Regina Spektor breaks the trend of monotony in the music industry through her ability to transform her imagination and exceptional piano skills into a soulful and spell-binding album, which is the basis for her latest U. The stage was set with a simple black background that would suddenly burst into color from the lights behind the band. Moving through her set list with the occasional small pause, Spektor gracefully sang each of her songs, some more recognizable than others.
Spektor is widely known in the anti-folk world; her broad array of songs ranges from silly, nonsensical pieces to more pop-influenced ballads and appealed to everyone in the audience. As the concert went on, many of the audience members settled into their seats to listen to Spektor speak about her life as an immigrant and the music that formed her journey as a young singer.
While filing out of the concert hall, many of the spectators commented on how well-balanced the concert was, leaving them content and even more enamored with the singer.
Rock concerts aren't generally known for their thought-provoking tranquillity. But something remarkable happened at this year's Coachella Valley Music and Arts Festival, a weekend concert to which some 50, fans flock annually despite degree temperatures. A slight, year-old woman armed only with a keyboard parked herself on the event's gigantic main stage and began to sing in a soft, supple soprano.
And rather than continue chattering or make a break for the beer garden, thousands stood stock-still under the blazing California sun, transfixed by the piano pop of Regina Spektor. Spektor is an arresting artist on any stage. An unpredictable performer, she might bang a drumstick on a chair with one hand while playing the piano and coaxing a litany of gulps and hiccups from her delicate throat.
People who write about her tend to lean on adjectives like kooky, funky and uninhibited. When Spektor's first major-label album, Soviet Kitsch , made Rolling Stone's "Hot List" in , the editors wrote that "Spektor sings quirky, bittersweet tales of spoiled rich boys and rotting love.
And she's cute. She is also elusive, equal parts charmer and chameleon, and her songs often amount to character studies of widely different personalities—a first love, a teenager flirting with suicide, a mother battling cancer.
When she straps on an aquamarine electric guitar to play That Time, she resembles an ingenue in an East Village coffee shop. The dark whimsy is too gauche, the delivery too cute. At different points I found myself thinking of The Grand Budapest Hotel and the last season of Fargo : stories that are visually stylised yet emotionally profound, superficially witty yet thematically grave.
She approaches big issues from a position of curiosity and humility. The Trapper and the Furrier is a critique of capitalism in the form of a sinister folk tale.
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