A decade into her career, Chan Marshall's alter-ego, Cat Power [ tickets ], has amassed a level of mystery, speculation and gossip befitting an indie-sized Madonna.

Publicly long portrayed as a shy and somewhat neurotic chanteuse, Cat Power has at times both rejected and embraced the praise and adulation of her fans and critics alike. Uncomfortable with the late-'90s "it girl" status bestowed upon her, Marshall's albums became sporadic and her performances uneven and unpredictable--until now.

With the release of 2006's "The Greatest," it seems the tide has turned for the artist, who is making her most mature and accessible work to date while garnering praise from both her existing fan base as well as mainstream media. This year also marked her return to the stage, this time flanked by the super-tight and professional Memphis Rhythm Band, which also backed her on the recording of "The Greatest."

From the wings of the stage of the historic downtown Orpheum Theatre, Marshall emerged Saturday night (11/25) as the band launched into the new album's smoky and soulful title track, opening what would prove to be an eventful evening.

Nailing the selections from the album--her voice sounding as fine as on vinyl, with the band in top form--Marshall danced around the stage as if not in control of her own body. Her moves, a bizarre mix of Tourettes Syndrome, David Byrne-isms, and bathroom-mirror improv, both fascinated and took away from the power and grace of stand-out tracks from the new album such as "Lived in Bars," "Living Proof" and "Willie."

Frustrated with her performance, sound issues, or both, Marshall abruptly exited the stage at one point, leaving guitarist Mabon "Teenie" Hodges to take the reins and lead the band through "Since You've Been Gone" as Marshall apparently regrouped backstage.

Upon her return to the stage, the band took leave as Marshall sat at the piano, answering fan requests for songs from her back catalog. Regaining her confidence and composure, she then worked through several compositions via her stark guitar playing, finding her groove on the traditional take on "House of the Rising Sun." Often covered, Marshall's live interpretation of the famed brothel tale is on par with the likes of Dave Von Ronk and Dylan in its sheer intensity.

The show's third act saw the band again take the stage with Marshall to cover Gnarls Barclay's "Crazy," as well as a bustling and reworked interpretation of The Rolling Stones "Satisfaction." The show could have ended there, but a little prodding from the backup singers prompted Marshall to stay onstage for a solo epilogue consisting of fan favorites, a set that was met with a plethora of "We love you, Chan!" and "Go home with me, Chan!" exaltations from the audience. Marshall ended the night talking to the audience for a solid 10 minutes, hemming and hawing about how she can "never shut up" after a bad show.

Duly noted, but from our perspective the evening was a success, if only a bit stop-and-go. Here's looking forward to a solid '07 tour with the personal kinks worked out.