OK, first and foremost, can I just say how much I appreciate a show with no opener that wrapped by 10 PM? After the time change and a packed weekend, this performance served to be the perfect endcap to the week as Philly finally heads into spring. A beautiful sunset and warm weather really amplified the vibes, and I’m happy to report I can add another phenomenal performance to the ever-expanding list of great shows these past few months have given me. Anyway…
Chan Marshall, better known by her stage name Cat Power, has been at this for a while.
Emerging in the early 90s alternative scene, collaborating and mingling with everyone from Liz Phair to members of Sonic Youth to Dave Grohl and Eddie Vedder, she is no stranger to the early days of alternative music legend-making. And in that world, she cut her teeth as an artist, releasing an exponentially more impressive series of albums. Each subsequent release saw greater artistry, acclaim, and notoriety. And by 2006, she released what many consider to be her, well, greatest, with seventh LP, The Greatest.
So, it’s no surprise that Chan has decided to celebrate and honor its release 20 years later with this tour.
“Do you remember where you were 20 years ago?” she asked the packed crowd at Union Transfer Sunday night. “I was right here.”
And she was. Well, it was the TLA, and it was June. But close enough. Point being, it was very much a full-circle moment for her and any long-time fans in attendance.
During the night’s performance, she didn’t speak too much. Known to struggle with stage fright throughout her career, Chan’s performance was no-frills, no-nonsense, and pretty tightly paced. It was fitting she wore an all-white pantsuit, because it was straight to business. There were a few brief moments expressing stream-of-consciousness sentiments in the realms of love and gratitude, and a few great quips, including “I thought I was dripping blood… must be someone else’s” and “this song will get you into heaven.” But beyond that, she and her four-piece accompaniment let the music do the talking as they proceeded through the full track list of The Greatest from start to finish.
Straight to the point: Cat Power remains brilliant, and the album is as vital as ever. The performance was the perfect encapsulation of her legendary talent as both songwriter and performer.
And talent is something Cat Power has in spades. Employing a dual-microphone setup for the night, one clean and one with processing effects, she explored sounds that go a little further than what the original album offers up. To purists, gatekeepers, or joyless saps, it might seem like heresy. But the fact remains that her ability to sing serves to be not only unencumbered, but is genuinely still jaw-dropping three decades into her career. Dare I say she’s better than ever?
And that’s despite coming on stage with a lit cigarette. Her commitment to every single song throughout the night really emphasizes the “power” part of her namesake. She was never off-key; she didn’t quiet down or flub on vocals to ease the strain of the performance. Instead, she sang her heart out in each and every moment with a performance that exceeded any kind of vocal techniques employed on the studio recording.
As a very loud-and-aggressive-rock-centric music fan, it’s always nice to be reminded of how powerful the softer side of alternative music can translate during live performances. Less chaos, more nuance, and a greater showcase for individual talents. While Cat Power’s influences throughout her discography are varied, The Greatest, recorded in Memphis, TN, draws from the well of bluegrass and soul, with some toe dips into country and blues. Performed live, it's given an added layer of energy via the more blues-tinged tendencies of her backing musicians.
And for that, I must offer immense credit to her band. I have never seen more locked-in stoicism from musicians than I did with their performance. Guitarist Judah Bauer, keyboardist Gregg Foreman, bassist Erik Paparozzi, and drummer Jim White were each able to showcase their indisputable talents, all culminating in an extended, psychedelic jam session following album closer “Love and Communication,” while Chan momentarily disappeared back stage before what I suppose can technically be considered the encore (i.e. songs not on The Greatest).
All in all, Cat Power remains fully and indisputably iconic. I’ve seen everything from the extravagant stage production of Beyoncé all the way down to no-name punks in literal basements. What Cat Power offered to us Sunday night was the warm glow of an intimate performance in the most perfectly sized venue to explore it (perpetual shoutout to Union Transfer). It felt like I was invited in to be part of something special. And, in the spirit of Chan’s proclamations on life and love, I will remain grateful for that feeling.
I think every lover of great musical performance deserves to experience the profundity of hearing “Willie” live, among other countless highlights of the evening. It’s challenging to pinpoint any singular moment, as the night unfolded seamlessly from one song to the next, all coalescing into a tight and emotional spectacle. It was the type of show to leave me with greater appreciation for her studio catalogue, a rarity for me upon seeing artists live. I’m a studio album guy, not a live album guy, but Cat Power may be one of the very few exceptions (see her Bob Dylan covers live album for reference).
She has more than earned her spot atop the hierarchy of legendary 90s alternative women alongside contemporaries like Fiona Apple, Lily Allen, and PJ Harvey. Dedicating a song to “all the bad bitches” on International Women’s Day is in and of itself a pretty iconic moment. And I was just glad to bear witness.
Cat Power remains consistent and has nothing left to prove. Yet time and time again, she proves why she remains essential.
It’s not difficult to say: she is truly among The Greatest.
Setlist
The Greatest
Living Proof
Lived in Bars
Could We
Empty Shell
Willie
Where Is My Love
The Moon
Islands
After It All
Unhate
Love and Communication [Followed by instrumental jam, Chan left the stage]
I Don't Blame You
Try Me (James Brown & The Famous Flames cover)
Good Woman
It Wasn't God Who Made Honky Tonk Angels (Kitty Wells cover)
Manhattan
I'll Be Seeing You (Sammy Fain cover)
Comments