How Cate Le Bon might be better served embracing Portland
Cate le Bon nearly died yesterday in Portland. Or so she would have you believe.
In fairness, the unusually cold weather (the highs never went above freezing) left everyone a bit stunned…but also happy that they could be in the “warmer climes” of the log cabin known as the Doug Fir Lounge (to which Le Bon tweeted, “Doug Fir is the greatest”).
Worth noting was the quality set turned in by opener Kevin Morby (formerly of Woods); he showcased well-crafted songs and solid musicianship as he played tunes from his recent release, Harlem River, an homage of sorts to his former home in NYC – he now resides in the same LA neighborhood as Welsh expatriate le Bon.
And this might be her downfall; her sound, dynamic and full live, still hasn’t been captured adequately in recordings. This is where Portland could come in.
Perhaps Colin Meloy (in attendance) could help her, with his appreciation of the 60’s pop that she channels (he’s done a decent album of Shirley Collins covers, and has a pretty good one of Kinks covers out now). Heck, the folks in Radiation City might show her the way, as well. As it is, her fans are the ones being left out in the cold, album wise.
After surviving some “technical difficulties”, according to le Bon (when asked by an audience member what that meant, she stated “it’s technical – what part of technical do you need explained? – it’s probably too technical for you…”), the band finally began hitting its stride about three songs in. A solid rhythm section was completed by vintage keyboard work (which at times, according to an audience member, recalled Lene Lovich). Where the Nico/VU comparisons are obvious, le Bon’s admitted influence by Pavement/Stephen Malkmus on guitar became more apparent, her flourishes on that instrument becoming more confident and dynamic as the evening went on.
Le Bon scored major points with me when covering Joe Jackson’s underappreciated gem, “Different for Girls”, during her encore. Its take on changing the “gender lens” perspective harkened to her own tune “Falcon Eyed”, and how “he’s more than a woman to me”.
Ultimately, maybe it’s no small irony that, on “I Can’t Help You”, she sings “split me like timber”. Hey, here in the Pacific Northwest, that’s what we’re all about.
Perhaps this Welsh lass could return to what I assume are weather-challenged roots (Wales gets weather, doesn’t it?), and keep herself warm inside one of Portland’s many legendary studios to better record a fantastic voice, and unique sonic palate, for her next effort.
