Cat Power, Conway Savage @ TheForum, Melbourne (21/01/2011)

Mon 24th Jan, 2011 in Gig Reviews

What is it we want from Cat Power? Those more recently acquainted with her are likely to be drawn to the Chan Marshall who flies so close to the adult-contemporary side of soul that she could almost be considered the indie-world’s Norah Jones. Then there are those fans whose memories stretch a little further back; to the days when an insecure and erratic Marshall was more likely to perform her own hushed songs of aching love, loss and regret (and occasionally meltdown on stage in the process). With the Dirty Delta Blues band in tow, her last two Australian tours have been more closely aligned with the former. This time around though, we were promised Marshall alongside The Dirty Three’s Jim White and Judah Bauer of the Jon Spencer Blues Explosion, suggesting a more pared back approach to her back-catalogue. What transpired, however, was an at times uncomfortable juncture between the two modes of Cat Power.

It must be difficult for Conway Savage. As a Bad Seed, he would be used to looking out over venues like the Forum with the eyes of the transfixed masses staring back at him. As a solo support act, Savage instead had to contend with a chattering post-work crowd who paid him little deference. Swirling synth on the concluding Beautiful Smile piqued some interest, but as he and his band departed the stage, one sensed there was a longing in his expression to command a venue such as the Forum on his own merits.

The sense of anticipation and slight impatience that builds during an extended break between sets is instantly sated, as a smiling Marshall assumes the stage alone with only an electric guitar in hand. Her smokey, down-tempo take on The Stones’ classic (I Can’t Get No) Satisfaction is captivating; if only she could reimagine some of her other covers in such a manner. White and Bauer take to the stage, yet they are also joined by two additional multi-instrumentalists. Hopes for a more stripped-back Cat Power begin to fade

Good Woman remains restrained though; Bauer wafting in and out of the song in a manner reminiscent of Warren Ellis on the recorded original. Having ditched her guitar, Marshall begins to saunter about the stage during Don’t Explain, before obscuring herself from view completely behind an amp during an extended instrumental section from her band.

“I was thinking of calling my first child Melbourne. Melba. Mailman…” mumbles Marshall, before trailing off. Some of the early set charm has worn off, and a sense of repetition develops during several more covers. Although Bauer and the always impressive White fulfil their respective roles admirably, there is a nonchalance to the other two unnamed band members that’s befitting of a covers act. Yet even they and the Forum bar staff, who as always elect to empty their bins at the most inopportune of moments, can’t detract from that voice. Moving from a southern blues-tinged drawl to breathy, near spoken-word vocals, Marshall succeeds in reaching every corner of the Forum.

As the set meanders on, it becomes hard not to notice the songbook stand in front of Marshall, which is referred to with increasing regularity. Then The Greatest appears, and suddenly the cover-band comparisons seem unfair. A more meaningful build up by the band eventually reveals a reworking that’s miles away from any Blueberry Nights diner. With an etched-back tempo, the almost mournful lament becomes even more touching in the live context, and once White finally crashes through the song’s conclusion, the night’s true highlight is over.

A generous encore showcased a palatable enough series of new songs, although Marshall declared of Silent Machine: “that song’s not a virgin anymore but it didn’t get fucked right.” Eventually though, persistent (to the point of irritating) calls for Metal Heart are heeded, and it proves a fitting way to draw the night to a close. As is now a custom at most of her gigs, Marshall remained onstage for several minutes after her band departed, handing flowers to those in the front row, shaking hands and signing CDs.

Regardless of what each fan hopes for from a Cat Power gig, the one common thread is that we Expect something significant from Chan Marshall. She’s too talented for us to be merely content with a string of half-baked versions of other people’s songs. Yet the disheartening sight of her staring intently at the song book, flicking through covers, makes it hard to see where her inspiration is likely to come from. She remains an intriguing performer and will no doubt continue to sell out shows in this country at least for some years to come. But does Cat Power have one more Great album to give? On the evidence of her gig at the Forum, perhaps not.