the rest of the night.

Then the rock band Spoon, formed in 1993, took to the stage. Members of the audience applauded as they recognized their favorite classical songs. The distinct mix of strong distortions on guitars coupled with sound effects and electronic keyboard rhythms fully appealed to the audience. The whole thing felt like it had been transported to the 90s, and the nostalgia could be felt throughout the amphitheater. The music was chaotic and upbeat, complemented perfectly by flashing lights quickly projected onto the stage. The spectators stood and danced as the setting energized the crowd for the rest of the show.

Finally, Saint-Vincent took the stage. Members of the audience cheered and applauded as the band and backing singers entered the stage. The scene was to resemble a city, with cutouts of buildings and clouds in the background behind a rotating platform. Annie Clark entered the stage last, dressed in galore boots, vintage-inspired red pajamas with ‘Daddy’ embroidered on the back and blonde hair cropped to the shoulder and curled ends in the traditional fashion of the years. 60.

At the start of the performance, I felt like I was seeing a band straight out of the 60s playing, but with a modern twist. During the first song, “Digital Witness,” Clark played the theremin, a futuristic-looking electronic instrument played without physical contact by waving his hand in the air above.

During most of the songs in the ensemble, Clark played his Ernie Ball signature St. Vincent guitar, changing colors to match the moods of the different songs. The guitar was designed by Clark to be more ergonomic and easier to play, designed to be comfortable to hold for all body types.

After each song in the set, the stage went black and the lights quickly came back on at the start of the next song. The darkness allowed for changes in scenography throughout the set, such as the addition of a new set or a new prop, creating an interesting and surprising performance.

During the fifth song of the set, “Daddy’s Home”, the choir members stood on a rotating platform with a mirror behind, creating an illusion as the mirror moved back and forth. Clark’s impressive guitar solos and hoarse voice fully entertained the audience. Clark also released a steel guitar – played by moving a steel bar along the neck of the guitar and plucking the strings – during some songs in the set, such as “… At The Holiday Party” and “Pay Your Way in Pain “. His choice of instrument was unique and exciting, as audiences never knew what would happen next.

At the start of the set’s eighth song, “Los Ageless,” an old-fashioned phone rang and was brought on stage for Clark. She pretended to be talking to a friend and explained that she was performing at the Hollywood Bowl. The friend apparently didn’t believe her until Clark asked the audience to wildly cheer her on. The audience laughed, thoroughly enjoying this theatrical part leading up to the song with St. Vincent’s distinctive blend of heavy distortion and creepy vocals. The lights flashed rapidly, illuminating Clark’s face from different angles, adding to the overwhelming emotion felt throughout the song.

During the next song, “Sugarboy”, the backdrop was removed, revealing bars of light that were picked up and used by the backing vocals to make the lights appear to be floating around the stage. The use of props throughout the performance added to the overall dramatic feel.

As St. Vincent played, “My Baby Wants a Baby,” Clark waved his arms convincingly; the audience could see and feel every emotion that accompanied the song. The performance was powerful, with Clark staying center stage for most of the show, unless she was dancing or playing a duet with her other guitarist, Jason Falkner, in which they would play so close that it seemed like she was playing a duet. ‘they were conversing through their guitars. .

During the penultimate song, “Live In The Dream”, the background was changed to make the band appear to be in a jungle, with leaves behind them and a vine wrapped around their stems. microphone. The backing vocals toured the stage impressively in slow motion as Clark sang the relaxing vocals. The last song in the ensemble was “The Melting Of The Sun”, in which an arch of roses was added to the background, and the vine around the microphone stand was changed to roses. The audience danced and sang, an end of well-being to the performance. The platform spun Clark and the backing vocals around until they were no longer visible at the end of the song.

The crowd was captivated by Saint-Vincent’s performance from start to finish. It was as if they couldn’t take their eyes off the stage. At times, a fly could be heard flying around the hall as the whole crowd was delighted with the mixture of strong distortions, intense vocals and superb guitar solos.

At the end of the performance, Clark thanked the audience, and she and the rest of her band and backing singers greeted. Lights flooded the Hollywood Bowl as the line-up for the audience to start returning home, where they will remember this performance for years to come.

Define the list:

Pay your way in pain

My baby wants a baby


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Quynn Lubs

My life revolves around writing and music, as a journalist, show organizer, punk magazine writer and show lover. I have been involved in the music scene since I was 15, embracing and contributing to the community with which it connected me. In an effort to spotlight talented musicians, I became a writer, sharing the stories of the stage and hoping to connect others with the community.



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