Hailed in a 4-star Rolling Stone review as “a mutant strain of retro pop steeped in New Yorklore,” Daddy’s Home, the sixth album from Annie Clark a/k/a St. Vincent, is the latest facet of anever-evolving artist widely regarded as the most consistently innovative and intriguing presencein modern music. In the winter of 2019, as her 2017 masterpiece MASSEDUCTION’s title trackwon the GRAMMY for Best Rock Song and the album won Best Recording Package, St. Vincent’sfather was released from prison. She beganwriting the songs that would become Daddy’sHome, closing the loop on a journey that began with his incarceration in 2010, and ultimatelyled her back to the vinyl her dad introduced her to during her childhood.The records she hasprobably listened to more than any others. Music made in sepia-toned downtown New Yorkfrom 1971-1975.Gritty.Grimy. Sleazy.The first full broadcast from St. Vincent’s synthesis ofthis came in the form of “Pay Your Way In Pain” and “The Melting Of The Sun” played livebefore a crowd for the first time during her recent return to Saturday Night Live—highlightingClark’s ability to shred both vocally and on the debut appearance of the newest model of hersignature Ernie Ball Music Man guitar. In the weeks since, the grit of1970s vinyl would meetthe grain of 1970s celluloid with “Down,” the infectious third and final offering in advance ofDaddy’s Home’s May 14 release. The reaction tothefull album was immediate and ecstatic,with raves including “In an industry crowded with artists who claim singularity, there is perhapsno musician more deserving of the label than St. Vincent” (INTERVIEW), “St. Vincent’s sound ismore electric than ever” (LOS ANGELES), “St. Vincent has gotten to the point where we can’tlook away, because there’s just nobody in indie pop quite like Annie Clark” (PASTE) and somany more. St. Vincent is now taking 2021’s most talked-about record on the road—don’t missouton the invitation to spend a night with Candy Darling in the world of Daddy’s Home.