10/2/14 - Vancouver, Canada, Vogue Theatre

10/2/14 - Vancouver, Canada, Vogue Theatre

Setlist:
The Greatest
Cherokee
Silver Stallion
Lord, Help The Poor And Needy 
Dont Explain
Song To Bobby
Manhattan
Angelitos Negros
Sea Of Love
Nothin But Time
Metal Heart
She's Got You
Ramblin' Woman
I Dont Blame You
Bully

Solo section:
Old Detroit 
Maria
Great Expectations
Hate 
Satisfaction
Fool 
Naked, If I Want To 
Werewolf
Framboise Je'taime

This is the 48th performance of the year and the 14th band performance of the year. DDBB member Erik Paparazzi joins the band for this concert. Only his 2nd time joining Chan on stage since February 2012. He was with her just over a month ago at the Ferguson Benefit. Also unique, the concert ends with Chan playing several songs solo.

I dont see Gregg in any of these pictures. Did Erik Paparazzi fill in for him for this whole show?

Updated the setlist from this link
http://www.setlist.fm/setlist/cat-power/2014/vogue-theatre-vancouver-bc-canada-13cf5dc1.html

Very interesting!

We were talking about such a solo section a few months ago. I still think that it's a good idea. I would be surprised if Ruin wasn't played at all.

Sea Of Love 2 (snippet):
http://iconosquare.com/p/823651401523828888_826731317

Talking (snippet):
http://iconosquare.com/p/823666142706604583_13250709

Who's Gonna Rock (snippet):
http://iconosquare.com/p/823669154820856389_13250709

Old Detroit (snippet):
http://iconosquare.com/p/823667945091308086_13250709

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25 Awesome Photos
http://concertaddicts.com/media/photos/photos-cat-power-vorhees-vogue-theatre-october-2nd-2014?doing_wp_cron=1412751610.2193439006805419921875

Review + Pictures
http://www.lordsofdogwood.com/review-cat-power-at-the-vogue-theatre/

Since a two-hour Cat Power show is so rife with eventful moments that offer a multitude of places to start, let’s lead with the very last thing she (born Chan Marshall) said before walking offstage for the night:

“I can sign five things and then I need to pee, take off my shoes, and eat my dinner!”

Could Marshall have been any more real at that moment? Absolutely not. That is her, summed up in nineteen words. Genuinely honest, sympathetic but not to the point of pity, and most importantly, putting her fans ahead of everything. You couldn’t be blamed if you had an US Weekly reaction to yourself: “You mean she eats dinner, too? Just like me!?” If you hadn’t completely been won over by Marshall at that point, this send-off did it for you. And truth be told, the night contained some dicey moments that easily could have sent things in a downward spiral instead.

But of course that’s what makes a Cat Power show precisely what it is: a show. A complete spectacle that hangs desperately on the fragile and emotional nature of both the songs and their singer. Much has already been made of Marshall’s infamous live performances, so we won’t dwell: erratic onstage behaviour that has included stopping and starting and also giving up on songs altogether, and full-on meltdowns that have cut sets abruptly short. Her stage fright is also well-documented, but we’re only talking about it now because on this night that other version of Cat Power–although at times awkwardly looming in the shadows–seems to be a thing of her past.

She wasted no time delivering one of the best songs in her deep catalogue; beginning with the tender, smokey, and lush “The Greatest,” given a lot more kick with a slow-building, more primal feel that worked up to a cymbal-crashing Mogwai-esque crescendo before dropping back to a whisper.

In person, the uniqueness of Marshall’s voice is stunning. Her Southern drawl filtered through a whiskey-soaked growl, with an undeniably and very fittingly feline purr makes every sound something that requires attention. Later in the set, accompanied by only her guitarist on the bluesy “Don’t Explain,” Marshall’s voice was on full display, filling the Vogue with each haunting and sorrow-filled note. She’d been straining a bit leading up to that point, working hard to be heard over the noise of her band. But stripping everything down to her naked vocals and minimal guitar gave Marshall the opportunity to shine.

Eventually she would push her voice a bit too much, blowing it out on the fiery end to “Nude As the News.” Marshall was unjustly hard on herself about this, and she admitted how upset she was by it. Shouts of support were even met with a polite yet brutally honest, “You’re all very nice but nothing you say will make me feel better.” It was one of the night’s first tense moments when you could easily see things going off the rails. But Marshall gathered herself and perhaps used that emotion to fuel her next song, arguably the most heartbreaking of anything she’s ever recorded (this is saying a lot), the killer cover of Patsy Cline’s post-breakup lament, “She’s Got You.” Considering she’d almost lost it wholesale just minutes before, Marshall’s delivery proved how far she’s developed and matured as a performer. As she carefully dragged out the lyrics, “The only thing different/The only thing new/I’ve got your picture/She’s got you” you could already hear those last three words coming and when they did you could feel that sadness and devastation and it was simply beautiful.

Marshall deserves credit for getting herself to where she is now. The stage fright may or may not linger still, but seeing her dance and move now should be just as enjoyable and satisfying to her fans as listening to her sing. Over the course of the night she bowed, waved, saluted and constantly smiled. She’s developed her own slinky, sashaying way of gliding onstage, often twirling with the grace of a ballerina and sometimes morphing into a quasi-Mick Jagger rooster strut. The girl who once had crippling anxiety being in front of large crowds of people has dealt with it by becoming a complete showperson.

Part of her charm is that she still carries an air of unpredictability while not actually becoming fully unhinged, and that’s worth every second you see her. So is hearing her cover of Nico’s gorgeous “These Days” or Phil Phillips’ “Sea of Love” or the sad and soulful “Bully” while she stands alone in the middle of the stage while bathed in rays of light.

And so when she dismisses her band near the end of her set by saying, “I guess I’m gonna play some more by myself,” and that leads to a half hour more of solo Cat Power and her guitar, you know you’re seeing something special. Treating her fans to mostly older songs (“Great Expectations,” “Hate,” “Fool”) and the Stones’ “(I Can’t Get No) Satisfaction,” this last part of the night felt unstructured and may have pushed things into overkill territory, demonstration by people starting to leave. But again, Marshall these days is able to bring it back when she needs to. She announced her final song just as she was about to lose her audience and introduced it with an epic tangent. Long story short: her sister taught her to steal when she was four-years-old and she really likes little honeysuckle soaps at hotels (that she may or may not steal) and when she was young and broke in Paris she wrote a song about wanting raspberries and cigarettes. She laughed and started her song and at that point you knew this talented and infinitely-endearing performer is also perfectly wacky, and that’s a good thing.











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I wonder if ''Nude As The News'' was really played...

I've had the same reaction: Nude as the news? What? What? What?

Review + Photos
http://www.thesnipenews.com/features/cat-power-at-the-vogue-theatre-vancouver-2014/