ACL Live Shot: St. Vincent

St. Vincent took the stage standing stiff at the microphone, sans guitar, her dark hair bleached white with a cold tint of blue emphasizing the robotic affectation against the skuzzed synth beats of “Rattlesnake.” Once a guitar went around her neck, the switch flipped and coldness dropped. Hair flew, a smile emerged, and all hell broke loose.

Nothing robotic about Ms. Annie Clark (Photo by Jana Birchum)

Annie Clark’s clearly absorbed the influence of David Byrne from 2012’s Love This Giant collaboration and tour. Her St. Vincent no longer evidences just a captivating musical force, but rather a fully stylized piece of performance art. Sonically as well, the tidal rhythms of “Digital Witness” from this year’s eponymous fourth LP emphasize the Talking Heads while still allowing the Dallas-born guitarist to rip apart at the seams.

Backed by two keyboardists and a drummer, Clark contorted through “Cruel” and “Marrow,” her lips sliding against the mic. “Surgeon” and “Cheerleader” slowed the set languorously as she drifted into her own warped, riffed world and then melted into “Prince Johnny.” The wicked scars of “Birth in Reverse” brought back jagged force.

Between scouring guitar breaks, St. Vincent spun a dark fantasy. Musically, it arrived both inviting and elusive, cruel and caustic. Twisted can seduce as surely as pure and simple beauty.

Closing in epic fashion with “Your Lips Are Red,” Clark rode the shoulders of security into the audience, releasing her guitar to the swarm of outstretched hands. Afterward, she reeled back onto the stage. There, spent and kneeling before her pedals, she blistered off in one final haze of distortion.

Read the Chronicle's interview with St. Vincent.