Regina Spektor takes over the Hammersmith Apollo

Regina Spektor at HMV Hammersmith Apollo Review

4/5
Bands: Regina Spektor
Venue: HMV Hammersmith Apollo
Gig: Regina Spektor In London, United Kingdom
Gig date: 4th December 2009
Posted on 1st February 2010 by bennyboy

Regina Spektor made a name for herself writing uncompromisingly quirky songs with silly lyrics and funny noises most people would usually only dare to make when they’re positive know no one else can hear them. One listen to Spektors’ 'Musicbox', a bonus track off 2006’s 'Begin To Hope', in which she sings about bottle caps floating in the sink being the "greatest voyage in the history of plastic", pretty much proved that anti-folk, oddball indie music lovers everywhere had found their heroine. Who knew that only two albums later that woman would be referred to by fans as ‘old Regina.’ Realistically, dubbing her ‘new Regina’ is a tad overdramatic, but there’s no denying that her latest album 'Far' is a whole lot more polished and contrived than her earlier offerings, obviously in an attempt to make it much more chart-friendly. And as her latest release, ‘Far’ was prominently featured in the show, Spektor played all but one song off the album. Spektor opened with ‘The Calculation’, the first track off 'Far'. Backed by a drummer, two cellos, a violin and a viola, the song’s undeniably catchy melody filled the venue and not before long the audience was clapping to the beat. Though Regina was on top form, it was obvious she was blessed with a very generous audience. Practically everyone in the room was singing along to the entire show and every song was rewarded with a roaring applause. Spektor’s voice was remarkably flawless, making it sound as if she actually holds back on her records. Powerfully loud and clear at times yet also sparse where it needed to be, the excellent sound system carrying her voice to every corner of the room. She sounded at her best when her band left the stage for a breather, leaving just Spektor and her enormous piano manning the stage. That’s when Regina unleashed her classical piano skills and played the intensely dramatic 'Apres Moi', which even though may have sounded a bit better with a cello or violin accompanying her, was chill inducing nonetheless. It’s a known phenomenon that when playing large venues, there’s a certain distance created between act and audience. Regina didn’t exactly do her best to further the cause, she blazed through her set list with some ‘thank you’s’ in between songs but didn’t let any more of that lovely personality shine. At one point during the show her piano needed some retuning and as a stagehand was working his magic, instead of regaling us with an anecdote, Spektor instead instructed us to “talk amongst ourselves", albeit delivered with an undeniably adorable smile. All is forgiven. Spektor left fans concerned for a while as she didn’t perform any fan favourites until the encore. It wasn’t until someone actually yelled “Please play 'Samson'!” that she conceded and replied “Will do!”. Halfway into it, Regina displayed her New Yorker roots as she yelled “Fuck, I messed up the fucking words.” After yet another applause the room fell silent again and all spotlights pointed to a large disco ball on the ground behind Spektors’ piano, rendering the room covered in little squares of light wall to wall, a perfect concert moment. It is apparent that Spektor has toned down the kooky for a more distinguished, smoother sound but she’s comfortably carved herself a spot in both sides of the spectrum. This is why it’s acceptable for her to sing a thought provoking religion-themed ballad like ‘Laughing With’, and make dolphin sounds on a song like ‘Folding Chair’ within a ten minute span. Pretty sure that only Regina Spektor has the balls to even attempt something like that, and she gets applauded for it at that. Words by Hemza Lazri

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Regina Spektor takes over the Hammersmith Apollo | livemusic.fm

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