Cat Power @ Metropolis

Admittedly, I was unfamiliar with much of Cat Power's music beyond the singles released off the older records, but her latest album caught my attention when a friend and long-time Cat Power fan raved about yet another smooth genre transition/exploration of Chan Marshall. Beyond this, all I had heard about Cat Power was her notoriously sporadic and unprofessional performances, allegedly known for their substance-filled volatility. Nevertheless, I approached the show with optimism, hearing that the precarious nature of her performances have been slightly more subdued over this tour.

Strolling on stage with her band, each member came equipped and dressed in ultra-hip attire. The incredibly packed venue greeted her with a roar of exhilarated relief due to the long wait after the opening band. With a steady drumbeat and a recognizable guitar riff, Marshall started her set with the mellow pop single "Cherokee", a song off her new 2012 album, Sun.

Chic background changes from clouds, to a slideshow of what looked like tourist photos from Africa, to a final giant florescent neon triangle, the images tied the otherwise plain stage together.

What initially struck me was the huge range of ages in the audience. It was certainly an eclectic crowd in many respects. I can only speculate that this could be contributed to Marshall’s own genre fluidity and the longevity of her career. Regardless, it was refreshing to be among such a diverse crowd.

However, despite my optimism for Marshall to overcome her expected quality performance in Montreal, her reputation of sporadic shows held up. Despite her more dance/pop music, the crowd remained idle for most of the concert, and even those in close range of the stage seemed to have limited movement for lack of enthusiasm.

Marshall seemed to be unable to fully engage the audience. Though she briefly showcased some dance moves, she did not take up much space on the stage, nor did she seem to make much effort to interact with the crowd. Her band seemed equally disengaged and Marshall's discomfort on stage showed.

It was not until Marshall performed a chain of ballads, starting with the song "Bully". Bringing the band to a minimum, Marshall took to the piano herself and finally began to prove the honing of her talent. Eventually, with a dramatic red spotlight burning down on Marshall, she belted a stunning cover of Roberta Flack's "Angelitos Negros". Marshall finally had the crowd captivated and at her fingertips. But this allure was only to be lost in the return to her more upbeat songs. It was clear, at least to me, that Cat Power’s performance strength remained in her more vulnerable song selections.

The show ended on a sincere note from Cat Power. Throwing flowers into the crowd, she exalted a most genuine thank you to the audience. A fan returned the generosity by tossing a bouquet of roses. The show finished with the audience booming. The performance overall was certainly not without glitches—from sound quality to audience engagement. But all in all I wouldn't be too quick to completely demerit the talents and efforts of Cat Power, because even through the performance glitches, they certainly proved strong.

--Hannah Besseau, CJLO News Director