Now she frightens her fans with a bratty rock version of “L’homme à la moto”, Edith Piaf’s 1955 song about a horsepower-crazy leather jacket guy, but then quickly swings into jazzy realms with her famous band. Later, of course, it also becomes quiet and intimate, but always remains stylistically multicolored. In addition to German and French numbers, she will sing English and Spanish, child horns, baby saxophone and mini ukulele will be used on this colorful evening, but the four musicians also have full-grown instruments with them.
Between the numbers, Katharine Mehrling talks a little bit about her life, for example that she just got married – and as a contrast to the Aznavour, Trenet and Weill classics she sings half a dozen of her own songs. Most of them have a self-ironic touch, like the story of a failed date with a “macrobiot” or “Castrop-Rauxel”, the ballad about the burden of being a star in the provinces. Katharine Mehrling, you can say that so pathetically, is at the zenith of her art, confidently treading her own path, between cabaret and light music theatre, confidently making the well-known Piaf chansons her own, sometimes boldly powering them up, like “La Foule “. Above all, however, she is able to release positive energies in her charming, loving way, both in herself and in her audience. Because she really means it when she sings “Gracias a la Vida” or “I Wish You Love”.
