One Music PH lists down the Top 20 songs from the American singer-songwriter who will light up Manila at The St. Vincent All Born Screaming Tour Jan. 8 at The Filinvest Tent, Alabang. Presented by Karpos Live

One Music PH Top 20: St. Vincent

<p style="text-align:justify">Known for her bold, genre-defying sound, this <strong>GRAMMY</strong>-winning singer, songwriter, and multi-instrumentalist of the highest order is set to light up the stage in a way only she can. Adding another dynamic artist to its roster, <a href="https://karposlive.com/" rel="noopener noreferrer" target="_blank"><strong><u>Karpos Live</u></strong></a> proudly presents <a href="https://www.tickelo.com/stvincent" rel="noopener noreferrer" target="_blank"><strong><u>St. Vincent Live in Manila</u></strong></a> this 2025!</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><iframe src="https://www.facebook.com/plugins/video.php?height=476&amp;href=https%3A%2F%2Fwww.facebook.com%2F100064793163800%2Fvideos%2F2833995276777741%2F&amp;show_text=true&amp;width=380&amp;t=0" width="380" height="591" style="border:none;overflow:hidden" scrolling="no" frameBorder="0" allowfullscreen=""></iframe></div><div style="text-align:justify"><br/></div><p style="text-align:justify"><a href="https://www.youtube.com/@St.Vincent/videos" rel="noopener noreferrer" target="_blank"><strong><u>Annie Clark</u></strong></a>, better known as <strong>St. Vincent</strong>, made her debut in 2007 with <a href="https://open.spotify.com/album/48ZuprEInOjPK2Mgpgg232?si=qstDFp4zRsibXUVezLdxdw" rel="noopener noreferrer" target="_blank"><strong><em><u>Marry Me</u></em></strong></a> and quickly became one of the most innovative, fascinating and critically-acclaimed figures in modern music. Her albums include <a href="https://open.spotify.com/album/6vKUhbJvFvm4TxQymOlM7V?si=fKITqAsWSTe7zGffNCpbRg" rel="noopener noreferrer" target="_blank"><strong><em><u>Actor</u></em></strong></a> (2009), <a href="https://open.spotify.com/album/5x7cI8aHmaqk03KKl1Auh1?si=rrO9mZpKTX6QQkVprQT4Eg" rel="noopener noreferrer" target="_blank"><strong><em><u>Strange Mercy</u></em></strong></a> (2011), and her <a href="https://open.spotify.com/album/2FtneRtIF1I5HPBsIxSqf0?si=NXDh5q9lQX-4jjd1bO_aMw" rel="noopener noreferrer" target="_blank"><strong><u>self-titled</u></strong></a> 2014 release, which won the <strong><u>GRAMMY</u></strong> for <strong>Best Alternative Album</strong>. In 2017, <a href="https://open.spotify.com/album/4RoOGpdrgfiIUyv0kLaC4e?si=3r8eavXTT9yuFWd5IDekmg" rel="noopener noreferrer" target="_blank"><strong><em><u>MASSEDUCTION</u></em></strong></a> soared in the U.S. and UK, winning two more GRAMMYs, while 2021’s <a href="https://open.spotify.com/album/654KFpNOZ26Hj9luu7aKeM?si=nfNDmkI0TfuHx2NCELMHmQ" rel="noopener noreferrer" target="_blank"><strong><em><u>Daddy’s Home</u></em></strong></a> earned her another <strong>Best Alternative Album</strong> award. Her 2021-2022 global tour established her status as a live music powerhouse, headlining iconic venues like the <strong>Hollywood Bowl</strong> and <strong>Radio City Music Hall</strong>.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><iframe width="560" height="315" src="https://www.youtube.com/embed/b4AtMweHg8g?si=wkuwBJ-hiZQbLzYm" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/fJP_FntOa8w?si=N5amZIBrHJED13IK" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/CvmaW-8PkFk?si=1BKA5LjQFiZ81Hn0" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/7sfrCVYZV7k?si=iKOzDi3n5OCMkdfZ" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/ZUTu65AXrJw?si=_UYyh7n-lQPA6gLl" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><div style="text-align:justify"><br/></div><p style="text-align:justify">She has also performed the aforementioned <strong><u>&quot;MASSEDUCTION&quot;</u></strong> with <a href="https://open.spotify.com/artist/6M2wZ9GZgrQXHCFfjv46we?si=_YTTzJMkSFWgQkCSWb6a3w" rel="noopener noreferrer" target="_blank"><strong><u>Dua Lipa</u></strong></a> in a mash-up number with the latter&#x27;s <a href="https://open.spotify.com/track/76dIZzTdrNO15mGBrU3MHi?si=06fa334f2b8641d5" rel="noopener noreferrer" target="_blank"><strong><u>&quot;One Kiss&quot;</u></strong></a> (with <a href="https://open.spotify.com/artist/7CajNmpbOovFoOoasH2HaY?si=eolX-pKCQByKXsAI_KjxlA" rel="noopener noreferrer" target="_blank"><strong><u>Calvin Harris</u></strong></a>) at the <strong>2019 GRAMMYs</strong>. Clark has also written music for other artists, including <a href="https://open.spotify.com/track/1BxfuPKGuaTgP7aM0Bbdwr?si=a3b3f1a0a10d42d0" rel="noopener noreferrer" target="_blank"><strong><u>&quot;Cruel Summer&quot;</u></strong></a> for <a href="https://open.spotify.com/artist/06HL4z0CvFAxyc27GXpf02?si=PaVS0Q5JTMCltc2Q376etQ" rel="noopener noreferrer" target="_blank"><strong><u>Taylor Swift</u></strong></a> and <a href="https://open.spotify.com/track/6tNgRQ0K2NYZ0Rb9l9DzL8?si=2a8fc8cd77294912" rel="noopener noreferrer" target="_blank"><strong><u>&quot;obsessed&quot;</u></strong></a> by <a href="https://open.spotify.com/artist/1McMsnEElThX1knmY4oliG?si=GPtQCP01Q6SniIyTmpYYKg" rel="noopener noreferrer" target="_blank"><strong><u>Olivia Rodrigo</u></strong></a>. </p><div style="text-align:justify"><br/></div><div style="text-align:justify"><iframe width="560" height="315" src="https://www.youtube.com/embed/9tw2LMnxvW0?si=RwBbTxQmWTlsmdjO" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/GrKQvyXpNgc?si=63puP-F8C2I1mmb7" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/QXcjPySjdJU?si=R6kWSMPbteiAmb57" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><div style="text-align:justify"><br/></div><p style="text-align:justify">Her rise showed no signs of stopping as her first fully self-produced alum (having co-produced every one of her previous efforts), <a href="https://open.spotify.com/album/3nRlJXz5W39luXRto5hc4f?si=yFLgAZixR1-VF9vqIUHvhg" rel="noopener noreferrer" target="_blank"><strong><em><u>All Born Screaming</u></em></strong></a> reveals <a href="https://open.spotify.com/artist/7bcbShaqKdcyjnmv4Ix8j6?si=mHFe9BkqQaexSZvLMliyWQ" rel="noopener noreferrer" target="_blank"><strong><u>St. Vincent</u></strong></a> 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 <a href="https://open.spotify.com/track/7F1xUyDoz9vSbwSaCryT5x?si=02cbd5409663418e" rel="noopener noreferrer" target="_blank"><strong><u>“Big Time Nothing,”</u></strong></a> the sublime, elegiac earworm <a href="https://open.spotify.com/track/3IW8BlrMcCCy5JAiL6GmQ3?si=8b7295767ad94e19" rel="noopener noreferrer" target="_blank"><strong><u>“Sweetest Fruit,&quot;</u></strong></a> <em>All Born Screaming</em> is equal parts spiritual desolation and rapturous acceptance.  The album combines spiritual desolation with rapturous acceptance. &quot;If you’re born screaming, that’s a great sign,&quot; 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.” <strong><em>All Born Screaming</em></strong> is her capturing the industrial anguish, desolation and visceral nature of Nine Inch Nails.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><iframe width="560" height="315" src="https://www.youtube.com/embed/oFr1vpF9_lY?si=rL5VmQsN2fR9DsWZ" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe><br/></div><div style="text-align:justify"><br/></div><p style="text-align:justify">Get set for another damn good time celebrating life, art, and sound! Don’t miss your chance to experience <a href="https://www.facebook.com/St.Vincent" rel="noopener noreferrer" target="_blank"><strong><u>St. Vincent</u></strong></a>’s electrifying Manila debut at <strong>Karpos Live</strong> on <strong>January 8, 2025</strong>, at the <strong>Filinvest Tent, Alabang</strong>! Tickets are still on sale at PHP 4,955.00 (inclusive of ticket service fees) via <a href="http://www.tickelo.com" rel="noopener noreferrer" target="_blank"><strong><u>www.tickelo.com</u></strong></a>.</p><div style="text-align:justify"><br/></div><p style="text-align:justify">With that being said, here are our <strong>One Music PH Top 20 St. Vincent</strong> picks:</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>20).Fast Slow Disco (2018)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/dNm0b2SCXxY?si=UHLTZ7-fFfb2dwFq" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">This song is the sonic equivalent of the world’s best andcoolest ootd vlogger - she could wear many different clothes and is drastically versatile with lifestyles. Here she is in disco leotards, dancing on the coolest underground basement dance floor.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>19). Marrow (2009)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/-9prpAv6kvo?si=M_oyLGPtGXVcPfNw" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">A distorted, unnerving exquisiteness. It combnes a refrain resonant of a nursery rhyme with the throttling atmosphere of a hardcore horror film.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong><u>18). Broken Man (2024)</u></strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/UrTo9pRDpXU?si=6k6obdzhel4gah1x" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">This track operates on a slow, methodical burn, every new layer on the son builds up to an explosion and apex led by <a href="https://open.spotify.com/artist/7mRVAzlt1fAAR9Cut6Rq8c?si=3B34tUFwQLmJIT1LNKO5Fg" rel="noopener noreferrer" target="_blank"><strong><u>Dave Grohl</u></strong></a> (!) on drums. It’s downright filthy, sick, and unconceivably groovy. The repetitive bassline hypnotizes you to groove along as she screams “<em>Who the hell do you think I am!?</em>” as modern metal-flavored crashes reverberates behind the vocals.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>17). Marry Me (2007)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/BeGoovsbO-w?si=Mfe_uUaFboDLtr8g" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">On the surface, <strong>&quot;Marry Me&quot;</strong> seems saccharine and romantic, a song sung cozily to her lover persona, taking matters in her own hands and beats him to the proposal. But the lyrics insinuate a profounder connotation, one where she plays with the limiting gender conventions within marriage, provoking the listener to question his or her own standpoints and pondering on her own skepticism. It would be easy to dismiss it as a striking ballad, but it&#x27;s a far more perplexing spin than meets your ears.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>16). Now Now (2007)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/IFBnb_pLmCI?si=kFT8RY7hUA6fXKPn" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">Fundamentally a primer to <strong>Clark’</strong>s musical persona. She even goes as far as disparaging herself as Annie, (“<em>I’m not any, any, any, any, any / Anything at all…I’m not Annie, Annie, Annie</em>…”) completing her transformation to St. Vincent. While the track is both reassuring (with the chorus “<em>Now, now</em>,” conjuring a feel of tranquility) and emphatic (“<em>You don’t mean that / I’ll make you sorry</em>”), it is at its essence about dismissing our pre-conceived notions of who St. Vincent is. The balancing act of semi-self-effacement along with a hefty amount of self-esteem propagates the origins of St. Vincent, who will eventually be accepting of who she is with copious amounts of poise and panache.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>15). Huey Newton (2014)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/3I89orRWN7I?si=0i5ptutH5DV-ub5b" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">&quot;<em>Entombed in the shrine of zeros and ones, you know?</em>&quot; It’s a derogative impeachment of pop culture in the Information Age and how it belittles colossally complex people and subjects by over-streamlining them.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>14). Rattlesnake (2014)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/WMryYBNiNNI?si=qLe8pE1TaFCo6nxb" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">After three of the most innovative guitar-anchored albums around period, it was a little astonishing to find <strong>St. Vincent</strong> jumpstarting her eponymous fourth full-length release with a bubbly synth line. Would this be the album where she puts her guitar on the side to explore mass-oriented pop music? Nope, that came a few years later with <strong><em><u>MASSEDUCTION</u></em></strong>, but track number one <strong>“Rattlesnake”</strong> turned out to be a mind-blowing center between her guitar-based albums and her futuristic forays into pop, complete with vivacious synths, fuzzy vocals and a face-melting guitar solo. You can probably count on one hand the number of people who can make a guitar sound the way she can, but no one else can combine her clockwork-precise tones with synth-pop.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>13). The Party (2009)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/UI-rFbbfyQY?si=4NdJi1GD6PTFzRAk" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">This song surveys matters of transitory ties, financial toils, remorse, and the costs of one&#x27;s actions. It displays an eye-opening depiction of the aftermath of a party, where the high has long since dwindled, and people are left to face their feelings, choices, and the consequences of their conduct on their own devices.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>12). Masseduction (2017)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/jPha0h8TA5U?si=tl3GDUiXvSwavVfB" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">This album is <strong>Clark</strong> collaborating with <a href="https://www.youtube.com/@TaylorSwift/videos" rel="noopener noreferrer" target="_blank"><strong><u>Taylor</u></strong></a>&#x27;s favorite current producer of <a href="https://open.spotify.com/artist/2eam0iDomRHGBypaDQLwWI?si=BrW72babQhunfieoOZMwTA" rel="noopener noreferrer" target="_blank"><strong><u>Jack Antonoff</u></strong></a>. While this record was in some ways her glossiest and most radio-friendly, it still radiated with her own eccentric style. “<em>I can’t turn off what turns me on</em>,” Annie sings on the caricature-esque probe of yearning and loathing, while her dramatic guitar roars and screeches.</p><div style="text-align:justify"><br/></div><div style="text-align:justify"><strong>11). Actor Out if Work (2009)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/AZW9NYX6JZA?si=zYU9gRnlzkzTJ6kg" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p style="text-align:justify">Songs about a poisonous relationship can simply sound worn out in less than capable hands. But with the frenzied tempo, distorted guitars, and unrelenting percussion, <strong><u>&quot;Actor Out of Work&quot;</u></strong> manages to put some life into this omnipresent topic. While <strong><u>St. Vincent </u></strong>goes two-minute punk rock on this one, this track doesn&#x27;t feel hurried. Instead, the song’s persona is indomitable in her urge to subtract this &quot;<em>actor out of work</em>&quot; from her life equation, lobbing censure after censure even though she’s in denial and can&#x27;t seem to let go of him. All of a sudden the power of the song suits in a thematic consciousness; the love and synchronized agony that Clark’s going through is making her feel unhinged (&quot;I think I love you / I think I&#x27;m mad&quot;), painfully similar to the skewed and slanted production on &quot;Actor Out of Work.&quot;</p><div style="text-align:justify"><strong>10). Cheerleader (2011)</strong></div><div><iframe width="560" height="315" src="https://www.youtube.com/embed/LEY9GJAm8bA?si=z0YIEcKWQdsPp15U" title="YouTube video player" frameBorder="0" allowfullscreen=""></iframe></div><p><strong><u>“Cheerleader”</u></strong> is uniquely dirty. With discordant drums and lethargic singing, <strong>St. Vincent</strong> comes off discomfiting in the surface of mockery, that eventually our persona begins to wonder if it’s warranted. The song has both the protagonist and antagonist trade proverbial punches at each other before Annie Clark starts to fathom how disheartening her part in all the triviality can be. She wishes to rise above the noise and the timidity. In the final chorus, the persona refers to herself as a “<em>dirt-eater</em>”, a bad-mannered way to refer to headstrong connivance. As her restless guitars goes to its ceasefire at the conclusion of the song, there’s a gesticulation to a fork in the road, one in which she decides whether to cut off whatever’s making her feel so filthy, or just numb herself to the point where she goes dedma and pretends it doesn’t exist.</p>

<p>One Music PH lists down the Top 20 songs from the American singer-songwriter who will light up Manila at The St. Vincent All Born Screaming Tour Jan. 8 at The Filinvest Tent, Alabang. Presented by Karpos Live</p>

One Music PH Top 20: St. Vincent | ABS-CBN

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One Music PH Top 20: St. Vincent

One Music PH Top 20: St. Vincent

Cris O. Ramos Jr.,

One Music PH

Published Jan 06, 2025 09:20 AM PHT

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Updated Jan 07, 2025 05:15 PM PHT

Read More:

All Born Screaming

St. Vincent

Annie Clark

St. Vincent in Manila

Karpos Live

Jan 8 2025

The Filinvest Tent Alabang

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