Cat Power at Sydney Opera House for Vivid LIVE

June 12, 2018

It’s been twenty years since Cat Power released Moon Pix, which might surprise some. When you think about how long Chan Marshall has been in the game and all the scenes she’s swam through, the loves, the breakdowns and the metamorphosis, it’s kind of mindblowing. Her fanbase, some from the nineties, then me from the noughties pack out the Sydney Opera House for this anniversary performance. As a longtime lover of Cat Power, I understand the true labour in which a fan of hers must endure. Chan Marshall’s trouble proceeds her. For the love of the music, for feeling a kinship of quirkiness, fans accept the ride that is a Cat Power live show, and we always get tickets.

If you told me you’d ever been to Cat Power show that ran on time, I’d call you a liar. Late as usual and charmingly disorganised, Chan appears to a room of applause, tea in hand. She looks around almost like she didn’t expect us all to be there, then disappears again into the wings. Her orchestra waits idly by and after some moments the face of Cat Power reappears with a songbook. Chan is dressed in a dark medieval style dress, enchantmenting as ever as she moves straight into American Flag.

It’s not hard to believe that one might have trouble remembering words written down so long ago. The audience kind of lets it slide as Chan reads practically from the songbook for the first few songs, almost looking surprised at every line. In the past she has openly admitted to show-stopping stage fright, so we take what we can get. Chan finally lands with confidence on Metal Heart.

It’s at this point I almost suspect that there was no soundcheck as she constantly relays her sound requests to the side of house team. The orchestra follows her like a flashlight in the night through a cover of Bob Dylan’s Moonshiner and audience interaction is almost one sided. The crowd enthusiastically cheers Chan on and she says “I have so much to say to you..” before trailing off.

The set garners more confidence towards the end with Cross Bones Style and comes to an end with Peking Saint. Chan certainly tries to thank the orchestra, although she clearly only knows one or two of their names and asks them to introduce themselves. An act if done by any other musician would be considered shitty and unprofessional. This is just another Cat Power show we’re just glad happened in the first place.

The real conviction is found by Chan on the piano as fan favourites from You Are Free are laid bare. Maybe Not, I Don’t Blame You and Good Woman echo in my heart like the first time I picked up that record in 2007. The evening comes to an end with The Greatest and just like that, she’s gone.

Cat Power is an agitated and unusual genius. There’s a line in Say, “If you’re looking for something easy/You might as well give it up” and that’s how Cat Power fans are made. We have this deep and personal connection to this music, and we know it’s complicated and unusual. We know we’re not getting pyrotechnics or charismatic audience banter. We do however just get to be in the room with Cat Power, her voice and the significance of those songs to us. That’s enough for these fans, and it always will be. Cat Power is always welcome.