Cat Power
By Tim Bugbee
Monday. Aug 13, 3:49 PM
live at Avalon (Boston, MA) July 8th, 2007.

Mention "Chan Marshall" and "live performance" in the same breath, and the vision of a roulette wheel appears. Though the two previous times I've seen Cat Power play ('95, '96) were relative successes, the years after were pock-marked with reports of self-sabotaged shows, petulance, and self-frustration levels not seen since Sebadoh's notorious off-nights. I'm glad to report that not only were there no uncomfortable pregnant pauses as the artist attempted to rally, and aside from an occasional missed lyric (more on that later), Chan was positively radiant on stage this night, in control and having fun.

She's assembled a new backing band (Dirty Delta Blues) featuring longtime cohort Jim White (Dirty Three) behind the drums, Judah Bauer (TJSBX) on guitar, Gregg Foreman (bass) and Erik Paparazzi (keyboards), which replaced The Memphis Rhythm Band who backed her on the last record, The Greatest. This instrumental coverage left her free to only man the mic and the music stand. The stand, containing non-penned Marshall lyrics, would be utilized a fair bit through the set; after opening with "The Greatest," it was a convoluted stroll down karaoke way, as Chan took the opportunity to road test a slew of covers which will comprise the next record of all covers (Covers II?; tentative release date: early '08).

She's already proven that she's got great taste in playing already written songs ("Sleepwalker" from This Kind Of Punishment; "Bathysphere" from Smog) as well as being able to totally reinvent them as her own: "Naked If I Want To" (Moby Grape) and especially the devastating "(I Can't Get No) Satisfaction," which became a howl of hollow desperation, longing, and defeat. That song was trotted out, but in a much-revamped version with the riff and verve of "Jumpin' Jack Flash" making it hard to recognize at first. Other covers also had suitable makeovers: "New York, New York" was a slow-burning, slinky, and outright sexy torch song. Chan's recent self-reinvention as a soul singer finds her confidence at all-time high, her voice in fine form (and always hugely expressive), and onstage without fears. I like the new Cat Power, though I could have lived with a bit more original material into the all-too-brief 60-minute set.
www.catpowermusic.com

Tim Bugbee

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