10/19/12 - Montreal, Canada, Metropolis

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10/19/12 - Montreal, Canada, Metropolis

Post  Cokelike on Sat 20 Oct - 3:47


10/19/12 - Montreal, Canada, Metropolis

Setlist:
Cherokee
Sun
3, 6, 9
Human Being
King Rides By
Manhattan
Bully
Angelitos Negros
The Greatest
Always On My Own
Silent Machine
Back In The Days
Nothin But Time
Peace And Love
I Dont Blame You
Ruin
Ramblin Woman


This was the fourth performance of the Sun tour. X-Ray Eyeballs and Willis Earl Beal opened.

(nicolasmaranda)


Last edited by Cokelike on Sun 21 Oct - 15:53; edited 2 times in total

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Post  Cokelike on Sat 20 Oct - 5:04


12 Pictures by Pierre Bourgault

























-----------------------------

(missmelpaybe)


------------------------------

Pictures, Setlist and Comments

(translated from french, maybe someone can do better)
Ironic for Montreal as Cat Power Vienna present the show from her new album Sun by a rainy Friday night... Strangely, the atmosphere at the Metropolis and the delivery offered by Chan Marshall were in the image of the weather: grey, dreary, lifeless.

From the outset, the sound system was wrong. Chan Marshall is pointed on stage with her four multi-instrumentalists musicians, the troubled air, a bit lost. From the first notes, it seemed obvious that the sound context was not going to help her cause. The balance of volumes seemed to irritate... From the outset, new titles, back-to-back: Cherokee, Sun, 3, 6, 9, all interpreted mechanically, the staggering voice. The singer sought her pockets, dawdling and constantly gesturing to her court-side technician. The singing was often slightly wrong, but most importantly, very convincing steps. The heart wasn't there. It was not until the fifth (King Rides By) title before Cat Power found some comfort on stage. A few gestures, a few strange dance steps; There was finally something, going side stage presence. But the vocal delivery was still not on track. A series of ballads held about 15 minutes in the middle of the show: Bully (jolie), Angelitos Negros (drama and stretched) and The Greatest, rather solid. Finally a bit of emotion. Finally a song that conveys something. Otherwise, it was held in a lively little in Ruin (with a final abruptly failed - Marshall tried to explain why but it took nothing) and Back In The Days, but nothing that does not come save the absence of pulse of the show all. Les loyal fans still booked it a decent ovation, hoping to qualify for a callback, while several aft, left without stress. The optimists remained empty-handed: the insistent applause did not bring Marshall back on stage. Cat Power has a reputation for being a character quite strange, a little wild and difficult to identify. It's part of the myth, somehow. But the tonight show had nothing to do with shyness or a any mysticism. It smelled rather improvisation, the feel, the lack of preparation and a notable absence of chemistry between a strangely remote singer and her band. Around midnight, included the wet streets of Montreal after searching, in vain, a dose of sunshine in the Metropolis. Will have to fall back on the album. A delivery short of the talent shown by Cat Power on disk.

SETLIST:
Cherokee
Sun
3, 6, 9
Human Being
King Rides By
Manhattan
Bully
Angelitos Negros
The Greatest
Always On My Own
Silent Machine
Back In The Days
Nothin But Time
Peace And Love
I Dont Blame You
Ruin
??? (blues improv)











---------------------------

"Angelitos Negros" is appearently back...


Last edited by Cokelike on Sun 21 Oct - 15:44; edited 2 times in total

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Post  Cokelike on Sat 20 Oct - 5:13


(schmemma81)

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Post  Cokelike on Sat 20 Oct - 5:41


(louismoncouyoux)


(aniselle)


(domtru) - "Cherokee"

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Post  Cokelike on Sat 20 Oct - 7:38


(saelantwerdy)



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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Nicolaoua on Sat 20 Oct - 8:06


At last, somebody had a good time:



"crimsonviking

20 octobre 2012
02h50

Excellent spectacle de Cat Power ce soir.

D’entrée de jeu, sa coupe de cheveux étonne. “Fo-hawk” platine! Euh… ok. Peu d’autres qu’elle auraient pu s’en tirer aussi bien avec ça sur la tête. Chan Marshall? Sans problème.

En début de soirée, sa fragilité et sa timidité sont palpables. Elle se tortille les mains, joue avec ses poches de pantalons. Plutôt réservée, donc, pendant la première demi-heure, elle s’est progressivement réchauffée. La partie la plus mémorable de la soirée se déroule en milieu de parcours, alors qu’elle interprète Bully, The Greatest, Always on my own et Angelitos Negros (reprise de Pedro Infante), poignante.
Frissons.
http://youtu.be/gw7tjPRY14M

Elle terminera après environ 100 minutes, en lançant à la foules une rose blanche, des posters, des t-shirts, et un joli “I fucking thank you!”

Belle mise en scène, également. Quelque chose de différent pour chaque chanson, décor artsy, projections, jeu de lumières. Plutôt réussi.

Dommage que les @/&¤¢£@ de jaseux habituels de l’arrière du Métropolis n’aient pas eu peur de la pluie.

Quelqu’un sait où on peu trouver des Tazers?
"
http://blogues.lapresse.ca/brunet/2012/10/19/cat-power-sous-le-soleil/

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Post  Cokelike on Sat 20 Oct - 11:13


(jona_vark)

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Nicolaoua on Sat 20 Oct - 12:07

I'm really curious about The Greatest and Angelitos Negritos but i assume it's close to the DDB version, like Bully is.

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Review

Post  Cokelike on Sat 20 Oct - 16:14


Review

(translated from french)
Chan Marshall, aka Cat Power, American indie rock singer to a remarkable talent, was at the Metropolis in Montreal Friday night to deliver her latest album Sun. In an apparent battle between shadow and light, the wild artist will finally offered an excellent show, despite a presence stage standard. Force is to admit that Cat Power can rejoice as much as she can disappoint in concert. Chan Marshall, 40, has everything to be a great singer. A few excellent albums (including The Greatest and Jukebox), a sublime voice, a surprising musical instinct and a beautiful sensitivity (perhaps too much, say some lucid). However, she also has this something disconcerting who impersonates the injured animal. It smells almost like fate, sometimes. Which partly explains her stormy career and some failures on tour. To understand, it was enough to see enter onstage, to 22 h: strange mohawk torn Platinum color on a stunning head (model experience actually faith) somewhat frightened. For the rest, a skintight black jeans, blue leather jacket, a pearl necklace, a black pencils pronounced under the eyes and tiny feathers somewhere on the arm, recalled the "Cherokee" urban effect. It also Cherokee, first play of the new encoded, you will hear to deploy in the room (and not without some technical problems) with the first subpoenaed of incense sticks placed at the foot of the microphone from. "It's my way down. I never knew love like this. The wind, the moon, the Earth, the sky. I never knew bread like this. When everything dies. I never knew love like this "The sun, the sea, you and I. Piece musical enough living which leaves daydreaming North American territories, Aboriginal and timeless love. In fact here is that the dissatisfied face of Cat Power sends its first signals. The music goes imperfectly at the hearing. The sound is dull and buried voices. Good, nothing catastrophic, of technical problems are largely resorbed three or four songs later...After a SIP of a fluid suspected alcoholic (there is always fear what it takes for good, and it cannot be too much in what exactly), the left hand of the singer-songwriter nervous looking for a place where to stay. It is tortillera also during any concert, between the trouser pocket and the edge of the blue froque, small eloquent symbol of its fragility. That no matter, the singer returns to the load with Sun, song title of the latest album. Purple strobe lights cut the singer while she sends the lyrics 'here it comes, here it comes the sun '. The strong words about for 40 year-old evil-in-sa skin-since-if-long (alcoholism, neuroses, behavioural and emotional disorders...) who fights with her own body. One can sense in her body language that the scene is not for her a conquered world in advance. And yet this inexplicable force is half before by the very high quality of her voice and music that combines compelling electric guitars, abundant keyboards, melodies catchy, brilliantly this shamanic universe and excellent grooves pop-folk-rock-R' does B-electro. Then comes the Dynamics 3, 6, 9 and the lateral white light that cut the face of Cat Power. Yes, it's dramatic. And yet once, one perceives the instability of the principal applicant. The link is strange with the Viewer. Impossible not to experience a mixture of apprehension and affection for this woman skin-deep. Bonus: choirs, mainly supported by the bassist and the drummer, add a beautiful sensual layer to the already vibrant voice of Marshall. "People just like you, just like me" will sing then on the beautiful and rhythmic Human Being. The portrait many children marched on the giant screen placed behind the scenes. Always reserved, Cat Power is quietly its ease. She followed this up with Manhattan, another piece of Sun. Nice introduction with its repeated notes to the keyboard and its heavy bass tones. Finally, many felt ad lib cries. That's when comes the beautiful and poignant Bully, performed very smoothly by the singer. Accompanied by a Chamber rock (the pianist is delicate and touching), this song is definitely one of the early highlights of the evening. Very theatrical way, she danced with a special sensuality, who married grace, the discomfort and the pulls punk rock. Particular! In addition, there it is that holds in each hand a microphone, quite successful attempt (though subtle) to enhance the effects on his voice, technical it will use several times during the concert. The excellent The Greatest (song title of her superb seventh studio album, released in 2006) will come to demonstrate her rage to live (kneeling part of the interpretation) before the ride Always On My Own and the powerful Silent Machine, with its strongly more rock presentation. It will be also heard Nothing But Time, I Don't Blame You and Peace & Love. End of the show, the most smiling (at the edge of the dancing) Ruin came appease the tormented spirits. As a result of a sympathetically erratic time during which Cat Power will be launched in the crowd of the t-shirt, posters and a white rose, it will send a reassuring "I fuckin' thank you!" A few minutes later, the audience ecstatic or shaken sought benchmarks to this mystical event. Outside, the raging storm was dimmed.

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Post  Cokelike on Sat 20 Oct - 16:21


Review

(translated from french)
For a long time that Montreal wanted her return, as her latest album dates back to 2008, Cat Power has been rare in recent years. But yesterday evening, in front of a jam-packed, Metropolis American did not to be forgiven her absence and delivered performance contrasted, but that finally looks it. Cat Power began the evening in interpreting some of the melodies of her new album, Sun, arrived in the stores in September. The tension was palpable, and sound, not always at the height, especially the American had languish a bit too those who came to hear her by this rainy Friday night. All wearing black, blonde Crest, and thick make-up, Cat Power seemed strangely absent at times and her four musicians seemed forged in same title, fabricate metal. However, voice faltering and dramatic singer managed to make her way, while delivery settled little by little. These setbacks have not prevented the Group string together for a little more than 90 minutes (it would have taken more), some of the successes of the singer who finally managed to move the public eager to find the interpreter of the less happy days. However, the current was really, and contrasting delivery did not give them full trust in the talent of singer performer. That despite the applause fed, Cat Power hasn't returned on stage for a reminder. However, those who were unable to fully appreciate the performance of the artist could fall back on stage: enigmatic projections and lighting every time different and vaporous, which enveloped all in a fog as thick as the torpor of Cat Power and gathered spectators.

In fact, this concert was the image of the singer: enigmatic. It is true that one might expect a more 'professional' and 'Stoppers', show saw many years of business of Cat Power, which celebrated its 40th anniversary in 2012, and which was the first album Dear Sir still in 1995. But no, her troubled and troubling character, like Chan Marshall offered to her admirers an uneven performance, with strong and intense moments and vacuum passages and disappointments. Which is not to displease some, who instead enjoyed last night despite its ups and downs, its inconsistencies and her mouth. The artists are not machines, after all, they are beings of flesh and blood, uneven and contrasting. And Cat Power is alive and singing.

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Post  Cokelike on Sat 20 Oct - 16:26


Review

(translated from french)
One can imagine that it could have been worse. One thing is certain, it could have been much better. Chan Marshall aka Cat Power gave a show clearly below expectations last night at the Metropolis. Is quarantine hitting hard, hard? In any case, Chan now sports a look much less feminine than in the past: cut Mohawk and dyed hair blond (!), clothes of gavroche, looks like a cross between Miley Cyrus and Ariane Moffatt! Of course, the look goes well after the music and talent, but here again, something was amiss. During the first four or five songs, it was not and it was clear how to react to these more electro parts (courtesy of his new album, Sun) but cutesy, soulless, and the voice of Miss Marshall reaching person (it must be said that the sound was very poorly calibrated). Which more is, her bizarre gestures and her mumbling to the microphone when she deigned if addressing the crowd not helping his cause at all. We were light years away from her performance at Osheaga in 2008, my only appointment with Cat Power before that last night. Surrounded by four musicians (one man, three women), Chan has however begun to charm the crowd from the first Ballad of the evening. A beautiful moment that has conquered all the world and, at that time, it was recognized, it felt superb voice of Cat Power. Therefore, the concert has improved, without however progress in quality. The Visual stage has finally given us eyeful and some quieter or more rock songs really did fly. On the other hand, the discomfort was observing Chan, who appeared to improvise her game, her actions. Cat Power, who began her career in the mid-1990s, has had the sad reputation of being a finite alcoholic. Is she trying to reconnect with the bottle or is it simply the desire of this indomitable artist to act with instinct on the boards, without thinking beforehand? Regardless, when she began to play the percussionist, it has cringed. To say that she did not follow the rhythm is an understatement. And if it was intended, it was not welcome. After about 90 minutes, Chan Marshall ended the show in highpoint thanks, warm way however, and retreating behind the scenes without offering any callback. It was surely better as well. In curtain: the very any Quartet noise-rock Xray opens and the unique Willis Earl Beal, a guy who sings a powerful gravelly voice, supported only by a band sound (he also takes care of placing two mannequins display case at his side). Imagine James Brown, Tom Waits and Screamin' Jay Hawkins in a same mind/body and you have a good idea there that Willis. Nice discovery.

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Nicolaoua on Sat 20 Oct - 16:40


It's still difficult to figure out how it was, isn't it? The only conclusion i can draw from these reviews is that this concert wasn't flawless.
I'm waiting for your reviews Cokelike, and Tumbleweed's.

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Cokelike on Sat 20 Oct - 16:49

The running theme seems to be sound problems. But when you have Chan singing over her own voice its bound to come out sounding less than ideal. Maybe thats why most of these reviews say the middle section is best, because she wouldnt have any vocal track on "The Greatest", "Angelito Negros", and "Bully". To some peoples ears it may have appeared that the sound was improving.

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Nicolaoua on Sat 20 Oct - 17:33

Cokelike wrote: The running theme seems to be sound problems.

The playback tracks are my main concern. It might look like a good idea but i fear that it's very tricky when you try to do it for real.
I feel the same as when i was waiting for the album: fear and excitement!

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Review

Post  Cokelike on Sat 20 Oct - 22:51


Review

Cat Power is an American singer-songwriter, musician and occasional actress and model. After 8 albums, critics have noticed the constant evolution in her sound, going from punk to folk, and blues to electronica, which probably explains the fact that people of all-ages were reunited at the Metropolis last night for a show Montreal had been waiting for.

When the first song “Cherokee” started, the crowd immediately yelled in approval. From one song to another, backgrounds changed, from moving clouds giving us a flying feel to a growing sun. As it changed to an Egyptian style background, the song “3, 6, 9” got the crowd singing and as the lights were dancing, Cat herself showed us a little of some of her own dance moves. I noticed she had very little interaction with the crowd, something I always look forward to going to a show. I enjoy getting the artists’ perspective on some on their work or any quirky stories that happened along the way but this show lacked in that area. Not that it was missing, but I wish there would’ve been more. And for the moments she actually did interact, we could barely hear anything, the sound being too low. The songs “Human Being”, “Manhattan”, “The Greatest” and “Always On My Own” followed before one of my favorite moments of the night happened during the song “Silent Machine”. Power grabbed a guitar and seemed a lot more comfortable with something in her hands. As the crowd sang the lyrics louder than she was, she held out her microphone to the crowd which seemed to finally get the crowd more involved and from that point on, they grew louder and louder.

As the evening came to an end, there was an insane round of applause when she thanked everyone for coming. She even received a bouquet of flowers from a group of fans in the first row. I don’t think I need to say more to prove that Cat Power is definitely appreciated and loved by Montreal.

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Post  Cokelike on Sun 21 Oct - 5:38


(guillaumepaquet)

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Nicolaoua on Sun 21 Oct - 10:48

I assume that it is from Montreal concert

Photos by Eva Blue:

cat power 07 par Eva Blue, sur Flickr


cat power 05 par Eva Blue, sur Flickr


cat power 04 par Eva Blue, sur Flickr


cat power 01 par Eva Blue, sur Flickr


cat power 06 par Eva Blue, sur Flickr


cat power 09 par Eva Blue, sur Flickr


cat power 11 par Eva Blue, sur Flickr

Larger sizes are available on her flickr.


Last edited by Nicolaoua on Sun 21 Oct - 21:09; edited 1 time in total

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  camille. on Sun 21 Oct - 11:15

Une review positive:
http://quebec.huffingtonpost.ca/2012/10/20/cat-power-metropolis-montreal_n_1992478.html?utm_hp_ref=divertissement
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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Cokelike on Sun 21 Oct - 11:22

camille. wrote:Une review positive:
http://quebec.huffingtonpost.ca/2012/10/20/cat-power-metropolis-montreal_n_1992478.html?utm_hp_ref=divertissement

Posted on page 1. But, thank you, Camille. for posting. thumbs up Nice to see you around here more! Good lookin' out!

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Post  Cokelike on Sun 21 Oct - 14:43


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Post  Cokelike on Sun 21 Oct - 14:58


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Post  Cokelike on Sun 21 Oct - 15:01


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Post  Cokelike on Sun 21 Oct - 16:34

Review and Picture

(translated from French)
Last Friday night was held in Montreal a highly anticipated concert, that of Chan Marshall, a.k.a. Cat Power. Atlanta artist has not turned since 2006 after the album "The Greatest". The following disc, "Jukebox" in 2009, she had to cancel her tour due to problems related to alcohol and stress to play in public. Friday, the crowd of the Metropolis saw that there were traces of these disorders...The evening began with Xray opens in 1st part, which are rather bad. Or the sound is atrocious. Nasal voice of a singer and guitarist wearing a t-shirt torn, accompanied by a bassist jaded with black toupee and purple miniskirt, a guitarist with bowler hat and in the are of white complexion and a drummer whose head is hidden under a sheet. UH... I would forgive the look 'no matter what' if the result was listenable, but it sucks. Their music is pretty lazy, quickly done, flat. Their execution is started without conviction. But at least I managed to sneak me up to 4th rank in front even though the crowd seemed pretty compact since I arrived quite late (to the point of failing the first part 1st by Willis Earl Beal). Finally arrives Chan Marshall. Blond Mohawk on the head (!), jacket leather purple, black t-shirt and leggings. The crowd warmly, welcomes her as a dear friend that one has not seen for a long time. She appears happy, but yet distracted, especially high-strung (she eats her nails between songs!). Chan Marshall never seemed comfortable. It is visibly her group that leads the rhythm, which prevents it from wandering. Once the music started, she plunges without brakes in his songs, but is easily done to distract the people in back stage by the crowd, by a technical detail that make out of her bubble. Soon, when a song ends, she rushes to his set list like to cling to the next buoy. "What is the next song I'll sing?" she seems to say. The music of the previous song is not over that already she thinks to the next. Montrealers love it! People love it and send it's generous love, as if they knew that they must encourage it so that it is not the stage saves crying. The 40-year-old singer appreciates it and returns of sincere smiles that show that she is getting this love. But his nervousness is stronger than anything. It is not calm. The back of the stage is very beautiful and changes constantly: moving projections, series of photos, growing ball of fire. Staging showcases songs from her latest album 'Sun' that she performed almost ' as a whole, almost not using material previous, yet rich. And then, let's face it, Chan Marshall does not have the voice to sing powerfully. Ideal for murmurs, she must fight and force to dominate the new style of his recent album Sun, much more pop energetic onstage more near what are Metric and the last album by Ariane Moffatt! Recreate 'live' album as forceful requests performance of Thunder, both vocally and at the level of the presence and the "pacing" (order of songs). Chan Marshall is not in this state of mind. When suddenly it kills the atmosphere of dance to sing that accompanied at the piano, the magic of Cat Power moved really! Finally in its zone, Marshall can indulge in its theatricality, well helped by very skilled play of light that isolate her in her world. Nothing less than masterful, magical and beautiful! But after this climax of two or three titles, Chan falls into a more or less disorganized State. It will not embark on a simple rhythm while we entrusted her with a bass drum. It looks like a teen who 'gnaise' and tries to scuttle the jam of other musicians. Without malice, but with a kind of selflessness that feels demotivated. To see how its musicians (4 girls and a guy, just submitted) play on the tip of the toes keeping an eye, we can see that this show has not been broken, or that Chan Marshall is so unpredictable that they did not know what stick. At one point, the Orchestra conductor (the pianist) must use a microphone to communicate with others and give them instructions to the ear. Later, he launched the music while Marshall was talking about, no doubt fearing that she embarks on endless transgiversations she the secret and are not really sense... There is clearly no chemistry between Cat Power and his group. They seem to have the mission to go to the end of the show while their singer left the rails. She seems lost at any time break, which leaves room for confusion. When the hit «Ruin», she takes public part against her musicians and complained that the atmosphere that it wished to see take-off was settled. "I'm sorry, I wanted this to groove and they just killed it, now its gone, I don' t know, it sucks, I'm sorry, now he hates me (speaking of the pianist, who not to protest but leave not eyes) 'and I hate him'.. It seems more discouraged than angry. A bouquet of flowers suddenly sometimes back stage. It immediately deflect her attention, and it will put a rose in the hair of the pianist that he smiles... Phew... It does not look easy to be in the vicinity of the unpredictable Chan Marshall! Throughout the concert, it will be smiling, charming and in connection with his audience, but also nervous, confused and worried when the situation caught. We realize that this woman has had solid glitches with alcohol and/or drugs and/or that she is mortified to be on stage to do so. Humbled by her courage, since there is damage. Cat Power can capitalize on her talent, but all is with twine. It is still well fragile and vulnerable. It is a sad beauty.



Photo by Pam Connelly
https://twitter.com/PamsSpeakEasy/status/259643172035117056/photo/1/large

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Nicolaoua on Sun 21 Oct - 16:54

Man, what a picture! I love you

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Re: 10/19/12 - Montreal, Canada, Metropolis

Post  Cokelike on Sun 21 Oct - 17:01


I know! Even though she seems to only be using her guitar sparingly, I love that she has a Danelectro strapped on her again. Seems to be a brand new one colored red.

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Re: 10/19/12 - Montreal, Canada, Metropolis

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