photo courtesy of nina. all blog material c.kp, 2005. all rights reserved.
Rick Teverbaugh/CST
After several times through this new CD what emerged from the music of this obviously intelligent and talented singer/songwriter was that this must have been exactly what was planned when the Americana genre was born.It has rarely been executed any better and seldom with any more honesty and truth than Kerri Powers brings to bear in these 10 tunes.
What makes this disc so pleasing time after time is that it is balanced. Sometimes it will be the writing of Powers that will grab your attention as she paints word pictures that seem to take you to places not typically visited. Other times it will be her compelling voice and her ability to pull you into the tale gently or forcefully as the song warrants. Other times it will be the songs, presented in sparse format, assuring that production won't distract from the meat of the material.
The songs cut a wide path through, blues, rock and country. Fireworks and Cheap Repairs has an undaunted feel. Sweet Crusade presents a sensual side and Nobody Minds My Drinking shows the alcoholic mindset at its highest point of denial.
Crit Harmon has done a fine job producing this disc in such a way that it feels purely Powers in every way. It is a stellar outing top to bottom.- Rick Teverbaugh
*Live Review/J. Miller, Associated Press
BRIDGEWATER —
For the first part of her singing career, Taunton native Kerri Powers couldn’t decide if she wanted to be a folksinger, blues singer, or country-western singer. She found an epiphany of sorts, when she decided she just wanted to be Talullah Bankhead. We’re not sure how many coffeehouses the late, iconoclastic actress ever played, but Powers channeled her attitude into an evening of captivating music Saturday. LISTEN TO KERRI POWERS These days Powers has found her greatest success, and most satisfaction, by simply combining all the facets of her musical heritage, a formula that fits pretty well under the wide-ranging Americana category. In another era, Powers might have just been viewed as rock ‘n’ roller, but with most of her shows performed in duo or small combo formats, sliding neatly into the Americana vein is no problem. Saturday Powers charmed a nearly soldout crowd of about 80 at the intimate Off the Common Coffeehouse in Bridgewater’s First Parish Unitarian Universalist Church, with a pair of sets that leaned heavily on her latest album, last year’s “Faith in the Shadows.” That title, along with the concert’s setting, might indicate a spiritual or religious theme, but the CD is actually more about searching for inner peace, and finding compassion and understanding for some of the many odd characters one encounters. And Powers freely admits she is one of the more unusual characters one will meet, particularly in her jaunty theme song “Talullah Send a Car For Me.” Saturday’s two sets, totaling about 95 minutes of music, were also interspersed with plenty of powers wit and wisdom, and self-deprecating humor. The night felt like a gathering of friends in someone’s rec room, and no wonder, since Powers parents and many relatives had turned out. Powers, her husband and teenage son Nolan, now live in Connecticut, so these rare concerts in her former home area are a treat, but her warm and unpretentious stage manner added much to the show. How can you not laugh with someone who mentions she’s about to turn 43 next week, and “I love being in my forties: I can be as wild as I want and nobody cares..and if they do, I can always blame it on menopause.” Powers latest batch of songs, on the album which was released about a year ago, has already garnered her some of her best accolades, and a couple of the tunes have been used on the soundtrack to tv’s “Rescue Me” with Dennis Leary. Many of the songs ride a dark and mysterious swamp-rock groove, and comparisons to Lucinda Williams are easy to make, but Powers’ work also contains broad hints of Patsy Cline, Judy Collins, John Prine, and even Tom Waits. In short, it is thoughtful music, yet possesses its own special musical kick. And Powers, who in days past might be guilty of showing off her magnificent vocal range too much, has evolved into a master of subtle nuance, slightly altered tones that tell so much more than words. The early set really had the audience transfixed as soon as Powers did her take on Ivory Joe Hunter’s old hit, “Since I Met You Baby,” which she turned into a slow and sultry blues, as electric guitarist Gary Goodlow added single note runs that darted around the melody. Much of the night’s fare would find Powers’ acoustic guitar strums contrasted with Goodlow’s exquisitely melodic electric tones and accents, creating a really transporting effect in the small room. A new song, “Josephine,” melded Powers’ country and rock influences, kind of like Lucinda singing with New Riders of the Purple Sage. The song “Low Down Low” offered some of Goodlow’s most surreal guitar shadings, as Powers compressed her alto vocal down to its lowest, grittiest soulfulness to chew on the lines. (And if that Powers tune, from the latest CD, isn’t a Tom Waits cut, it should be.) What is fast becoming her trademark, the “Talullah” homage, was done solo by Powers, who accomanied herself with lively finger-picking to make the tune a gleeful romp. “Diamond Day” is a song of a different stripe, evoking Patsy Cline’s open-throated emoting, and harkening back to 1930s style torch songs. Powers did another unexpected cover after that, transforming Neil Young’s “Down By the River” into laidback folk-rock, her vocal surpassing Young’s original with long, pulsating tremolo passages. That first set ended with “Buttercup,” a blues tune Powers wrote to showcase her slide guitar skills, and it did, in fact, resemble what you might get if Lucinda ever had jammed with Blind Willie McTell. “Magdalene” was the tart second set opener, a tune Powers wrote long ago about a woman she’d often see at a bus stop while jogging through East Taunton, a compact story-song with appealing country-rock aura. The stark emotion of “Nobody Minds My Drinking (But You)” is almost too piercing to describe, a potent confessional statement from Powers that ranks with some of John Hiatt’s best. The singer’s vocal sustains were yet another impressive tool in her repertoire on “Trying to make My Way to You,” as Goodlow added superb guitar accents. Another totally surprising cover was the Bee Gees’ old classic “To Love Somebody,” which Powers told us was originally written for Otis Redding. Her version of the familiar, disco-era song deconstructed it down to slow blues, with Goodlow’s guitar sounding like a pedal steel providing tear-in-your-beer atmosphere. That treatment would have been notable even before Powers finished it with a series of gracefully executed vocal slides that enhanced its soul quotient. The night ended with a swamp-rocking ride through “Sweet Crusade,” with its mysterious lines like “love is going to find you in my room,” that suggest it could be the beacon of a new category: swamp-noir. For her encore, Powers made a nod to the Blind Boys of Alabama, doing their arrangement of “Amazing Grace,” which transposes the gospel hymn over the music to “House of the Rising Sun.” Once again, Goodlow’s guitar work was a revelation, and Powers’ vocal made listeners hear the old tune in an entirely new way. Talullah would be proud.
Daniel Gewertz/The Boston Herald
Kerri Powers was retired from music and not because she wanted to be.
Then she was rescued. By "Rescue Me."
No, Denis Leary didn't haul her down a fire escape. Powers, a soulful singer/songwriter from East Taunton, got back in the game after a phone call from her friend, record producer Crit Harmon. "He said, `You better think of doing something with that album we've had in the can for four years'," Powers recalled, " 'cause you just got two songs on the TV show, `Rescue Me.' "
The placement of two of her unreleased songs on Worcester native Leary's FX cable TV show came as a life-changing surprise for Powers, who performs Thursday at Club Passim in Cambridge. "It gave me a real kick in the pants," Powers said. "I was at a lull with music, so I took it as a sign that I should really get this record out after four years of it just laying around."
The album, "Faith in the Shadows," finally came out in March, nearly five years after it was recorded. It's a brooding, beautifully produced work. While Powers' previous album, "You, Me and a Redhead," took a stab at classic Tammy Wynette-era country, "Shadows" reaches into the dark corners of modern Americana.
On June 2, the songs "Sweet Crusade" and "Fireworks and Cheap Repairs" aired on "Rescue Me," supplying the sultry mood to a sex scene.
"It was rather risque," Powers said. "And the songs were played back-to-back."
Why the five-year delay between recording and releasing the album? And why did Powers retire in the first place?
Like a woebegone country ballad, it all came down to an act of betrayal.
"You, Me and a Redhead" came out in 2002. It was Powers' first album with substantial distribution. Yet she never got a dime out of the deal.
"It was a verbal agreement," she said. "I put my trust in this individual, so I'm to blame for that. A distribution deal gone awry. There was a feeling of betrayal. I've learned from it. I won't be messed over again."
The incident was disturbing enough to cause Powers to give up pursuing music professionally. She worked as a personal trainer before becoming a headhunter at her own recruitment firm.
"I don't like to think of music as a business, but that's the reality," Powers said. "I've learned a huge lesson. And it feels different this time around.
Holy smokes this is damn good Americana. Earthy, sensual vocals and a band that's rock solid but never showy make this album a standout. Wiry electric guitar and a bed of organ chords hold down the 1-2 punch of the opening rocker "Do you hear footsteps?" and the slightly more countrified "Trying to Make My Way to You", which makes use of Biblical imagery and adds level of spiritual yearning to Powers' lyrics. More New Testament references abound in "Magdelene" which speaks of angels, devils, and the Virgin Mary. The moody ballad "Shadow of Someone" is rather heartbreaking, especially when the weeping slide guitar takes it's brief solo near the end. Not to take away from the interesting storytelling and imagery in the lyrics, the other star of the album is Powers' stunning vocals. The obvious comparison is to Lucinda Williams, with her ability to go from a whisper to belting it out, or somewhere in between, and always getting it right. Its a voice like molasses, sometimes dripping out slowly, sometimes sweet, and very sensual. It's a captivating album, and highly recommended.
BLURT ONLINE.COM
On Faith In The Shadows, Kerri Powers is a story-telling chronicler of the American Dream deferred. Equal parts honky tonk sweetheart, confessional folkie, and rocker/blues bad girl Powers sings of the down 'n' out underdog - characters with bruised hearts, self-destructive wanderlust (occasional emphasis on lust), and unanswered prayers who can't seem to get out from behind the eight-ball.
The images throughout the record are well-oiled Americana but never become opportunistic or trite in Powers' hands: railroad tracks, TV preachers, Greyhound buses, alligator boots, fireworks, Remington shotgun shells, lucky pennies, broken dreams, etc... Her song's landscapes evoke the similar worlds of artists like Bruce Springsteen or Gillian Welch. And like them, her language alternates between the poetic and blue collar. Her view of the people in her songs is non-judgmental but honest. Most of them are struggling; a few with their own flaws.
The opening track feels lifted from the closing credits of some unknown Clint Eastwood mystery/western: all twangy distorted electric guitars, steady backbeat strummed cowboy acoustic, and hovering B3 organ. The details of this tune live in the shadows. And like many of Eastwood's recent films, the omitted detail is what gives the song its power. All we know is something terrible has been done, and a desperate confrontation is near. Clues are dropped like so many mirages in the desert: dancing shadows, a found weapon, locked cabin dead-bolted doors, rationing bullets, lovers' misunderstanding, etc. With cryptic lyrics like: "My voice my face/A haunting cold embrace/ Could be your guilt/Could be my ghost/You'll never know/You'll never never know," Powers gives the listener lots of directions to go in.
Tender, irreverent, and obscured religious references are regulars as well on Faith In The Shadows. Title character "Magdelene" searches for Jesus at the Greyhound bus station and steals your heart. In "Tallulah Send A Car For Me" Powers sings as Tallulah: "Can't wear my alligator boots in church/Preacher says all they ever do is drag in dirt/I think I got some dirt/On his clean white shirt." She's all whimsy and sass keeping her distinctive and plaintive tremolo howl in check.
And in "Trying To Make My Way To You" Powers turns a born-again cliché on it's head: "Drag my soul to Galilee/Faith find me/...Call my soul to Galilee/Ooh, faith find me." She's turned the tables: Has she found Jesus? No no no. Has Jesus found her?
The second half of Faith In The Shadows is not as strong as the first. But the weakest link is still pretty strong and the band, including guitarist/producer and songwriting partner Crit Harmon, is more than solid throughout. Staying out of the music business, at least partially due to being "duped by an unscrupulous record distributor," Powers has been out of the game for a good while. Faith In The Shadows is strong enough to get her a spot in the starting lineup.
Standout Tracks: "Do You Hear Footsteps," "Nobody Minds My Drinking," "Shadow Of Someone" JOHN DWORKIN
Associated Press/Jay Miller
Taunton native Kerri Powers has long been known for the power and range of her voice – the type that could easily shatter glass. But her new album might make her better known as a songwriter. “Faith in the Shadows,” out this week, is a collection of songs aimed straight at the heart and drenched in a kind of easy-flowing style that evokes contemporaries like Lucinda Williams and Tom Waits, while also nodding to older favorites like Leonard Cohen and Patsy Cline.
Powers will play at Off-the-Common Coffeehouse in Bridgewater on May 2 and perform at Club Passim in Harvard Square on June 25.Beyond that, Powers will have two songs from the new album played on the FX television series “Rescue Me.” And a cut off the album, the whimsical ode to free spirits, “Tallulah Send a Car For Me,” is already getting major airplay on a Los Angeles radio station.Americana styleThe new record not only boasts Powers’ best songwriting, but it is also a consistent and easy Americana style that embraces blues, country and rock. Her vocals are so smooth that she never seems to be exerting herself, just gliding along in a nicely infectious manner.
“People have been saying it’s a darker record for me, and I’ll admit it’s moodier than anything I’ve ever written, but there are many affirming moments, too,” Power said. “This time I was really focused on what I was going through at the time, and determined to get it right. I have never been 100 percent happy with any of my previous records, because they never seemed finished to me. But now, with this one, I think I’ve done the best I can do, and I’m pretty happy with it.”
Shortly after working briefly as a waitress at the old Blackthorne Tavern in Easton, Powers began singing there. One memorable step was opening for Celtic rocker Luka Bloom, who marveled at her stunning voice and striking image: “She’s the kind of woman who could make a bishop kick out a stained glass window,” Bloom said, quoting Raymond Chandler.
But Powers, who’d also enjoyed a modeling career as a teen, struggled to find her niche as a singer, trying several producers and experimenting with styles on those early CDs. The vocal power was always awesome, and she wasn’t afraid to unveil it.“I was always painfully aware of how good everyone else was, and very insecure about my own talents,” Powers said. “I will honestly say, a lot of those old vocal gymnastics were because I was very insecure as an artist, and as a person.
These days, I can’t even listen to my older albums. I think it’s a shame I went through all of that, and for what? There was still a question mark about me at the end of it, especially in my own mind.”The key to Powers’ emergence as a confident and riveting songwriter can be traced, she thinks, simply to maturity. Powers stepped away from performing for a few years, and developed her own executive recruitment firm, while also working part-time as a personal trainer. She lost touch somewhat with the Boston-area music scene, after husband Scott Cardwell took an engineering job in New Britain, Conn. Powers and Cardwell also have been busy raising son Nolan, now 15.“My kid is very well rounded, and for that I guess you can credit his dad,” said Powers. “My husband knows I’m a free spirit – that’s partly why I kept my maiden name. I still kind of do what I want, within reason, and Scott is very cool with that.
Support is key“We’ve been together 17 years now, and his support has been a big part of whatever success I have. There are times I wonder about being out on tour, instead of being at home, but now I’m just more comfortable with myself. This music career is what I’ve always wanted, but I also wanted a family, too. I’m fortunate to be surrounded by people who understand that.”
Among the CD’s many treasures is the steamy, sensual “Sweet Crusade,” the melancholy “Low Down Low,” and the world-weary-yet-unbowed “Fireworks and Cheap Repairs.”
“‘Sweet Crusade’” is my naughty song,” Powers said. “Sometimes the writing is a great outlet, not that I’d ever do some of these things, but it is very healthy to be able to write it. ‘Fireworks’ was a lot of fun to write, there’s so much in there I bet not one person walking the earth can’t find something they recognize – it’s kind of a comedy. ‘Low Down Low’ grew out of my losing someone who’d been very close to me for years and dealing with her death, and that song is actually part of the grieving process. It helped me a lot.”
While Powers said most of the songs have a foundation in her own experiences, some are more personal than others. One tune that will have immediate impact is the Patsy Cline-flavored confessional, “Nobody Minds My Drinking (but you).”“Everybody goes through their ups and downs with that stuff,” Powers said, “and I’ve had my share. I was never a falling-down drunk, but there were times I did more than I should have. The other thing in my mind was that we’ve all heard a lot of drinking songs, yet almost never from a female perspective.”The more sweetly warm ballad “Magdalene” has a real basis in Powers formative years in Taunton.
Truth serum “I used to always see this nice old woman at the bus stop, who was always telling me to go to church,” said Powers. “That song is my looking back on that and appreciating what she was trying to tell me. All of these songs have some truth serum in them.”
CTRL Alt Country/NL
DE 10 BESTE ALBUMS VAN HET MOMENT ACCORDING TO CTRL. ALT. COUNTRY!
1. BUDDY & JULIE MILLER “Written In Chalk”
2. JEFFREY FOUCAULT “Shoot The Moon Right Between The Eyes”
3. THE GOURDS “Haymaker!”
4. GRETCHEN PETERS WITH TOM RUSSELL “One To The Heart, One To The Head”
5. KERRI POWERS “Faith In The Shadows”
6. BRIGITTE DE MEYER “Red River Flower”
7. GURF MORLIX “Last Exit To Happyland”
8. ROB LUTES “Truth & Fiction”
9. THE FLATLANDERS “Hills And Valleys”
10. ERIC BRACE & PETER COOPER “You Don’t Have To Like Them Both”
Wildy’s World Blog
Kerri Powers – Faith In The Shadows2009, Gritty DirtyKerri Powers’ career is a study in promise and shadow. One of the more distinctive voices in Americana/Alt-Country (think Bonnie Raitt crossed with Tina Turner). Powers’ rise was nearly derailed a few years back by a dishonorable record distributor. Taking some time off to focus on her family, Powers made her way back to writing and performing in 2005. Teaming up with producer and friend Crit Harmon (Martin Sexton, Mary Gauthier, Lori McKenna), Powers found her voice again amid a set of musical short stories she co-wrote with Harmon.
The seeds of Powers latest CD, Faith In The Shadows were planted. Faith In The Shadows opens with Do You Hear My Footsteps?, a wonderfully dark yet catchy tune. Powers’ voice is a substantial quality in her music, hitting you with a physical force and demanding to be heard. Powers has a smoky, rough edge to her sound that is distinctive and yet has a lyric, melodic quality that is darkly beautiful. On Trying To Make My Way To You, Powers edges into a 1960’s film noir style of story-song, complete with wailing guitars Nobody Minds My Drinking is a modern country classic in the making. Powers and Harmon have managed to capture in five minutes a perfect portrait of one person in their pain and need that is more powerful than any photo you could produce.
Powers digs into a real bluesy sound on Low Down Low. On this song in particular she reminds me significantly of Joan Osborne in her pre-Relish days. My favorite track on the CD is Tallulah Send A Car For Me, a delicious acoustic blues vignette that had me hitting repeat time and time again.
Other highlights include Magdalene and Fireworks And Cheap Repairs. Kerri Powers has emerged from darker days and lights up her corner of the music world with Faith In The Shadows. She may have come into the light of day, but Powers hasn’t forgotten the shadows that inform and enhance the performances here so perfectly. Kerri Powers is a first-class talent, and Faith In The Shadows is an essential listen. Rating: 4 Stars (Out of 5)
Rootsville Magazine, Belgium, Rein Van De Berg
Happy as a child, I discovered that Kerri's music is even more attractive than her appearance, and I fell for the charms of her lightly hoarse voice.
Faith in the Shadows is more than charm alone, this record takes you completely by surprise. This is a very mature project. The compositions are truly brilliant, as is the very contemporary production by Crit Harmon (Lori McKenna, Mary Gaultier & Martin Sexton). Harmon has contributed to the co-writes of most of the numbers.
Her music still clearly has country roots, but has evolved in terms of landscape to a very dry folk or blues. If you listen carefully you sense the type of swamp sound with which Tony Joe White created his niche. Lap steel, dobro, harmonica and a B3 organ, added to Kerri's voice, determine the impact of the album.
Kerri's voice has developed over the past years to resemble the hoarse sound of the Texan Sam Baker. The numbers on Faith in the Shadows offer pure traces of shimmering.
Wednesday, April 08, 2009
FAN REVIEWS of Faith in the Shadows
**Love it
author: Ulf Sterner
I find myself, telling my friends, you need too get this record. It so good. I compare her with Lucinda Williams but this is even better. (How is that possible?)
**Stories bigger than life
author: DocJerry
”Everything you can think of is true.” Tom Waits said that in his song. It is good to keep that in mind when you listen to Kerri Power's new album “Faith In The Shadows”. Powers shows delicate insight and wisdom in depicting both personal and interpersonal core issues like destructive jealousy, empathy and hurting, unquestioning faith, love and the yearning for it, and all of that is so true. The ten short stories that deal with those issues are perfectly aligned with the great American story telling tradition, yes, they could indeed come from a classic like “The Nick Adams Stories” - minimalistic in expression, sometimes revealing a great sense of humor– and she does not go splattering about with futile words, avoids emphasis in a very natural way and thus allows spacious room for anyone to interpret the stories and the rich imagery they contain in one’s own way and with one’s own personal history as the backdrop. It isn’t just the stories that are intriguing, no, it is the whole package. Start with the picture on the CD..s cover, take your time to study it and then you’re set to allow yourself immerse in a stream of music and harmonic sounds Kerri’s voice and the band create. Her most beautiful vocals create at times a mere mist over that lazy wide river, and when you’re carried downstream the tonal color of her voice changes to match whatever may lay ahead. It is a stream you want to ride again and again, and each time the river has new surprises in store. Mr Harmon has done an elegant job producing the album, allowing Kerri to do her singing up front, creating a perfect musical atmosphere for her to tell these great stories. This is one of those albums you just can’t afford not to have.
**Long overdue truly original sound
author: Julie Parrett
I fell in love with the Faith in the Shadows album from the first note. It's refreshing to hear a well written album featuring an artist with such a unique and haunting sound. The album is dark but somehow Kerri's tone makes me feel peaceful when I listen to it. Her voice exudes sensuality in one of my personal favorite songs, Sweet Crusade. I am truly impressed with the entire album and await the sequel with bated breath.
**Soulful, Solid, Sensuous CD
author: Larry Rapoport
Outstanding CD with solid songwriting and execution, but the real attraction is Kerri's unique alleycat vibrato and chewy, lived-in vocals. She's terrific on blues and honky-tonk country, and surprisingly versatile on ballads and songs with a rock-gospel feel, like the no. 1 track, Do You Hear Footsteps. My favorites, though, are the more relaxed songs, particularly Nobody Minds My Drinking and the acoustic blues Tallulah, which is just perfectly simple and inspired. A great voice and a great find for me and CD Baby. Congrats to Kerri and the band!
**Thanks to social networking software!
author: David Jackson
I really rate Amy Correia. On her My Space page, her 'friends' include Rebecca Correia (her cousin, who has released a really good album) and Dayna Kurtz (one of the world's most under-rated artists) and Kerri Powers. So I tried her music. Fantastic. It's hard to believe that this album has been sitting around for 4 years waiting to be released. Great songwriting, quality music and a wonderful voice. All in all, this is a five star album by ant standards.
**author: Eric Wenink
it is hard to believe that this is just the second CD from Kerri Powers in 8 years. Although I loved her first CD , You,Me and a Redhead, she certainly has matured and has made a very good CD on which she shows her versatility : Blues, Country , Rock and Jazz are all there.Nobody Minds my drinking is my favorite and can be compared with Daddy Dont fall Down from 2000, but the rest is quite different. Dark,Moody and Intriging and this girl can certainly handle the Blues which she proves in Tallulah send a car for me and Diamond Day. Welcome Back,Kerri !
**author: jw van den bergj.w.van den berg This is a fan tastic cd ! My favorite songs are track 1 and track 2... PERFECT!
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Album, "You, Me, and A Redhead." (currently out of print)
**You, Me, and A Redhead charted 14 weeks on The Americana Music Chart and was included in the top 10 on Dutch National Radio (KRO)
**You, Me, and A Redhead was included on The Americana Chart/ "2002 Albums of the Year"
**Reviewed in several American and European publications such as AMG (All Music Guide), Dirty Linen,Harp Magazine, Country Standard Time, Rolling Stone (Germany), L‘Officiel Du Cri du Coyote, Insurgent Country, Americana UK, Real Roots Cafe and many others
** Included in the ‘Top 10 Independent Releases for 2002’ in Buscadero, Italy’s premier roots and rock publication.
**Kerri's song ‘F-150‘ has been spun on NPR‘s "Car Talk."
**You, Me, and A Redhead ‘Indie Pick of the Month for September 2002’/Independent Songwriter Magazine
** 2003 Kerrville Wine & Music Festival ‘New Folk Finalist.’
LIVE REVIEW: Powers, an East Taunton native, released the esteemed ''You, Me, and a Redhead'' CD two years ago. And she has only gotten better, if this gig was any indication. She performed on John Cate's Boston showcase of Billy Block’s Western Beat (which runs the second Tuesday of the month at Toad) and her neo-trad country rock had vision and bite. The original song ''Tallulah Send a Car for Me'' had a Lucinda Williams brilliance, while a cover of Ivory Joe Hunter's ''Since I Met You Baby'' was stunning. Powers has a skilled acoustic-guitar touch and was joined by Cate and Paul Candilore on electric axes. Don't miss her next time.
