st vincent tour 2022

St. Vincent Drops New Track ‘Flea,’ Announces ‘All Born Screaming’ Tour

• By Tomás Mier

St. Vincent wants y’all screaming on her new tour. On Thursday, the singer released her single “Flea” and announced tour dates to celebrate her upcoming album, All Born Screaming , slated for this summer.

The tour will see St. Vincent stopping by San Francisco, Boise, Los Angeles, Brooklyn, and Toronto for several shows and festival appearances. She’ll bring a handful of rising stars on the road with her, including Spoon, Yves, Tumor, Eartheater, Dorian Electra, and Momma.

Tickets for St. Vincent’s tour are available via pre-sale on April 3 at 10 a.m. local time. Tickets will go on sale for the general public on April 5 at 10 a.m. local time.

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St. Vincent Tour Dates

May 22 – Ventura, CA @ The Majestic Ventura Theater May 25 – San Francisco, CA @ The Masonic Aug. 8 – Bend, OR @ Hayden Homes Amphitheater Aug. 11 – Vancouver, BC @ Orpheum Aug. 13 – Boise, ID @ Knitting Factory Aug. 14 – Ogden, UT @ Twilight Concert Series Aug. 16 – Los Angeles, CA @ Greek Theater Sept. 5 – Boston, MA @ MGM Music Hall at Fenway Sept. 6 – Philadelphia, PA @ The Met Sept. 10 – Brooklyn, NY @ Brooklyn Paramount Sept. 11 – Brooklyn, NY @ Brooklyn Paramount Sept. 13 – Washington D.C. @ Anthem Sept. 14 – Toronto, ON @ Massey Hall Sept. 16 – Ann Arbor, MI @ Michigan Theater Sept. 20 – St. Paul, MN @ The Palace Theater

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St. Vincent Announces Summer & Fall 2022 North American Tour Dates

Announcing a few more shows for 2022! We’ll be joined by @notalimac . Tickets are on sale Friday, July 29th at 10am local time. freestar.config.enabled_slots.push({ placementName: "mxdwn_incontent_1", slotId: "mxdwn_incontent_1" }); 9.14 Albany, NY https://t.co/SOL3EormJU 9.30 Tempe, AZ https://t.co/BsjhU93POz freestar.config.enabled_slots.push({ placementName: "mxdwn_incontent_2", slotId: "mxdwn_incontent_2" }); 10.1 Las Vegas, NV https://t.co/wryrOkdBJW Photo: @ChristieGoodwin pic.twitter.com/ZqGVLocOl4 freestar.config.enabled_slots.push({ placementName: "mxdwn_incontent_3", slotId: "mxdwn_incontent_3" }); — St. Vincent (@st_vincent) July 26, 2022

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St. Vincent tour dates 2024

St. Vincent is currently touring across 7 countries and has 26 upcoming concerts.

Their next tour date is at The Majestic Ventura Theater in Ventura, after that they'll be at Napa Valley Exposition in Napa.

Currently touring across

• 🇱🇺 Luxembourg
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Upcoming concerts (26) See nearest concert

The Majestic Ventura Theater

BottleRock Napa Valley

The Masonic

JaM Cellars Ballroom

Royal Albert Hall

DEN ATELIER

Best Kept Secret Festival

Hayden Homes Amphitheater

Orpheum Theatre

Knitting Factory - Boise

Ogden Amphitheater

Greek Theatre

MGM Music Hall at Fenway

The Met Presented by Highmark

Sudden Little Thrills Music Fest 2024

Brooklyn Paramount

Massey Hall

Michigan Theater

Palace Theatre

Past concerts

38th Annual Rock & Roll Hall of Fame Induction Ceremony

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Recent tour reviews

Seeing St. Vincent play live is like a big surreal dream. She played everything off MASSEDUCTION and favorites from Strange Mercy, Marry Me, and Actor. The set changes and accompanying art videos were absolutely stunning. Sitting on the balcony of the venue while listening to her sing while these neon colored videos playing made me feel like I was in a giant Surrealism Salon. What a talented, innovate performer and a genuine person.

Oh, and her aunt and uncle Tuck and Patti were her opening acts. So adorable hear them call her little Annie, not to mention that they fucking RIPPED. Patti has a voice of gold and Tuck is such a fantastic guitar player. What a giant treat. Everyone took me to church!!!

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Portland, ME

State Theater

The show opens with a short film. Not unusual but not anticipated.

Then a 10-15 intermission.

Then the show begins.

Annie stage right and moves to different mics upon the stage between each song. For every song and every move, STV is being delivered different MusicMan STV signature guitars to what look like militarized ninjas.

There was a blue dominatrix at one point that did something on stage. Not too sure why they were a part of the show as they were only on stage for 40 seconds.

Overall the show could be categorized into the following.

Too much...

Not enough...

and never connecting with the audience.

Exhausting watching Annie Clark play St Vincent Karaoke.

Excellent execution of the songs but the schtick is wearing thin.

The show started off with a disturbing video about a dead dad who ends up in a panda suit at his daughter's birthday party. The video was created by St. Vincent, and it wasn't good. The actual show featured mostly recorded music with St. Vincent standing still on stage wearing a sexploitation outfit of a pink vinyl leotard and thigh-high high-heeled go-go boots. Every song, the curtain would move a few feet and she's shift to a different locale, where she'd again stand still, strumming her guitar and singing to recorded music, looking like a pink dominatrix mannequin. There was no band - ever. It. Was. Dull. She seemed to be trying hard to be stylishly edgy, but failed.

Show was in acts, like a play. The 2nd act featured dramatic pose, sometimes laying down in front of an abstract vampire mural. She seemed to have a guitar fetish - sometimes changing guitars out twice per song.

In act 3, she stood in front of a screen on a circle pedestal while weird sexually-charged videos played behind her, sometimes featuring loops of expressionless images of St. Vincent in those videos. She was expressionless in all images - she looked dead inside.

This show was an extreme disappointment after the last tour - that show was one of my favorites of the year.

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St. Vincent announces 2022 Daddy's Home Tour dates

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St. Vincent has announced the 'Daddy's Home Tour'. The 38-year-old singer/songwriter will play a string of dates in the UK, Ireland and Europe in support of her acclaimed sixth studio album of the same name in June 2022. The jaunt includes the musician's biggest UK headline show to date at Hammersmith's Eventim Apollo in London on June 29. The 'Digital Witness' singer - whose real name is Annie Clark - will also play Madrid’s Mad Cool Festival and Lisbon’s NOS Alive Festival. St. Vincent will be joined for the first time by her Down And Out Downtown Band. Tickets go on sale at 10am on July 9 at www.ilovestvincent.com/pages/tour. Meanwhile, the star recently insisted "work and luck" are the keys to success. Annie acknowledged that many talented people don't succeed in the music industry but all successes come with a measure of luck. When asked: "Ambition or talent: which matters more to success?", she replied: "Work and luck are the two things. The world is filled with really talented people for whom it doesn’t work out. It’s not a meritocracy." St Vincent also revealed her music mentors were her aunt and uncle. She said: "In my early days, my aunt and uncle [jazz duo] Tuck & Patti. They knew I was obsessed with music, so they took me on tour with them, taught me the ropes of the road, and, philosophically, a lot of the things about work ethic that I carry with me today. I work really hard, but still never as hard as when I was on tour with Tuck & Patti." And if her 20-year-old self could see where she is in her life now, she'd be shocked. She added: "She’d be relieved she wasn’t dead. I can’t think what I was like at 20, just that I was green, nor what my 20-year-old self would think of me now." St. Vincent's June 2022 tour dates are: June 14, LJubijana, Slovenia, Center urbane culture Kino Siska June 16, Prague, Czech Republic, Lucerna Music Bar June 17, Warsaw, Poland, Stodola June 19, Berlin, Germany, Tempodrom June 21, Koln, Germany, Kantine June 26, Dublin, Ireland, Fairview Park Jue 28, Edinburgh, UK, Usher Hall June 29, London, UK, Eventim Apollo

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St Vincent review – Annie, get your scream on

O2 Academy, Oxford Annie Clark unleashes extraordinary vocal power and guitar work as she kicks off the UK tour for her cathartic latest album, Daddy’s Home

S uggesting that a woman’s screams are one of the best things about her art feels highly problematic in many ways, particularly when that artist is St Vincent , an athlete-level guitar player with a body of work that pulsates with intelligence and hot licks. St Vincent’s screams are next-level, though: guttural howls tinged with sex and suffering, informed by soul and punk; bravura moments where she holds a note for about a fortnight. Although these outbursts sound like wild abandon, they are precision-tooled. St Vincent is a performer who, having reduced her lungs to flaccid sacs, can go straight back into playing a riff on her custom designed guitar with a smirk.

On a hot night in Oxford at the start of her UK tour ( and Pride month ), St Vincent unleashes her scream early in the set on Daddy’s Home , the title track of her sixth album. Released in 2021, Daddy’s Home marked Annie Clark’s father’s release from prison – and so much else – through the prism of 70s-era sounds. It won her a Grammy, her third. Although St Vincent’s autobiography is often encoded in her work, subtly and not so subtly, Daddy’s Home reflects more candidly that although her father “did time” for fraud, “I did some time too”. The album is, in short, a kind of massive exhalation. And so is this gig.

St Vincent screams some more on Pay Your Way in Pain , another Daddy’s Home cut that struts between the bedroom and the existential abyss. Nothing is going right for St Vincent in the song’s lyrics. Rebuffed by the bank, by some disapproving women, by her very own “baby”, she is at the end of her tether. “What d’you want?” ask no fewer than three backing singers, a Greek chorus in jumpsuits and Lycra. “I wanna be loved!” St Vincent bawls – a normally poker-faced artist laying her cards on the table.

Every St Vincent album feels like a concept album to a greater or lesser degree, but Daddy’s Home marked a particularly startling step-change for Clark. This Texas-born, New York/LA transplant’s output has tended toward steeliness - or at least from 2010 and her breakthrough album, Strange Mercy . But here, on Daddy’s Home, was unexpected analogue warmth, the kind of sweat generated by wearing polyester with chiffon and leather; here were musical shades of tan and umber.

Gloriously, the Daddy’s Home live show follows suit, going big on old-school moves and hard on the wah-wah pedal, organs and what looks like a lap steel guitar that generates the sounds of an electric sitar. It’s easy to read this louche period piece as a reaffirmation of earthy basics: guitar duels that end up with the players Clark and Jason Falkner on their knees, a band-as-community all pulling together, the performers sharing sweat and spittle. The three effusive backing singers turn this lubricious night out into a soul revue as they magnify Clark, sashay around the stage, pretend to be in a trance or spin lighting bars dangerously around like double-sided lightsabers. A waitress in a pinafore and a headscarf brings on drinks in big tumblers and towels at regular intervals and dances around the already crowded stage on a faster version of Slow Disco .

In short, this is a tiny space, stuffed full of everything good. Every member of St Vincent’s band is committed to making this unassuming venue – formerly the Zodiac –feel like some celebrated Bowery Ballroom gig from 1974. Most songs end in the kind of fireworks that are normally saved for the set finale. After every track, Clark and Falkner strap on a fresh instrument. It could be an effect of St Vincent’s reality-warping powers, but they seem to get through about a dozen guitars each.

At the Holiday Party steps on to the path previously trodden by the Rolling Stones (and more recently by Primal Scream’s Screamadelica ), with aplomb: despite the ministrations of the backing singers – “You can’t hide from me!” they accuse, with concern – it is yet another track about suffering, disguised, then transmuted into communion. There are more sad, sad songs, played as joyous shakedowns, in turn ambushed by challenging jazz-punk dissonance. Numerous cuts from previous St Vincent eras have adapted to the Daddy’s Home template, but there is still room for the machine music, aggro and gnarliness of Birth in Reverse .

Previous St Vincent tours have tended to underline Clark’s solitary uniqueness, by way of the dystopian cult leader persona of 2014’s self-titled album , or the latex-wrapped object of electronic desire held up by 2017’s Masseduction , which sliced open power structures, Clark’s love life and plastic surgery with an equally sharp scalpel. Clark comes on stage in character: her hair is bleached, her sleazy demimonde raincoat coming off to reveal a wide-lapelled jacket, blouse and bra. Throughout, she dabs herself ostentatiously with handkerchiefs with the air of a debutante surprised by her ability to perspire. But she breaks out of character to tell the audience how much she has missed “the hell outta y’all motherfuckers”, swearing volubly about feeling “lucky”, but not “fucking hashtag blessed”. The sweaty handkerchiefs end up in the crowd.

Just when it feels as if there can be no more guitar histrionics, and no more emotion, St Vincent finds another gear. On My Baby Wants a Baby , she considers motherhood in the light of her own experience of the hole left by an absent parent and her need to play guitar all day. And the song that is the grand finale, The Melting of the Sun , is an all-guns-blazing outro, in which Clark and her backing vocalists gee up not just the performer, but anyone listening. “Girl, you can’t give in now!” This is a version of Clark that’s just as well rendered as her previous character studies. Crucially, though, it’s one that now gets by with a little help from her friends.

• The Observer
• Pop and rock

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St. Vincent on Making Room for ‘Daddy’ and Taking Her ’70s-Inspired Sound on Tour in 2021

The Grammy nominee's year included a soul-revue/big-rock-show tour and an album that took inspiration from everything from Stevie Wonder to mushrooms to Joan Didion.

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Current Grammy-nominated for best alternative album for “Daddy’s Home,” St. Vincent had a hella-holy good year in 2021, not just putting out her first new collection in four years but taking it on the road with her most satisfying tour to date, a combination of soul revue and big blowout rock show that included triumphant stops at the Hollywood Bowl and Radio City Music Hall. It was, in one way, her salute to 1970s mack daddies ranging from Stevie Wonder to Pink Floyd, but also a move toward a warmer style and sound in which, even with a Me Decade-inspired blonde look and garb, we seemed to be getting more of an undisguised Annie Clark than ever.

She also had side projects ranging from her cover of Metallica’s “Sad But True” to releasing a new electric guitar — the second in her Ernie Ball Music Man line — to starring in and co-writing a satirical feature film, “Nowhere Inn.” (See our previous talk about the movie here .) Clark talked with Variety just before the holidays about her big homecoming of a year.

VARIETY: Your tour was one of the most exciting shows of the year. What kinds of things did you have in mind going into it that were different from what you’d done on the road before?

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ST. VINCENT: The tour was like: I’m going to get the sickest band in show business out on the road. Justin Meldal-Johnsen, Mark Guiliana, Jason Falkner, Rachel Eckroth, the singers — it was a real crack group of musicians. I always have kind of felt like, if you’re going to put on a show, put on a show . Especially now, I feel like we all need release. We need catharsis. We need escapism. We need to just go somewhere else, because we’ve all obviously been so cloistered. So how do I do it? I decide on the color scheme; work with my great costume designer and stylist, Avigail (Collins); figure out how to block the show… I can tell you that production rehearsals were me in the audience playing guitar and singing next to the set designer and lighting designer, calling out different cues and then blocking the singers on stage. I was directing the show but I also happened to be playing in it.

At the Bowl, I was just so thrilled that people were dancing in the aisles. I feel like that’s sort of new for my shows, and I was so thrilled that we got people up and moving.

It was warmer and very, very different from the “Masseduction” tour — still choreographed, but more like a soul revue. And you didn’t have musicians in masks, or the same kind of high-concept projections you had previously.

Totally different — I mean, looser musically, more room to improvise, more about groove and feel, less about structure and stricture. To me, this album was like beat-up leather armchair — you know, rocks, glass, spliff. That was, I’d say, a 180 from “Masseduction,” which was like, you know, bound woman as furniture [laughs] and every interaction being about some sort of subversion of power.

And this was a very different kind of vibe, and a really, really joyful, fun show to play for me. The connection with the audience was so special and magical, and we both needed it so much.

With the “Daddy’s Home” album, you had songs about people dying, and legacy and choosing whether to have children or not, and people who are in pain in different ways — very real and raw people in the subject matter, whether these were personal songs or character sketches. But there’s the element of playing dress-up a little bit with it too, whether that’s with the ‘70s visual elements or the audio. It can feel like a magic act in a way, like maybe there are diversionary tactics while you sneak in this kind of personal, cutting stuff amid the interesting visual design. Do you look at it that way at all?

No, I don’t really look at it as diversionary. I created a world musically, and could write very honestly about all of it because I’ve been on all sides of all the stories on the album. I’ve been everybody at some point in my life or another, or am now currently that person. It’s my life. But no, I don’t necessarily look at it as like a diversion. It’s more that I created a world musically, and this is how it sounds, so this is obviously how it looks as I paint the visual world with it. … You and me and Carrie (Brownstein, her “Nowhere Inn” collaborator) have had the authenticity conversation before. And to me, authenticity isn’t an aesthetic. It’s a feeling, and it’s a spirit.

The album and tour reference the ‘70s a lot, but you mastered the trick of making an album that uses all these period elements without necessarily having it end up sounding ike you’re trying to create the illusion of it having come out in 1972 whenever. So many people want to reference the ‘70s now, and sometimes it ends up being very campy, because it’s so much about the pastiche but not that much else. How did you settle in your mind that you were going to use instrumentation that sounds right out of the period, but not have it feel like it’s, like, “a tribute to mellow gold”?

Well, I guess I don’t want to be a tourist, you know. The harmonic side and the feel side of some of the stuff I was referencing is my favorite music ever made. I feel an incredible reverence to it, and I think I was trying to actually really, truly learn the lexicon. When you know the lexicon, you can take this part from the ‘70s and take this reference from right now, taking from all over the place. But I think it just kind of comes down to trying to be very in it and not go: “Isn’t this cute.” Because with the subject matter of the songs, nothing’s like that cute, I wouldn’t say.

When we talked in 2020 and you mentioned you were working on the album, you said you were listening to Sly and the Family Stone and Stevie Wonder and things like that. But I wasn’t expecting some of the Pink Floyd touches and things like that too. So you wanted to just not cover the funk aspects of that era, but touch on some other things.

Yeah. It’s like 17% psychedelic, the record, for sure. I mean, listen — I was taking a lot of mushrooms, OK? [Laughs.] It was an album of micro-dosing, you know, so this is what you get.

(Producer/co-writer) Jack Antonoff gave you his vintage electric sitar when the album was finished. Does that go into the closet, or could you imagine using it again? You change things up enough from album to album, it’s hard to imagine your next one will be filled with sitar, flute and clavinet.

That’s a spicy sauce, that sitar! I love it so much. I think I can’t use it the exact same way again, but I know it will appear somewhere. At this point, the music will just take me wherever the hell it wants to go, and I’m just along for the ride. That’s how I honestly feel.

The album also has this emotional warmth and an openness to it. Because of the imagery you’ve used in the past, if nothing else, people have maybe had an image of you as being this chilly art-rock person or something. But on “Daddy’s Home,” the addition of female backing vocals may be something that sort of helps, in a way, letting people ease into the idea that, oh, there really is some heart and soul on this. Female backing vocals maybe just automatically put that across right away.

Yeah. You know, I’d never really used other people’s voices. If there were background vocals, I thought, “Well, I’m the only one in the room; I guess I’ll just sing them.” But in this case, it really is a dialogue. The singers could do things with their voice that I can’t do within the song and the narrative. Sometimes they’re my best friend, and sometimes they’re my conscience, and sometimes they’re the angel on my shoulder.

A few brief questions about a few specific songs on the album. “…At the Holiday Party” is very apropos right now. The female vocalists at the end are kind of reinforcing you there, in that empathetic “I see you, even though you’re hiding” message, which could be a comforting message for people who are on the other end of that song during the season. Was there anything about specifically being at a party or just the whole holiday season that made you think about writing that song?

I’ve definitely been on both sides of that. I’ve certainly been the girl who’s revealing herself by the things she’s trying to hide with consumption of all kinds. But I’ve also been in the person who has seen that …. Somebody’s laughing and smiling, but you see that little crack, and you’re like, “ Ooooo kay. I see you.” So I can write it. And to me it was sort of a feminine version of “You Can’t Always Get What You Want” for 2021. That was, in some ways. an ode to the Stones a little bit.

These thoughts could probably be had at any party, not just a holiday party, but is there anything about this time of year that you think makes people more desperate?

Yes. Because the season is extra reflective, when it’s melancholy, it’s extra melancholy. We’re not talking about a Rose Day summer soiree. We’re talking about cold outside, end of the year — “What have you done? What are you gonna do next year?” It’s a completely different feeling, I think, so it definitely had to be a holiday party. And that’s when people are really imbibing and stuff like that.

The album ends with “Candy Darling,” an ode to a famous figure of the ‘70s who influenced your look for the album.

I just felt like Candy Darling was like an angel on my shoulder, in making the record. And so the last song on the record is saying, “Thank you for this, and goodbye.”

In “The Melting of the Sun,” you reference so many great women — Joni Mitchell, Tori Amos, Nina Simone. But I have to ask about one reference that puzzled fans, when you sing the name “Jane” about someone who “ lost it, crashed her Corvette, ran into the tide in Malibu.” Is Jane a famous figure we should recognize?

Do you know what? To me, Jane is actually Joan Didion, when she was living in Malibu, in that classic picture of her in front of the white Stingray Corvette. And I tried to get a reference to her daughter Quintana Roo in there, but it just wasn’t going to to fly. I was really picturing ‘70s Joan Didion, writing about California.

[Editor’s note: This interview was conducted the day before Didion died Dec. 23 at age 87.]

That clears that up. Let’s talk about your sense of humor a little bit. You had the film “Nowhere Inn” come out this year, which is such a funny film, but so deadpan that perhaps not everyone gets it, or at least comes in prepared for that. And there is some of that wit in the lyrics or visual presentation. Even with the song “My Baby Wants a Baby,” which is about dealing with the pressure to have children, it’s not LOL funny, and yet there is something comical as well as touching at the end when you are thinking about your legacy and how you’ll be remembered for your work, but you describe people putting that aside and asking, “Where’s your baby?” So do you feel like your sense of humor is underrated, to the extent that you have that kind of sense of play. or even ironic or gallows humor…

Yeah, I do have a gallows humor. And yeah, I think it’s probably the case that, unless you spend a little bit of time with my work, you wouldn’t know the humor in it, or you might think I take myself very seriously. I take music really seriously. But life is just a series of hilarious, demeaning calamities, and you can’t take yourself too seriously or else you’ll just perish.

I have the description of myself as the dirt bag in “My Baby Wants a Baby”: “I just want to play guitar all day, cook my meals in microwaves.” I’m not trying to rhyme, but it just is. “Only dress up if I get paid.” Like, that’s not far off! That’s like “Eh, sounds pretty good!” So I’m not painting myself in the most flattering light, and that’s fine, because it’s true. [Laughs.] But yeah, people might not get that.

I think there’s humor in all of it. I think when people heard that the record was “Daddy’s Home” and that it was referencing my father being incarcerated, they were expecting that particular (title) song to be a scathing rhetoric. Or me weeping into a microphone. I’m not sure what it was that people thought would be the appropriate reaction, appropriate story. But my story is that all you could do is laugh. To me, that song is funny.

You’ve said that the title “Daddy’s Home” just made you laugh, and that was one reason for having that as the title of the album.

Yeah – ridiculous!

People can take one line from a press description or something and then blow it up into an overarching concept. There was a writer I was reading the other day who described this as something like “St. Vincent’s concept album about her father being released from prison”…

Oh, Jesus Christ. No! Come on. They’re wildly overestimating that part of the story. I mean, hey, it’s a record about me becoming Daddy. [Laughs.] It takes that as a starting off point and then kind of goes. But also: That doesn’t sound like very much fun! The record is way more fun than that makes it sound. “Oooh, get out the balloons and the streamers! That sounds like a good time.” Like, no… what a bummer. And then, because of the subject matter, you know, people want (that song) to be a sort of neatly wrapped-up story that is appropriately moralistic. And it’s not. It’s life, and it’s messy.

Before asking you about your Grammy nomination: There was that whole strange Grammys brouhaha a few weeks ago about credits being taken on and off. You were nominated for album of the year — briefly — because of the song you co-wrote with Taylor Swift for “Lover” (“Cruel Summer”) being interpolated into an Olivia Rodrigo song on her nominated album, and then those nominations went away. How much were you paying attention to any of that stuff?

I didn’t know anything about any of that until my little sister sent me what the press was (saying), trying to make a big deal. It’s not anything. It’s something that the press was able to make seem like something dramatic that was not dramatic at all. You know, kind of like my concept album about my father in prison.

The Grammys have loved you before, so it’s not a surprise you would get a nomination for best alternative album, which you’ve won before. But does that still mean anything to you when you are acknowledged by your peers?

I think it’s awesome. I mean, I think the thing that the public might not realize about the Grammys is that it’s not a popular vote. You’re voted on by the people in your industry, and that’s not just the people who are on stage, with the names you’ve heard. It’s engineers, it’s writers, it’s producers, it’s composers. And so to have those people be like, “Hey, we, we see you and we appreciate what you did,” that’s a very nice feather in your cap from your peers, and lovely. There’s so many people who work in the industry whose names are not on the marquee, and we’re all in this weird grind together. And I salute them.

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St.Vincent announces run of European tour dates for summer 2022

St Vincent has shared details on her 2022 European summer tour

Off the back of her recently-released new album Daddy's Home, St. Vincent has announced a run of European tour dates for 2022. 

Kicking off on June 14 in Ljubijana, St. Vincent will continue on to Prague, Warsaw, Berlin, Koln, Dublin and Edinburgh, before finishing up in London on June 29, her biggest UK headline show to date.

The electro-pop singer/songwriter is also scheduled to perform at Madrid's Mad Cool Festival and Lisbon's NOS Alive Festival.

Recently, St.Vincent shared her take on Metallica's Sad But True in celebration of The Black Album's 30th anniversary, as part of their upcoming charity cover album, entitled The Black List.

Tickets go on sale July 9 at 10am local time over on St Vincent's website. Check out the dates below:

St Vincent tour dates 2022

June 14: Ljubijana Center Urbana Culture Kino Siska, SI June 16: Prague Lucerna Music Bar, CZ June 17: Warsaw Stodola, PL  June 19: Berlin Tempodrom, DE June 21: Koln Kantine, DE June 26: Dublin Fairview, IR June 28: Edinburgh Usher Hall, UK June 29: London Eventim Apollo, UK

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St. Vincent announces 2022 UK and European tour: “I want people to be like, ‘What the hell just happened to me?'”

Annie Clark tells us what to expect from her joyous new live show, plus the chances of her playing Glastonbury and dreams of making a heavy metal record

St. Vincent has announced details of a UK and European tour for 2022. Check out full dates and ticket details below, along with our exclusive interview with Annie Clark.

In support of her acclaimed sixth album ‘Daddy’s Home ‘, St. Vincent will be hitting the road next summer flanked by The Down And Out Downtown Band, who made their debut with Clark on Saturday Night Live earlier this year.

Alongside previously announced festival appearances at Mad Cool in Madrid and NOS Alive in Lisbon , St Vincent will now be hitting the continent for a run of her own shows next June – including her biggest UK headline show to date at London’s Hammersmith Eventim Apollo. Speaking to NME, she explained just how much these gigs will mean.

“Honestly, the reason people go to see live shows is the same reason why people go to church,” she told NME . “It’s to be taken some place else for an hour and a half.

“In not being on the road for a long time, I’ve definitely realised that there is absolutely no substitute for the communion, the mystery, the high stakes, the feeling that anything could happen and that connection. You can’t beat it.”

With previous tours having been quite “high concept” – especially the launch of 2017’s ‘MASSEDUCTION ‘ with her divisive show at London’s O2 Academy in Brixton – this time St. Vincent is looking for more of a back-to-basics approach.

“I’m thinking less in terms of digital and more in terms of practical – and I mean that in the theatre-craft sense,” said Clark. “The band are so killer and at the end of a day it’s a show. In the past with what I’ve been it’s been like you might love it or might hate it but you won’t forget it. In this go-round, I want people to be like, ‘What the hell just happened to me?’ If people walk away going, ‘Oh, that was a nice show’ – then I’ve failed.”

Clark continued: “We’ve been cooped up for nearly two years and we need an exorcism. I need to truly leave it all on the stage. Emotionally, we’re not even sure how much we have inside of us. It’s been a while!”

To celebrate her return to the road, we asked St. Vincent about what fans can expect from these shows, the online noise around her new album, and her dreams of going full metal after covering Nine Inch Nails and Metallica …

Hi Annie. Your new album has really captured the free and easy ’70s vibe of the new album. Do you think that will rub off on the old songs on this tour too?

Annie Clark : “I’m with Bruce Springsteen on this, who said: ‘Your job as a performer is to shock and console’. That means that sometimes you play an old song and it’s cool and exciting, and sometimes you just play it exactly like someone wants to hear it. Other times you need to surprise them, other times you need to embrace them.”

So maybe we’ll hear another version of ‘Slow Disco’, perhaps a ’70s take?

“Absolutely not! I think I’ve reached the limit of reimagining anything off ‘MASSEDUCTION’. I think I’m done!”

We notice that there’s a Glastonbury -shaped gap in your upcoming tour schedule. Maybe we’ll see there in 2022? 

“I’d have to ask my agent! I’ve been so busy prepping for the live show that I’m in my own head a little bit. I’m sure that if it’s not this time then it’ll be next time.”

Do you feel like ‘Daddy’s Home’ has “shocked and consoled” people how you’d hoped?

“The honest answer is I don’t know. Usually I’m out there with the people, playing the songs and then feeling the feelings in real time to see which songs really hit and how they hit. However, we’ve been living in a vacuum and people’s reactions to the record have been just via Instagram comments and stuff. It just feels like we’re all in the ether, and I won’t know how people are really feeling until I can see their faces and feel their energy.”

Have you noticed people online trying to put together more clues about your life having included some more autobiographical details on this last album?

“The funny thing is, that if they’ve listened to my music then they know the real me. They know my fears, my concerns, my hopes and my heart. Really what we’re in right now is a moment in time where there’s a lot of music that sounds ‘confessional’ – in that there’s a lot of detail to it about people’s lives. That’s a style and it’s a cool style, but that’s not often my style. People are mistaking the idea of this particular style of confessional writing for being more or less heartfelt than before.”

So it’s not like you’ve given away anything new?

“On ‘Daddy’s Home’, only one song really has anything to do with the incarnation of my father and all that stuff. I was able to write about it with humour, but with pain within the humour and criticism – but I’d already written about the deep pain side of it on other records. There’s probably been a bit too much made of the autobiographical story, in that I’m writing about it from a place of having come full circle.”

Your upcoming Record Store release features covers of ‘Sad But True’ by Metallica and ‘Piggy’ by Nine Inch Nails. What can you tell us about your relationship to those songs?

“Metallica to me are a bit more of a nostalgic love. I played bass in a metal band when I was 13 and always wanted to be the guitar player! Bass was the only position that no one wanted. They have a very specific personality type. If you need a friend, then a bass player is always solid. You can’t really fuck around with drummers and lead guitars, but it’s in a bassist’s personality type to be deeply supportive and bring everyone together. Anyway, we played those songs at junior high talent shows. It was fun to get under the hood. You think you know a song, then you really play it and it’s so interesting. I really found that with ‘Piggy’.”

It’s a pretty out-there song…

“That’s one of the things that people forget about Nails. They’re not just culling from industrial beats – it’s a deep understanding of all kinds of rhythm filtered through that lens. ‘Piggy’ is like reggae.”

It makes a lot of sense that you’re a Nine Inch Nails fan

“Look, if you’re talking about great songs, epic production and perfect fucking shows – there are only a few names and Trent Reznor is always in there! You will never go to a Nails show and be disappointed. I was playing Roskilde a few years ago, got changed out of my latex stage gear and into more sensible festival clothing, went out and watched Nine Inch Nails from the crowd. This really sweet kid came up and told me he was a fan and we had a nice talk, then ‘March Of The Pigs’ came on and me this kid just started really raging and going for it! It’s inescapable, you can’t not be physically moved by Nine Inch Nails. Trent’s a genius and how many of those do we get?”

The heavier sound of these songs feels so natural to you. Does that make you want to make a full on metal album?

“Yeah, it does – because I’m angry again! I want to make that record. There’s a season for all of it. There’s a season for warmth and then there’s a season for ‘fuck you’!”

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St. Vincent’s 2022 UK and European headline tour dates are below. Tickets will be on sale from 10am on Friday July 11 and available here .

Tuesday 14 – LJUBIJANA, SI, Center urbane culture Kino Siska  Thursday 16 – PRAGUE, CZ, Lucerna Music Bar Friday 17 – WARSAW, PL, Stodola Sunday 19 – BERLIN, DE, Tempodrom  Tuesday 21 – KOLN, DE, Kantine Sunday 26 – DUBLIN, IR, Fairview Park  Tuesday 28 – EDINBURGH, UK, Usher Hall  Wednesday 29 – LONDON, UK, Eventim Apollo 

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Live Nation presents Annie Clark made her recorded debut as St. Vincent in 2007 with Marry Me , quickly becoming regarded as one of the most innovative and fascinating presences in modern music. Her subsequent albums would include Actor (2009), Strange Mercy (2011), her self-titled fourth album and winner of the 2014 GRAMMY for Best Alternative Album. In 2017, her fifth album MASSEDUCTION would break St. Vincent into the U.S. and UK top 10s and win two more GRAMMYs (Best Rock Song for its title track, and Best Recording Package). 2021’s Daddy’s Home found St. Vincent channeling the hungover glamor and gritty sepia-toned soundtrack of 1970s downtown NYC to an ecstatic reception, ultimately winning her a second Best Alternative Album GRAMMY. Following a 2021-2022 global tour that reaffirmed St. Vincent’s status as one of live music's preeminent forces with headline appearances at the likes of the Hollywood Bowl and Radio City Music Hall, Clark would begin work on album number seven: Her first fully self-produced album (having co-produced every one of her previous efforts), All Born Screaming is St. Vincent at her most primal. Featuring Clark leading “a curated group of rippers” through the brawny “Broken Man,” the mordant catwalk sashay through the deafening assault of self-loathing that is “Big Time Nothing,” the sublime, elegiac earworm “Sweetest Fruit," All Born Screaming is equal parts spiritual desolation and rapturous acceptance. “If you’re born screaming, that’s a great sign,” says Clark, “because it means you’re breathing. You’re alive. My god. It’s joyous. And then it’s also a protest. We’re all born in protest in a certain way. It’s terrifying to be alive, it’s ecstatic to be alive. It’s everything.”

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In support of her ‘Daddy’s Home’ album, St. Vincent’s dates kick off in Ljubljana, Slovenia on 14 June next year.

Published on

In support of her acclaimed sixth album Daddy’s Home , St. Vincent will be hitting the road next summer a tour in the UK and Europe, where she will be flanked by The Down And Out Downtown Band, who made their debut with Annie Clark on Saturday Night Live earlier this year.

Alongside previously announced festival appearances at Mad Cool in Madrid and NOS Alive in Lisbon, St. Vincent will now be hitting the continent for a run of her own shows next June – including her biggest UK headline show to date at London’s Hammersmith Eventim Apollo.

Speaking to NME, she explained just how much these gigs will mean.

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“Honestly, the reason people go to see live shows is the same reason why people go to church,” she said. “It’s to be taken some place else for an hour and a half.

“In not being on the road for a long time, I’ve definitely realized that there is absolutely no substitute for the communion, the mystery, the high stakes, the feeling that anything could happen and that connection. You can’t beat it.”

With previous tours having been quite “high concept” – especially the launch of 2017’s MASSEDUCTION with her divisive show at London’s O2 Academy in Brixton – this time St. Vincent is looking for more of a back-to-basics approach.

“I’m thinking less in terms of digital and more in terms of practical – and I mean that in the theatre-craft sense,” said Clark. “The band are so killer and at the end of a day it’s a show. In the past with what I’ve been it’s been like you might love it or might hate it but you won’t forget it. In this go-round, I want people to be like, ‘What the hell just happened to me?’ If people walk away going, ‘Oh, that was a nice show’ – then I’ve failed.”

Clark continued: “We’ve been cooped up for nearly two years and we need an exorcism. I need to truly leave it all on the stage. Emotionally, we’re not even sure how much we have inside of us. It’s been a while!”

St. Vincent’s 2022 UK and European headline tour dates are below. Tickets will be on sale from 10am on Friday July 11. Visit the artist’s official website for further information.

June 2022: Tuesday 14 – LJUBLJANA, SI, Center urbane culture Kino Siska Thursday 16 – PRAGUE, CZ, Lucerna Music Bar Friday 17 – WARSAW, PL, Stodola Sunday 19 – BERLIN, DE, Tempodrom Tuesday 21 – KOLN, DE, Kantine Sunday 26 – DUBLIN, IR, Fairview Park Tuesday 28 – EDINBURGH, UK, Usher Hall Wednesday 29 – LONDON, UK, Eventim Apollo.

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Roxy Music with St. Vincent at Scotiabank Arena

Photos by Randall Vasquez

Wednesday night marked the first stop on Roxy Music ‘s 50th anniversary tour. Though I am not entirely sure what Toronto did to receive that distinct honour, those in attendance were treated to a fantastic show, starting with opener, St. Vincent .

Celebrating fifteen years from the release of her own debut, St. Vincent isn’t new to the music scene. As heard among the crowd sitting nearby, many people were aware of who she was, but they certainly weren’t prepared for her mesmerizing, high energy set.

Having not performed in Toronto since the release of her 2021 release Daddy’s Home, Ms. Clark and company proved to be the perfect warm-up act for a band whose influence can be heard all over the new album. This was clearly a theme of the night, opening with a bit of a modified, glammed-out version of her 2014 hit “Digital Witness” and leaning heavily on tracks that would appeal to the crowd, whether they knew her or not.

About midway through the set, she declared that sharing the stage with Roxy Music was a dream come true of a dream that she didn’t dare dream. But in the end, it truly turned out to be a perfect fit, and she’s very likely to gain a LOT of new fans this tour.

Opening with “Re-make/Re-model” (the first track of their debut album) it was clear that Roxy Music want to use this tour to highlight their entire career. It also proved to be a perfect way to get all of the original band members involved from the get-go, particularly highlighting Andy Mackay on sax & Phil Mazanera on lead guitar. If there’s one thing the night proved, it’s that they’ve both still got it.

However, much like many bands that end up doing legacy tours, the original four (Mackay, Mazanera, Bryan Ferry & drummer Paul Thompson) were joined by a supporting cast of younger musicians to pick up the slack/fill in the gaps where needed.

For the most part, people understood this going in though. They were there for a good time. It didn’t matter that Ferry’s vocal range isn’t what it used to be, or that the original members would sit out the odd tune when they needed a break. It was a night for dancing, and celebrating a band that’s enduring sound and influence could be heard both in theirs AND St. Vincent’s set.

Connect with Roxy Music : Website || Twitter || Facebook || Instagram Connect with St.Vincent : Website || Twitter || Facebook | | Instagram

Be sure to check out Live Nation Ontario to see all of the other great acts that they will be bringing to Toronto this year.

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St. Vincent Concert Setlists & Tour Dates

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St. Vincent at MOCA, Los Angeles, CA, USA

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St. Vincent at The Ally Coalition Talent Show 2023

• ...At the Holiday Party

St. Vincent at The Ellipse, Washington, DC, USA

St. vincent at rock and roll hall of fame induction ceremony #38.

• Running Up That Hill (A Deal With God)

St. Vincent at Hersheypark Stadium, Hershey, PA, USA

• Daddy's Home
• Digital Witness
• Birth in Reverse
• Los Ageless
• Fast Slow Disco
• Pay Your Way in Pain
• Cheerleader
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St. Vincent at Primavera Sound Madrid 2023

• Year of the Tiger

St. Vincent at Primavera Sound Porto 2023

St. vincent at primavera en la ciudad madrid 2023.

• Down and Out Downtown

St. Vincent at Primavera Sound Barcelona 2023

St. vincent at howard gillman opera house / bam, brooklyn, ny, usa.

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• Marrow ( 398 )
• Digital Witness ( 360 )
• Cruel ( 350 )
• Birth in Reverse ( 304 )

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Thomas Bartlett Andrew Bird David Byrne & St. Vincent Mikaela Davis Escort Evan + Zane Genome George Hrab Cyndi Lauper Dua Lipa Lorde Declan McKenna Nell Mescal Amanda Palmer Peyton Ellis Rebounder Start Making Sense Tall Heights Terms Tyler Warren Wojtek Sarnecki The Wombats YOSHIKI

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Artists covered

The Beach Boys The Beatles Big Black Bon Iver David Bowie Jackson Browne Kate Bush David Byrne & St. Vincent The Clash Phil Collins Elvis Costello & The Attractions Rob Ellis Eurythmics Calvin Harris & Dua Lipa Mildred J. Hill & Patty Hill Joni Mitchell The National Nirvana Pearl Jam The Pop Group Portishead Prince Red Hot Chili Peppers Otis Redding Lou Reed Steely Dan Anita Ward Wire Stevie Wonder yMusic

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5,791 people have seen St. Vincent live.

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St. Vincent Dives Headfirst Into the Darkness

Seven albums and 17 years into an acclaimed solo career, the musician Annie Clark said she craved “a pummeling” on her new LP: “I want something to feel dangerous.”

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By Lindsay Zoladz

Reporting from New York and Los Angeles

• April 18, 2024

On a recent Tuesday night in a dressing room of the Brooklyn Paramount Theater, Annie Clark, the 41-year-old musician who records as St. Vincent, thumbed through a shelf of secondhand records and sipped a glass of pink champagne. Clark, invited to D.J. the venue’s grand reopening party, was the room’s first inhabitant since a major renovation restored the former movie palace; a pristine, new-car smell lingered.

Holding court among a few members of her team and her 23-year-old sister, Clark was an attentive host in this antiseptic space, ready with a witty remark (the carefully curated LPs were probably “someone’s deceased grandma’s record collection”) or a topped-off beverage. She wore a cream-colored silk blouse, black kitten-heeled shoes and a gauzy black bow tied artfully around her neck.

Even in a moment of relative repose, Clark possessed a feline hyper-awareness of her surroundings. Dave Grohl, who plays drums on two tracks off St. Vincent’s blistering new album “All Born Screaming,” later told me in a phone interview, “When you’re talking to her and you’re looking in those eyes, you can only wonder what reels are whirring in her brain, every second.” He added, amused, “I’ve never seen her with her eyelids half closed.”

Clark is a gifted and nimble guitarist with a dexterously spiky playing style that contrasts with the moony smoothness of her voice. She is also known for the absolute commitment of her live performances. “What she does is so transformative,” said the musician Cate Le Bon, Clark’s close friend of over a decade, in a video interview. “When I see her play, it freaks me out sometimes. I can be even helping her get ready for a show, and it’s like I know nothing of the woman who’s onstage.”

Seven albums and 17 years into an acclaimed solo career, Clark has eked out a singular space in music, occasionally intersecting with the mainstream but for the most part staying uncompromisingly countercultural. She has collaborated with both David Byrne and Dua Lipa ; the riot grrrl pioneers Sleater-Kinney and the post-post-riot-grrrl pop star Olivia Rodrigo . She was one of four female musicians asked to front Nirvana for a night in 2014 when the band was inducted into the Rock & Roll Hall of Fame. “She’s obviously outrageously talented,” Grohl said. “For her to play a Nirvana song was, maybe, a lot less complicated than her own music.”

I first met up with Clark in March, when we drank iced coffee beneath the shady pergola outside her manager’s Hollywood office. She carried a black Loewe handbag and wore a white T-shirt bearing the name of the Swedish punk band Viagra Boys. Clark has, in the past, embodied various characters and donned costumes — a gray-haired cult leader on the cover of her 2014 self-titled album; a louche ’70s glamour girl on her 2021 release “Daddy’s Home” — but these days she’s more or less dressing as herself.

“I’ve certainly played with persona, because I’m queer,” Clark said from behind large sunglasses. “That’s how I play and make sense of my life. All of that just seems absolutely natural to me, to play with persona and identity and to put it in the work.”

But adopting an over-the-top persona, she said, is not something she finds particularly compelling right now. “I’m more interested in that which is raw and essential,” she said. “You’re alive or you’re dead. And if you’re alive, you’d better live it, because it’s short.”

In some sense, Clark is coming off the greatest commercial success of her career, and one that is decidedly more sunshiny than the work she’s known for: During a session with the ubiquitous producer Jack Antonoff, who collaborated on her two previous albums, Clark helped write “Cruel Summer,” the sugar-rush pop song that Taylor Swift released on her 2019 album “Lover.”

“It was something Jack and I worked on and made its way to Taylor and made it back, as those things go,” Clark said. Though it was not initially released as a single, Swift’s formidable fan base has, in the past year, willed it into becoming the unofficial anthem of her Eras Tour and a No. 1 hit four years after its initial release. Clark attended a show in Los Angeles last year and found it surreal to witness 90,000 people singing along. “I’ve never seen anything like it, much less been a part of anything like it,” she said.

And yet, she has no interest in replicating that formula in her own music. In fact, “All Born Screaming,” due April 26, contains some of the heaviest, darkest and weirdest St. Vincent music to date. “That’s what I want from music right now, personally,” Clark said, safe in the shade of the California sun. “I would like a pummeling. I want something to feel dangerous.”

CLARK HAS A reputation for being guarded with journalists, in part because she does not like talking about her personal life. Unsurprisingly, she did not want to specify why themes of grief and loss permeate her new album, because she does not think it would make much difference to the listener. In one of our later conversations, she said that she believed a performer’s duty is simply “to shock and console” ad infinitum. Explaining oneself is superfluous to that job description.

“Generally everyone is misunderstood, and you realize it’s not your job to make people understand you,” Le Bon said. “It’s your job to work and align yourself with your own integrity. I think that’s even harder to harness when you’re an artist as big as Annie. But she does.”

“She’s almost certainly wildly misunderstood by people,” she added, “but there’s a perverse joy in that.”

Le Bon, who is from Wales, met Clark when she was opening for a St. Vincent tour in 2011. She said that at first she found it difficult to get to know Clark: “She was very mysterious, doing yoga a lot of the time,” Le Bon said. Eventually, however, Le Bon found a way into a “really rewarding” friendship. “She’s so honest without agenda, and that’s a rare thing in the world we both exist in,” Le Bon said. “She asks the tough questions, she gives you the real answers.”

Clark was born in Tulsa, Okla., and raised mostly in the Dallas suburbs. She picked up the guitar at 12 and showed a precocious talent; in her early teens, she sat in with her music teacher’s band and chose a song with a high level of difficulty, Jimi Hendrix’s “The Wind Cries Mary.” Her aunt and uncle play as the jazz duo Tuck and Patti, and they brought her on tour one summer as a roadie to show her the realities of touring life. She loved it. “Some of my fondest memories of touring are from those really early days,” she said.

Le Bon said she sees a stark demarcation between the somewhat severe and imperious musical figure “St. Vincent,” and, as she put it, “Annie Clark from Dallas.” Annie Clark from Dallas slowly emerged, in our conversations, as a funny, genial and lightly self-deprecating person who enjoys modern comedy (she quoted “30 Rock” from memory and referenced both “Veep” and “Waiting for Guffman”), is close with her many siblings, and on at least one occasion has drunk too much pink champagne at a party celebrating the reopening of an old Brooklyn theater to make it to Pilates the next morning.

But I witnessed something switch over in her when we met one afternoon at Electric Lady Studios in the West Village, where Clark worked on parts of her last several albums. “This is the room where I recorded the vocals for ‘Violent Times,’ ‘Broken Man’ and ‘Sweetest Fruit,’” she said, referring to songs on the new album. She jumped up from a couch to demonstrate how she’d sung into a particular microphone. Then she got distracted by the studio’s wall of consoles and patch bays.

“Where is this 67 patched at the moment?” she asked herself with sudden ease, like an expat shifting into her native tongue. “Oh yeah, through the 1073. But where’s the 1176?”

“All Born Screaming” began with a sonic puzzle: “How do I render the sound inside my head?” After “hours and hours and hours basically making postindustrial dance music in my studio by myself,” Clark said she realized that the sound in her head was something she would not be able to explain to anyone else. So, although she has been a very involved co-producer on each of her other albums, she decided “All Born Screaming” was something she would have to produce herself.

She approached the task with characteristic zeal. She asked her friend and collaborator Cian Riordan to give her engineering lessons, and he found her an impressively apt pupil. “She would show up, there would be coffee, she’d have a notepad ready,” Riordan said in a phone interview. “She’s extremely focused. There was so much intention with everything.”

She mastered compression, mic shootouts, signal flow. To his dismay, Riordan eventually found Clark starting down a path that he had seen trip up many musicians in the digital age: analog synthesizers.

“Any time someone brings modular synths into the studio, that’s usually my cue to be like, ‘I’m going to go somewhere else, because this is going to be a giant waste of time,’” Riordan said. “But with her, it was really incredible to watch. She would buy all these esoteric things that I didn’t even know about, and I’d come back and they were all synced up and she’d be making music on them. It was fun to see her take it so far.”

Clark said those synths allowed her to build a new sonic world. “You’re actually harnessing electricity,” she explained. Her enthusiasm was palpable; her speech kicked up its tempo. “It’s going through unique circuitry, and you are at the helm, so you’re like a god of lightning.”

CLARK HAS LONG been someone who gets a thrill out of testing her limits and rising to challenges, but around the time of her brightly barbed 2017 album “Masseduction” she was beginning to hit a wall. “It would be like, ‘Sure you can go from Memphis to Beijing to Champaign, Ill., in a weekend,” she said. “Sure you can. See if you can pull this off.” But suddenly, after years of “going, going, going,” she noted, “my body just kind of shut down. My stomach — everything about my stomach hurt.” She stopped drinking and went into what she calls “nun mode,” throwing herself headfirst into studio work.

It wasn’t until the pandemic, though, that she was truly forced to slow down and stay put. She got very good at D.I.Y. projects and installed a lot of light fixtures. She also finished building her home studio and worked on a record that had been gestating for a while. During the pandemic, “Some artists went very interior and quiet, understandably,” she said. “Then, you know,” she laughed. “Some people put on wigs.”

She was referring to “Daddy’s Home,” the heavily stylized ’70s-inspired album she made in response to her father’s release from prison, after he served eight years for conspiracy, fraud and money laundering. “Daddy’s Home” won a Grammy for best alternative album and featured some imaginative experiments, but it was a polarizing release that generated some criticism online.

Clark is aware of this and thinks the album was in part a casualty of bad timing. “The story sort of became, not that I made a record about a difficult familial time, but that, like, ‘OK, good, we have someone to blame for the prison-industrial complex,’” she said. “It’s like, oh wait — that’s not quite what I was going for. But those were the times. Everyone’s lives upturned and everyone was increasingly online and there was a lot of fervor in general.”

For “All Born Screaming,” Clark went back to basics and drew inspiration from “that sort of rock that is the first music that felt like it was mine, and not music from another generation.” She was talking about Nine Inch Nails, Tori Amos and, yes, even that band she helped induct into the Rock & Roll Hall of Fame. While working on the bracing head banger “Flea,” she realized she needed some enormously forceful percussion. The only person she could imagine playing on it was Grohl. So she wrote to him saying as much, and a few days later he was in her home studio, laying down drum tracks for that and the back half of “Broken Man.”

“He’s a great drummer because he’s a great songwriter, right?” Clark said. “He adds so much power and electricity and vibrance, but he’s always supporting the song. He takes a song from a nine to, like, a hundred.”

“All Born Screaming” is sequenced like a journey from darkness into light; its brooding first track is titled, appropriately, “Hell Is Near.” The title-track finale ends up somewhere more comfortably earthbound, but while she was making the song, it was torturing Clark, who just “couldn’t crack the feel of it.” She called Le Bon and played her what she had. Le Bon told her, “Give me a beer, a bass and two hours.”

It worked. The song is bouncy and delightfully off-kilter, strange in St. Vincent’s inimitable, specific way. Clark said the song sprung from the realization that, as she put it, “Joy and suffering are equal, necessary parts of the whole thing. And the only reason to live is for love and the people we love and that’s kind of it.”

“It’s not easy," she added. “But it’s simple.”

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