Cat Power performs at the Greek Theatre in Los Angeles on April 26, 2025. Photo by Kevin Winter/Getty Images.
OAKLAND — Cat Power is back on the road, marking the 20th anniversary of The Greatest by performing the album in full. The artist, born Chan Marshall, recently kicked off the North American leg of the tour, and Thursday night’s stop at the Fox Theater was just the sixth date.
Released in 2006, The Greatest was written entirely by Marshall and recorded in Memphis with a cast of veteran soul musicians. The Memphis Rhythm Band helped frame her voice — raw and hopeful — in a more polished, soulful setting that broadened her sound without diluting its vulnerability.
Dim blue lighting set an intimate tone as the band, dressed in black, took their places in the background. Marshall walked out in a flowing white suit to match her platinum hair. The look was striking, but the focus was her voice — intuitive, restrained and emotionally direct. Her songs demanded introspection, and her voice delivered raw emotion throughout the show.
The title track opened the set. Its familiar piano motif introduced the melancholic ballad as Marshall gripped the microphone stand and delivered the opening lines with measured control: “Once I wanted to be the greatest.” The band kept a slow, waltz-like tempo, allowing the vulnerability to land.
“Living Proof” followed, steeped in Memphis soul. The piano and guitar carried the song’s steady pulse as Marshall swayed across the stage, her raspy phrasing emphasizing survival and resilience.
“Do you have your answer? I am your answer, I am living,” she announced at the end, lifting her hand as the crowd responded with shouts of support. When someone yelled, “We love you, Chan!” she softly replied, “I love you, too.”
“Lived in Bars” unfolded with warm, gospel-tinged keys. Marshall’s delivery felt conversational yet intimate as she sang, “We lived in bars and danced on tables,” dancing across the stage. The song faded with a drifting piano and bass line, her howl lingering.
The upbeat “Could We” brought a lift in tempo. The poppy, soulful arrangement prompted clapping as Marshall stepped away from the mic stand and danced. “Muchas gracias,” she said in appreciation.
On piano ballad “Where Is My Love,” Marshall leaned into her smoky lower register before rising into higher notes with ease. The repeated refrain — “Where is my love?” — closed the song in hushed repetition.
The set continued through the remainder of The Greatest, including an Auto-Tuned “The Moon,” the honky-tonk sway of “Empty Shell,” the narrative-driven “Willie,” the slide-guitar shimmer of “Islands,” the rock-driven churn of “After It All” and the spare ache of “Hate.”
“Love & Communication” closed the album set.
“Twenty years ago I didn’t know how to ask for help,” Marshall said as an introduction. “I’m glad to be here today with my friends.”
The song’s themes of addiction, truth and recovery resonated as she moved across the stage, arms raised, before bowing and exiting as the band carried the outro.
There was no pause. Under dim floor lights, the band launched into a nearly 10-minute instrumental jam that showcased the players’ musicianship, building an atmospheric bridge to the encore. After the jam session, Marshall returned in a black blazer.
The encore opened with a cover of James Brown & The Famous Flames’ “Try Me.” Marshall slowed the gospel classic into something slower and powerful, her voice textured and commanding as she repeated, “Hold me.” The band maintained a restrained groove, letting the tension build before the final swell.
“Manhattan” followed, driven by drum machine and piano. The electro-leaning arrangement saw Marshall dancing in silhouette, punctuating the rhythm with hoots and ad-libs while maintaining vocal precision. A hand on her hip while singing the final verses, she showed some infectious attitude, as the band to continue to rip, but in a subdued manner.
She also revisited honky-tonk territory with “Good Woman” from 2003 album You Are Free and a cover of J.D. Miller’s “It Wasn’t God Who Made Honky Tonk Angels.”
The night concluded with the Sammy Fain standard “I’ll Be Seeing You.” Marshall’s voice — raspy, deep and smoky — recalling that of Louis Armstrong as she switched from a low baritone to a higher soprano.
Marshall has a generational voice. It’s loud, raw, honest, and real. It was on full display in Oakland.
About The Author
Glenn Gumin spends his days on a college campus as a higher education administrator involved in academic affairs and student & financial services. After many years of piano lessons, he’s now attempting to learn to play the guitar and ukulele to prepare for island life in retirement. He’s a live music enthusiast who loves to reminisce about shows he attended as a Bay Area teenager and a Midwest college student. He’s also a big supporter of college radio.
Glenn Gumin spends his days on a college campus as a higher education administrator involved in academic affairs and student & financial services. After many years of piano lessons, he’s now attempting to learn to play the guitar and ukulele to prepare for island life in retirement. He’s a live music enthusiast who loves to reminisce about shows he attended as a Bay Area teenager and a Midwest college student. He’s also a big supporter of college radio.