By Janis Pham & Jess Slattery
On Tuesday, November 14th, Regina Spektor held a special solo performance at Smith College in Northampton. The concert was delayed for half an hour due to technical difficulties, but standing outside of the venue did not deter the droves of fans from showing up to see her perform. Before Regina even took the stage, her fans were shouting their admiration out from the crowd. Sitting down at the piano, Regina opened with “Folding Chair”, inviting the audience to enjoy the show with her with the first line, “Come and open your folding chair next to me.” After every round of applause, she’d modestly whisper into the microphone a small thank you, and would receive joyful laughter from the audience in response.
The John M. Greene Concert Hall was sold out for her performance, but she navigated transitions between songs with such intimacy that it felt as if she were speaking directly to each audience member. Although it was a one woman show, Regina filled the stage with her presence that ranged from mild to booming, accentuating the emotional currents that run throughout her music. She has the uncanny ability to move between pop, folk, opera and musical theater without batting an eyelash. Yet, nothing about it felt abrupt or misplaced. She moved from the song “Pound of Flesh”, a frantic and haunting piece as dramatic as the title suggests, to the tender ballad “Obsolete” without hesitation.
Regina’s small talk and banter were some of the highlights of the show. Between her songs, she often made comments about her day and her appearance, especially when it came to her shoes. She remarked about how tight her shoes were, but joked that the show would go on despite the “suffering she endured for art”. The spiel went on for a few songs, but she eventually paused between songs to retie her shoes.
She is sassier live than she is in most of her studio recordings. What is surprising, never having seen Regina perform live, is how similar her voice is to her recorded versions. It is clear that she relies more heavily on her talent than on electronic voice modification. The only time her voice faltered was during her performance of “My Man”, when she progressively became more flat throughout the song. Despite this, she never faltered and continued on with a gracious “thank you,” in response to the applause.
Many of her songs have social commentary, whether that be through their lyrics or through the structure of the song itself. “Ballad of a Politician” speaks to the theatrics of men in suits making deals in isolated rooms. She has several light-hearted tunes that play with the structure of most generic pop songs. “Reginassauras” cutely plays on words. “Music Box” allows her to whimsically play with sound effects and noises that almost make the listeners forget about the dark and chilling subject matter that is laced throughout the song, explaining her desire to escape life’s routine by taking a “big gulp” of dish soap.
One of my personal favorite songs that Regina performed was “Poor Little Rich Boy“, a scathing criticism of the superficial masks we put up to give the appearance of perfect lives and hide our self-doubts. With her right hand, she played the keyboard and with her left, she hit a drumstick against a chair with such aggression that I was, at times, surprised she didn’t fall off her bench. All in all, it was an enjoyable experience. 10/9, would recommend!
Image via Rolling Stone.