The last time Cat Power played the Forum Theatre, it was 2008. The Greatest had been out for two years and as per usual, Chan Marshall arrived in Melbourne amidst a flurry of rumours about her health, both physical and mental, and faux sympathy from the media who were most likely just excited to have another troubled brooding musician to psychoanalyse.
It’s five years on and the speculation surrounding Ms Marshall’s health hasn’t subsided, but there’s something different about the reverent tone of this latest tour’s press coverage.
There’s an underlying and perhaps reluctant air of wonder – an understanding that a lot has changed in the world of Cat Power; that a resurrection of sorts has occurred.
After a polished and powerful support set from local ambient rock trio Bushwalking, Thursday’s night’s opener seemed a little lacklustre, which luckily wasn’t a sign of things to come.
Opening with almost unrecognisable renditions of “Sea of Love” and “The Greatest”, things got off to a subdued start with much of the audience obviously confused about what they were hearing.
While the beauty of the original arrangements was lost in a kind of circular, monotonous rendering, the emotion behind “The Greatest” held the entire thing together.
It’s obvious that the performance, for Marshall, is very much a part of the creative process – lyrics were swapped and improvised, keys changed, structure became fluid.
While it was certainly about the music, as a concert should be, there was a sense that people had really come for the person, to see the legend in the flesh.
“Cherokee”, arguably one of the stronger tracks on the new album, made for a much-needed change of pace. Marshall grooved her way around stage, her fingers hooked through her belt loops, pausing centre stage for the chorus; “If I die before my time/ bury me upside down” as blinding white light shone from behind her.
Her voice is a smoky, soulful instrument that loses none of its impact in a live setting. While the set was heavy with tracks from Sun – “Peace and Love” and “Human Being” were highlights – it was during the older songs that the beauty of her vocals shone through.
An absolutely spellbinding rendition of Pedro Infante’s “Angelitos Negros” held the audience captive for a few dark, quiet moments, as did “Metal Heart” (the latter felt especially significant, having been recorded at Melbourne’s Sing Sing studios 15 years ago).
Following a musical interlude where she disappeared from the stage for a good 15 minutes, Marshall performed a mixed-up medley of The Boys Next Door/Roland S. Howards’ “Shivers”, The Velvet Underground’s “Oh! Sweet Nuthin’” and INXS’ “Never Tear Us Apart” – a nod to local musical alumni.
Throughout the show there remained a kind of see-sawing between Marshall’s obvious enjoyment and goofy dance moves – she grinned ever more frequently as the set wore on – and the performance of her quite serious music.
The contrast between the person and the music for that hour-and-a-half seemed clearer than ever: Cat Power is the music, the tumultuous past, and the on-stage breakdowns. Chan Marshall is the now flaxen-haired pixie, who shimmies across the stage in the middle of songs about heartbreak and war.
As the opening keyboard riff of the much-anticipated finale “Ruin” began and the audience cheered, Marshall’s grin became infectious. She seemed to be having the time of her life.
Halfway through, as she headed to the back of the stage and returned with an enormous bouquet of flowers, we knew what was going to happen.
Pacing the stage laughing, Chan Marshall began to throw flowers into the audience.
The only tears arrived at the very end, as (arms now empty of flowers), she stood to salute the crowd, grinning and wiping her face as Melbourne cheered her on.
It was a fitting end to the show, a feeling that things had come full circle. Cat Power was back at the Forum Theatre and better than ever.
