St. Vincent and the Chicago Symphony Orchestra Bring Bold Elegance to Ravinia’s Revamped Hunter Pavilion

Jul 27, 2026 admin_bitlc Features, Music News, Reviews 0

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By Kelly Clausen

There are artists who put on concerts, and then there are artists who create experiences. Annie Clark, better known as St. Vincent, has long occupied that second category, constantly reinventing both her music and the way audiences experience it. On Saturday evening at Ravinia in Highland Park, she delivered one of the most distinctive performances of her career, pairing her inventive catalog with the lush accompaniment of the Chicago Symphony Orchestra under the direction of English conductor Jules Buckley. This also marks Clark’s debut at the park.

For longtime fans, this wasn’t the typical St. Vincent show. Rather than leading a full rock band through a high energy set, Clark stood front and center, allowing the orchestra to become the evening’s driving force. Backed by drummer Joe Canfield, bassist Allee Fütterer, guitarist Robert Ellis and pianist Rachel Eckroth, every song was transformed into something richer and more cinematic without sacrificing the edge that has defined St. Vincent’s music for nearly two decades.

The concert also served as one of the first major performances inside Ravinia’s newly renovated Hunter Pavilion and it couldn’t have been a better showcase for the venue. The expanded stage, improved sightlines and remarkable acoustics highlighted every orchestral flourish and subtle vocal nuance. It was a reminder that great music deserves a setting designed to complement it, and Ravinia’s latest investment paid off beautifully.

Clark has always approached the stage like a performance artist as much as a musician, and Saturday night was no exception. Between songs she often froze in deliberate, sculptural poses that looked as though they belonged in a modern art exhibit. One memorable stance echoed the ancient phrase “As Above, So Below,” her crossed fingers pointing skyward in mirrored fashion. Throughout the evening she shifted effortlessly through angular movements, robotic gestures and hyper-stylized arm positions that have become hallmarks of her live performances. The choreography wasn’t flashy for the sake of spectacle it added another layer to the stories unfolding in the music.

After the opening three songs, one of the evening’s most anticipated moments arrived as Clark’s signature Ernie Ball guitar was brought onto the stage. Finished in a striking bright red that perfectly matched her lipstick and shoes, the instrument immediately became part of the visual presentation. The audience responded to it’s arrival. She strapped it on for a newly arranged version of “Violent Times,” proving once again that even in an orchestral setting, her guitar work remains an essential part of her artistic voice.

Throughout the night, favorites like “Marrow,” “Digital Witness” and “Los Ageless” found new life through Buckley’s imaginative orchestral arrangements. Rather than overpowering the songs, the Chicago Symphony Orchestra elevated them, adding dramatic textures while preserving the tension and unpredictability that make St. Vincent’s music so compelling. Reminded me of what a James Bond 007 movie soundtrack of St Vincent music would represent.

Clark appeared genuinely appreciative of everyone sharing the stage with her. “Getting to travel with this show has been one of the great joys of my musical and personal life,” she told the audience before introducing her touring musicians. Saving her biggest compliment for the orchestra, she smiled toward the dozens of musicians seated behind her and declared, “One of the absolute best orchestras I’ve had the pleasure of playing with ever in life, the Chicago Symphony Orchestra!”

The audience responded with one of the night’s loudest ovations. During “New York,” Clark dissolved the invisible barrier between performer and audience. Midway through the song she invited everyone to stand before stepping off the stage and into the pavilion aisles. She wandered through the crowd with an easy smile, exchanging hugs and high-fives with delighted fans, even surprising security guards with friendly interactions along the way. It was an unscripted moment of connection that perfectly fit the warmth of the evening.

Returning to the stage, Clark closed the main set with a spirited performance of “Paris Is Burning,” leaving the audience on its feet. After several minutes of enthusiastic applause, she returned for one final encore, “Slow Disco.” Backed once more by the orchestra’s sweeping arrangements, the song drifted through the pavilion with quiet beauty, sending concertgoers home with one last unforgettable moment.

This wasn’t simply a St. Vincent concert with an orchestra added for effect. It was a thoughtfully crafted collaboration in which every musician played an essential role. Combined with the debut season of Ravinia’s beautifully reimagined Hunter Pavilion, the evening became a celebration of musical ambition, artistic vision and the unique magic that happens when exceptional performers find the perfect stage. It was an elegant reminder that great songs can always reveal something new when placed in the right hands.

For more on St Vincent, click here

For more on Ravinia, click here

For photos from the show, click here

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• 2026, Annie Clark, Chicago Symphony Orcestra, concert review, CSO, Hunter Pavilion, live, Ravinia, St Vincent

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