Deep within the city centre, in Auditorium 2 of The Glee Club, resides a haven away from the disparate urban jungle outside, a place where a performance can take on unrestricted turns of its own, as if it were rambling free over silent lakes and empty hillsides. It is here that the Russian pianist-cum-singer/songwriter and eccentric indie stalwart Regina performs to a hushed and gracious crowd.
Intimate is a word often used to a garnish descriptions of small venues, but never before has the term been more appropriate. Performing on a tiny thrust stage, but a few feet long, surrounded by seated on-lookers, the sense of integration is all consuming.
At times using a stool for a drum, at others merely tapping a beat on the tip of a microphone, her understated instrumental performance, coupled with her serene vocal inflections, meditates a haunting melancholy that is highly affecting and surreptitiously beautiful.
Songs from the forthcoming album, Mary Ann meets the Gravediggers and other short stories by regina spektor, sit well beside older pieces Ode To Divorce and Us, weaving a musical tapestry of rich ingredient. Lyrical poeticism is thoroughfare throughout, with each tune soliciting tales of the everyday, seen through the eyes of our quirky young narrator.
Yet its not all just passive musical reflection, as Regina calls for audience participation on Uh-merica, a song about Americas self-pride in gun ownership, coercing people to chant the defining UH! of the chorus.
After a modest curtsy, Regina leaves the stage as if carried off by a breeze, as swiftly as she came in. As people file out, returning to the concrete enigma of society outside, you can find solace in the knowledge that, yes, there is a lot to be explained about life around us, but thankfully youre not the only one whos realised how illogical it all is.
FUTURE GIGS
sorry, we currently have no gigs listed for this act.