What if St. Vincent still didn’t have the space it deserves?

When you see it live, you can come naturally to ask: are we really giving St. Vincent what is by St. Vincent? The capital show is no exception to the first summer, where as Co-Headliner Annie Clarke leads his world Art Rock to leave an indelible mark on the young story of the Festival. This thought can also come regardless of the degree of familiarity with his music, his lives and his career full of awards. The feeling is similar to what is felt when a nascent sports star, which has already won a lot and has perhaps burned some records, is however treated with slight skepticism And it is placed in the general framework with caution, while it is expected at the passage, with the doubt – which for the enthusiasts is hope, for the gatekeepers it is fear – that its moment has yet to arrive.

Although Annie Clarke has an enviable curriculum, from the beginning with The Polyphonic Spine to the adventure with Sufjan Stevens, up to the “St. Vincent” project that led her to take an international prizes and collaborate with sacred monsters such as David Byrne, Dave Grohl and The Chemical Brothersalways hovers the doubt that the best has yet to come. That basically this mix of talent and madness deserves a far more prestigious place of honor. Even now, that with the new album “All Born Screaming”the first entirely self -produced, we speak of yet another artistic redefinition and at the 67th edition of the Grammy Awards last February triumphed with three prizes – Best Alternative Music Album, Best Rock Song (“Broken Man”) and Best Alternative Music Performance (“Flea”). The truth is that a few artists in the world are so free without ever being repeating. St. Vincent is in fact a project aimed at anyone who appreciates rock, as long as he does it without prejudice or limits of any kind. Music, aesthetics and aptitude go hand in hand with a vision strictly anchored to independence, to the “Diy Til I Die” approach rooted in its indie-rock background. His will to blend music and figurative arts also materializes in the strong aestheticthanks also to the Zampino of the American conceptual artist Alex da Corte who has facilitated the approach to the visual symbolism of Goya and Bosch.

As happens for the most original and culturally relevant artists, it is always necessary to complete the picture with the live test. And it is here that St. Vincent explodes in all its brazen magnificence, never the same as herself, never definitive. On stage Annie Sputa, throws himself to the ground, pushes the members of the band and then reaches them with affection. He sings gently and then launches into an angry Screaming. He combines the most brutal and mysterious part of his music with a stunning Appel, with the more romantic and emotional part. This is what she herself calls “an explosion of emotions between agony and euphoria” that reveals itself in front of her spectators, who cannot help but smile them, to follow her with your eyes wide open so as not to miss even a nodan expression, a Gothic and crazy flicker to take home as a glamorous postcard of the evening.

Not that the band is less worthy of attention, it is clear. In particular Jason Falkner, St. Vincent guitarist since 2021 (moreover, the year of the complete re -foundation of the band), He is a portent with whom Tulsa’s singer -songwriter has fun playing on stage. They tease, meet and collide in an exchange that enriches the performance a lot. And in the meantime, good Jason shows his immense talent, both as a musician and as an entertainer, while the rest of the band completes the virtuous picture. Here’s how each song is enriched live: from the Gothic and disturbing sensitivity of the pieces taken “Strange Mercy” from “Masseduction”, to the primitive rock of the new songs, among which they undoubtedly stand out “Flea” and “Broken Man”, diamond tips of the concert.

And therefore, more than the Grammy and excellent reviews, what does St. Vincent really deserve? It is difficult to say, as it is difficult to define his music and his vision without risking limiting his spectrum and therefore making it a wrong. It is the triumph of dissonance, of unpredictability, of the hallucination. Whenever the public or criticism believe they have finally framed it, she changes skin. Perhaps for this reason his path follows the asymptotic nature of a “mobile horizon”: The deserved place in the history of alternative music is always approaching, but – just like a horizon that moves as you approach – is never really reached. Luckily, because so probably we too will continue to investigate and chase it, without ever stopping.