«This time I don't bring a character on stage. This time I want to lose myself on stage ». Connected by his study, St. Vincent tells a small representation of Italian journalists the spirit of the tour of All Born Screaming Which touched Milan in October and which we will review in a few days, on June 20 at the Medimex in Taranto, on the 21st at the Festival the first summer of Lido di Camaiore (Lu) on a day that also includes the 35 caliber and the Air, on 23 at the Castle of Udine. TO Rolling Stone they touch a couple of questions. I use them to tell me how his perception of the concerts he does has changed. She, a model of perfection, amazing perfumer, true musician, in recent years has made very built shows often bringing characters on stage through which he also said very personal things, but which implied a certain emotional distance from the public. You could literally touch her, but you didn't know if she cared about something.
Maybe everything started with the tour with David Byrne. I would say that it was then that St. Vincent became increasingly aware of the theatrical aspect of a concert, so much so that in that show and in the next soloist the movements were choreographed by Annie-B Parson. Since then, every time he recorded a record and took him around the world Annie Clark has brought a different character, from the dominatrice of Masseduction to the beauty queen under benzodiazepine of Daddy's Home. So I ask you: is it not that the new tour also has a concept and is that of the classic rock'n'roll iconography all poses and sex? There is an element of theatricality that thickens to a more visceral idea of performance, there is a shameless but never free exposure of the body, there are winking that once were not there. And in short, where does reality ends and where does the representation begin?
“As human beings, we contain multitudes,” replies St. Vincent. «In a sense, each of us has more people within himself. And you're absolutely right when you say the importance of the tour with David. It inspired me very much to see how his mind works and the way we put together the show of Love This Giant between theatricality and choreography. I played in bands with a theatrical side, but in my time, in the indie environment from which I came, it was certainly not fashionable to be a theatrical artist, on the contrary. The idea was that you had to present on stage wearing the clothes you used every day and pretending that you wouldn't give a damn ».
On the other hand, he freed and over the years he developed a musical and body language he has adapted to the stories he represented. “I was interested in the concept of character, the analysis of the characters. I did it in my previous works like Daddy's Home, Masseduction And also the album of the same name ». At the time of the tour of Masseductionin particular, seemed to dominate the public. Was it gratifying to have that power? «Mmm, it was rewarding to the extent that I managed to give people a challenging and unusual concert. But it is also true that perhaps I was not a person who could give or receive so much love, so I didn't feel comfortable to fill that gap ». Not this time. «I want to lose myself in this experience. And so no, there is no character this time, I'm not playing a rocker. I'm myself. I am now checked and now unleashed, depending on where the performance brings me. This concert is a place where we can all make the same dream for 90 minutes. It's an experience ».
There is another thing. All Born Screaming It is a record full of songs on life and death. The concert, on the other hand, is extremely physical and regenerating, not at all gloomy. Indeed, it comes out happy and raised. «I think there is a certain playing in the way I interact with the public this time more than on past tours where everything was very choreographed and controlled. Once I wanted to understand what he meant to be a performer in the digital era, thus using the cold language of digital, but they are things I don't think about. Now the thought is: we have only one life, let's live it. Let's hear things. We love deeply. And let's take risks ».
One of the strange and magnificent things that happens during the concert, where Clark is accompanied by Jason Falkner, Mark Guiliana, Rachel Eckroth and Charlotte Kemp Muhl, is the execution of New Yorkone of the traces of Masseduction On which she, who has always made crowdsurfing, decides to throw himself on the public and get around the audience. It is not a rhythmic and frenetic piece, it is on the contrary melancholy and slow. The effect is therefore fun and unreal, it is like seeing a scene in slow motion. «That is one of the songs in which I do not play the guitar and therefore I can connect with the people, the idea was born like this. Here, on this tour I am looking for the connection. I feel more compassion, love, gratitude towards the public. They are there and I would not be here if it were not for them. I want to feel better and I want to tell people that everything will be fine, even if I don't know in reality. In short, I want a visceral contact with people. I want to embrace them. I need a fucking hug ».
