This autumn, Arc Iris releases Icon Of Ego, their third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realised sonic and visual intensity. Overcoming rebuffs and rejections, Arc Iris has become an unstoppable force out of necessity. On Icon Of Ego, they deliver heavily and ask nothing in return. The group’s two previous albums, Arc Iris and Moon Saloon, were both released to critical acclaim.

Originally formed in Providence, R.I., by singer-songwriter Jocie Adams who was coming off a term with The Low Anthem, the group initially embodied an eight-piece rock orchestra, creating innovative dynamics of rhythm and melody with a full colour palette. Four years on, Arc Iris are just three musicians: lead vocalist Adams, keyboardist and sample artist Zach Tenorio-Miller, and drummer Ray Belli. They have crafted a vividly expressionistic new album that reflects both the group’s protean talents as well as its journey of survival.

Soon after its self-named 2014 debut on the ANTI- label, Arc Iris faced considerable adversity. Critical acclaim, tours with St. Vincent, Jeff Tweedy, and festivals like Bonnaroo followed, all creating the belief that they had beaten the long music industry odds. However, the group lost its manager, followed by its booking agent, then was dropped from the label. Band members departed. Opportunities evaporated. Through it all, Adams, Tenorio-Miller and Belli worked with undiminished energy and reinvented themselves as a quartet, which included Robin Ryczek on cello. Within two years, Arc Iris self-released Moon Saloon. Soon after this release, Ryczek left to teach cello in Afghanistan, and the three remaining members, once again, set about adapting. Arc Iris assembled its own promotions team and booked its own shows. Notable is what Arc Iris has achieved completely by itself: tours supporting Kimbra, Gene Ween, a complete re-imagination of Joni Mitchell’s Blue performed at Washington’s Kennedy Center, and a growing, international fan base that has remained dedicated throughout.

Icon Of Ego finds a happy middle with a smaller label, a more focused support team, and a stronger, more experienced band. Recording at Providence’s Columbus Theater, home to silent movies and vaudeville during the ‘20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise.

The group has always embraced theatricality. Displaying an array of costumes, flare, and light rigs, enhanced by choreographed dance moves, an Arc Iris live performance is a proper spectacle that matches the group’s manifest musical abilities and talents. A whole new live experience accompanies the Icon Of Ego performances. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs on Icon of Ego carry a thick, analogue electronic sound that harks back to the ‘70s. Presiding over these are Adams’ powerful vocals that house the energy under pop forms.

Icon of Ego track list:

1. $GNMS

2. Dylan & Me

3. If You Can See

4. Turn It Up

5. Icon of Ego

6. Chattermachines

7. Beautiful Minds

8. Everybody's Counting on Her

9. Suzy

10. Tokyo (bonus track)

Opportunities like this in the North East are particularly rare, this evening we take our seats in the humongous Hall One at The Sage Gateshead. As Arc Iris take to the stage we’re somewhat unsure what to expect, Jocie Adams is a former member of one of our favourite bands The Low Anthem, and, named for their beautiful folk rock, Arc Iris have inherited some of this.

However, Arc Iris posses something slightly different and their live set could be likened to that of The Dresden Dolls. At times it won't feel out of place in a cabaret club, that said we’re left completely dumbfounded by the delicacy and beauty of Jocie’s voice. It’s an odd performance to sum up but it’s befitting of tonight’s bill, as we anticipate the arrival of St Vincent.

Prior to her appearance a notice is played out, appealing to the fellow fans of analogue entertainment asking people to refrain from recording and photographing the show. A message similar to that which Kate Bush issued prior to her comeback performances. The reason we mention this is that St Vincent is something of a modern day Kate Bush.

Annie Clark is not your average musical artist, she shuffles on to stage in what has become a typically robotic fashion. The thick synth line of ‘Rattlesnake’ echoes out through this huge venue, despite her sleek appearance Annie owns the stage. Collecting her guitar and she quite literally slays the close of the track.

Already in awe, Clark bursts in to the unbelievably amazing ‘Digital Witness,’ in our eyes, a particularly brave move. We firmly believe this is St Vincent's best track to date, however we are later proved wrong as this ladies talents have no bounds; this evening’s performance nothing short of phenomenal, Annie’s delicate blend of electronics and virtuosic guitar playing providing an excellent balance to the evening.

Annie’s ability to put on a show is fantastic, her choreography is spot on and her stage presence is larger than life. Even her on stage banter is somewhat off the wall, though no less brilliant with her conversing with the audience about how when adults look at one another they imagine them as babies. Leaving us slightly puzzled yet still appreciating the musical genius whom is quite clearly bearing her soul in front of us.

Tracks like ‘Laughing with a Mouth of Blood’ and ‘Surgeon’ stand out above the rest. ‘Actor Out of Work’ is arguably a stand out from her back catalogue too, and once again she brutally slays this crowd at every turn, we’re truly are completely blown away. They close out their set with ‘Bring Me Your Loves’, firmly replaced itself as our favourite St Vincent track.

It sums up what has been an amazing evening, so few artists have the ability to conquer this huge hall and tonight St Vincent approached it from a completely different angle. Once again with audience in complete awe, Annie returns to the stage alone to play ‘Strange Mercy,’ the final facet of this evening's show, as she delivers a final beautifully heart-wrenching track.

We leave the venue filled with amazement, almost unable to comprehend the phenomenal evening we’ve just had, one which will go down as the greatest show we’ve seen in a very long time. So few artists have the stage presence and the music to back it up, bringing it back to our point about the equally wonderful Kate Bush. To us, Annie Clark is definitely a modern day equivalent.