St. Vincent Delivers A Religious Rock Experience With Her Debut Manila Concert – Review

Screaming has always been a unique means of self-expression.

For many, it’s how we convey our extreme emotions, whether it be an abundance of joy, pleasure, excitement, or even one’s pain and grief, that translates the complexities of human nature into its primal and most uncompromised form. 

Yet for St. Vincent (also known as Annie Clark), such an act is the perfect means of catharsis (both creatively and metaphorically), as seen from the results of her latest album All Born Screaming, and more evidently during her first-ever show in the Philippines for her ongoing tour of the same name. 

What took place last January 8 marked a glorious kick-off to the 2025 concert season, filling the venue with explosive, rock anthems that allowed the audience in attendance to shriek their hearts out — almost as if it were a collective purge of pent-up emotions that had been bubbling beneath the surface.

Given the current state of the world, it’s unsurprising to see this many people come together for a reprieve of sorts away from the hustle, bustle, and noise of the new year. You could easily note the varied types of attendees queuing in line from two in the afternoon, ranging from Philippine rock icons like Ely Buendia and Raymund Marasigan, to various industry figures, foreigners looking for a good time, and even a plethora of Gen Z fans who came decked out in their best leather, lace, and goth-like ensembles. 

With close to a thousand people sandwiched within the walls of the Filinvest Tent, this was our escape from the reality of our daily lives — wherein everyone’s focus was solely on witnessing Clark’s impressive artistry and experiencing the transcendent plane that her music could immediately transport us to. And while the wait itself for the show’s commencement came following grueling hours of waiting (due to technical difficulties earlier in the day), nothing had quite prepared the crowd for what was to come.

Close to ten in the evening, the lights within the venue began to dim, leaving an ominous red glow to illuminate the stage’s setup from behind as Clark, guitarist Jason Falkner, keyboardist Rachel Eckroth, drummer Mark Guiliana, and bassist Charlotte Kemp Muhl made their way on stage. With the rouge luminescence transforming into a singular bright spotlight behind the band, Eckroth’s first few notes to “Reckless” began to echo across the venue, complemented by Clark’s whisper-like vocals that soon transformed into a feral, if hoarse, set of screams that conveyed a deliberate sense of urgency by its outro.

Following various triggering flashes of light and an impressive display of Clark’s flair for theatrics, “Fear The Future” soon followed, giving the audience a first-hand look at guitar-wiz performance — especially by the point the track reached a feverish crescendo in its bridge as she and Falkner riffed off one another. The fun hadn’t stopped there though, as the duo displayed their electric (guitar) chemistry for the opening segment of “Los Ageless,” wherein Clark’s crooning on the track sounded unbelievable in comparison to its studio rendition.

Throughout the night, Clark and her band retained the same infectious energy that sparked a wildfire within the audience, as seen from performances like “Big Time Nothing,” “Marrow,” “Pay Your Way In Pain,” and “Dilettante” — the latter of which was ignited even further as Clark reached down to approach fans on the barricade (including myself). Such nature led to a ravenous response from nearly everyone present, with hundreds of people screaming “Annie!” or even along to the lyrics of whatever song was being performed. 

As one could observe Clark on stage, there’s a unique style of showmanship that this one-woman force easily commands with her presence. Of course, it’s clearly evident that her proficiency in her craft comes across with every note that comes out of her vocal and instrumental (whether it be her guitar or her portable synthesizer) performances — though there’s a distinct allure that every gaze and onstage movement convey to those paying attention. 

Even on tracks like “Digital Witness” and “Flea,” Clark’s capability to demonstrate ostentatious choreography with her body language, whether she’s coming off as wry, witty, or even cheeky with the impression of each of her performances. Though it makes for great entertainment on the surface value, it further serves as an in-depth look at her commitment to the bit of living up to the St. Vincent moniker.

Of course, the St. Vincent moniker is more than just Clark herself, as the manner in which she plays off her touring bandmates adds an intriguing dynamic to be witnessed in every performance. Whether it’s how in harmony she and Falkner were whenever they faced one another, or how both she and Muhl gave one another a quick peck on the lips during “Flea,” what’s even more remarkable is when you pay attention to some of their solo segments, such as Guiliana’s astounding three-minute drum solo by the end of “Cheerleader.”

On the Grammy-nominated “Broken Man,” audiences bore witness to a groveling Clark on the ground, which segued to a flapper dance-inspired performance, and eventually a mass exorcism of screeches coming from both the artist and her subjects. It was arguably one of the more intense moments of the night, which felt true to Clark’s intention of a cathartic release that strips away any semblance of societal norms and structure from those present.

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Almost as if it were a cleansing method, the next number “Hell Is Near” embraced a more meditative segment that felt like a necessary cool down from all the higher-octane numbers that preceded the track. Clark’s prayer-like gestures, paired together her breathy vocals, and closed-eyes approach allowed her performance to feel like a religious experience of sorts, leaving audiences to sit within the number as it embraced a twinkling outro that transformed the Filinvest Tent into an otherworldly planet.

With the show settling down for a brief moment, Clark addressed the audience by stating, “For many years, it’s been my dream to come here [to Manila]. And I’m so glad to spend this night with all of you.” “The next song is for all of the people who secretly make a city. They might not be the top of the list, or accepted, but they make up the real fucking heart and soul, and fabric of the city. And the real heart, soul, and fabric of cultures. Because they’re outsiders.”

“I don’t know, maybe some of you have felt like outsiders too. I suspect you might have, because otherwise you wouldn’t be here tonight,” she added with a laugh, before sitting by the edge of the stage to perform “Candy Darling.” The stripped-down nature of the track was amplified by Clark’s pointed yet haunting vocals, lovingly backed by Eckroth’s warm Wurlitzer notes. “Are you coming home to me — Manila?” crooned Clark.

As the notes to “New York” began to reverberate across the venue, the multi-Grammy-winning singer-songwriter again asked the crowd, ”Can you handle it? All this heart?” to which the audience enthusiastically responded. Even as she made her way closer beyond the barricade to begin her signature crowd-surf routine, Clark’s vocals were never compromised, sounding pitch-perfect as she interacted with the hundreds of fans along the way, even taking a moment to sign a lucky man’s vinyl copy of Strange Mercy. While it was a riot, it was a clear display of her impassioned rapport and connection with her fans, making it one of the best fan service moments I’ve personally witnessed across all the concerts that I had ever been to.

Given the massive resurgence in energy from the crowd, Clark and Muhl began to enact another display of affection for the crowd as the entire band began their inspired rendition of “Sugarboy.” The notable vocoder effect on the former’s vocals for most of the track’s pre-chorus breathed new life into the beloved rock track, yet what left audiences (such as myself) blown away was the insane harmony between the group that resulted in an explosive penultimate performance.

But what good is the All Born Screaming tour without a performance of the titular track? Though the track easily fools you with its funky riff and lighter sound within its first half, the gradual descent into chaos by its middle point becomes a unison of Clark and her band’s purgative choral performance as they repeatedly sing the words “All Born Screaming” in a haunting, yet omnipresent nature. 

To the crowd’s luck, Clark gave audiences one last surprise with an encore performance with a vulnerable rendition of “Somebody Like Me.” Unlike its studio recording from 2021, this live version felt surprisingly more realized than before, with Clark’s gorgeous vocal performance perfectly translating the contemplative and gentle nature of its ly

ricism, making it the perfect closer to all that had transpired throughout the night. 

As the crowd began to dissipate by the time the lights turned back on, the lingering impression on everyone who bore witness to this show was uniform across the board. For St. Vincent’s long-awaited debut show in Manila was more than just your traditional concert — it was an invitation to feel, to release, and to truly live in the moment. 

From the feral screams that punctuated her set to the tender vulnerability of her encore, the night became a conduit for raw expression, mirroring the cathartic journey of her latest record. While the year itself had just started, the show served as a communal exorcism of bottled-up emotions — a space where we could shed our worries and embrace the liberating power of Clark’s music unfiltered.

All that had transpired wasn’t just another rock show; but a religious experience that transcended the genre’s usual expressiveness. Because with their efforts, Clark, Falkner, Eckroth, Guiliana, and Muhl had crafted a night of pure, unfiltered energy, where even just for a few hours, the walls of the Filinvest Tent housed not just a performance but a transformative event — one that reminded us why live music is so vital.

For Filipino fans, the hope for St. Vincent’s return is now a shared prayer. Nights like this don’t come often, and when they do, they linger in our memories, urging us to relive the freedom they brought. It was a night where emotions were set free, worries cast aside, and a singular, electric connection between artist and audience became unforgettable.

So, here’s hoping this isn’t the last time we get to experience such a liberating and life-affirming show from Clark and the rest of her band.

Listen to St. Vincent’s All Born Screaming in its entire glory below:

Check out more exclusive photos from St. Vincent’s debut Manila concert below: