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From album to album, over a decade, her sales as well as her reviews have improved in happy tandem.
The most recent album, 2014’s St Vincent, was her best to date, a wild, raucous thing, written in part during Ambien-soaked nights on tour, that eventually won her a Grammy.
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“Too big to be a lake, too small to be an attraction.” A number of the songs certainly sound as though they pick over the end of a serious relationship, in particular an astonishing meta-epic she has written called LA, which seems to be about a break-up (“How can anybody have you and lose you and not lose their mind, too?
”), while at the same time being about a fiercely avant garde musician’s reluctance to do anything as obvious as write about a break-up.
Three years ago, while touring and promoting that self-titled record, Clark had a fantastic and unforgettable do – a triangular mountain of silver-bleached curls that made her look, in her own words, “like a scary cult leader”.
I half-expected her to show up that way today, under the same teetering pile of silver, but Clark says the bleach killed off that haircut years back.
That phrase – “real and strange” – describes Clark’s appeal as a musician.