Not so ‘Far’ that she can’t be reached…Regina Spektor’s recent performance proves that her performance needs to be seen before she’s unobtainable. 
For those not in the know Soviet-born, Bronx-raised and classically trained folk-pianist turned quirkster-songwriter, Regina Spektor began her career as a solo artist with training from the Manhattan School of Music and Purchase College. After honing her skills as a solo artist in New York’s East Village, Spektor scored a contract with Warner Brothers’ record label Sire Records in 2004 and this little piano lady with a huge smile and wide eyes hasn’t looked back.
In the passing years since The Strokes took their first tour in 2003 with then the little-known opening solo act, the tides have changed for Regina – scores of fans have been gathered, collaborations with the likes of Keane, Ben Folds and The Kings of Leon have garnered attention and the previously main stage drummer (Fabrizio Moretti) well, he’s become the opening act with a little-known and sweet band called Little Joy. The now 29-year-old Spektor has taken the Indie and Pop World(s) by nothing short of a tidal wave and as seen by the turn out at the recent Chicago Theater performance this past Saturday, it appears that Regina’s reign will not come to a downfall any time in the near future.
Stepping on stage to reveal a florally white dress, pink shoes and bright red lips – Regina Spektor swiftly walked to her silhouetted piano and struck up the first chords (“The Calculation”) to kick off what was to be a special evening of new offerings from her recently-released fourth album. For added flair, Regina also had in tow drummer (McKenzie Smith), cellist (Dan Cho) and violinist (K Ishibashi) to help aid in bringing the underlying sounds, intricacies and plush arrangements of her recordings to life.
The first half of the 90-minute performance played tribute to Far by highlighting on all but two tracks. Of the new material, the George Orwell inspired “Machine” was possibly one of the earliest and best performances of the evening – Spektor, in fine form and equally matched by cello and drums, brought forth a tortured story only intensified by samplings, deep vocal screeches, and darkly tinged solos on cello. “Folding Chair” proved as driving as ever with Spektor showing off her vocal prowess for finite intonations and trills, while “Laughing With” brought everything back to the essence of who Regina Spektor is – an artist with an ability to touch people at the truest and most honest level.
Songs such as: “Bobbing For Apples,” “That Time,” “Apres Moi,” “Human of the Year” and “Man of 1000 Faces” rounded out the solo portion of the evening while “Poor Little Rich Boy” certainly became the crowd pleaser as The Village- inspired artist managed to whittle down a drum stick to mere shavings from self-percussion on a wooden chair.
As “Samson,” “Us,” “Fidelity” and “Hotel Song” saw the re-emergence of Regina’s band during the encore, one can tell that of the greatest item which Regina brings as an artist is her ability to reach an audience through talent, intimacy and personality by giving us warts and all.
Overall Regina’s voice on this evening was as loose and precise as one would hope – this performer can show that her range and precision are not just proven in the studio, unfortunately this did not begin to reveal itself until at least 30 minutes into the set. At times Regina’s presence to hold the stage energy and focus (esp. during her band’s absence) may be due to the size of the Chicago Theater’s 3,880 seats or this artist may just be too polite and shy for her own good. And perhaps as this artist has grown from her solo days to packed houses, some of her mystique may have gave way to a bombardment of media, press, interviews, phone calls, fan sites and the day-in-day-out life of a touring musician who has the ability to sell out 4,000 seat houses in a matter of a few hours. Whatever the case may be anyone who was witness to this show could tell you from the constant yells and barrage of cat calls which Regina has come to accept on a nightly basis, the only thing that seems to matter to her 20 to 60-year-old concert-goers are the connections and messages which each person seems to gain from this true artist.
Overall Concert Review: A –
Regina Spektor: website | myspace | @ uptown theater | mp3 minute: “Laughing With” | Far review
Written by: Matt W. Miles
