The National is a quaint theatre, the ambience a familiar one, ideal for Regina Spektor. The singer/songstress stepped onto the stage with a glittery shape in her hair and smiling red lips, her very presence giving the room a soothing glow. She began an acapella wonder and the crowd became entranced.
Delivering an astounding Sunday show to close the Pop Montreal festival, Spektor dazzled concert-goers with a voice from another world, one of times past: charming, captivating and, more than anything else, enchanting in a way singing should be. Not only did she sing beautifully, but Spektor also turned her music into true entertainment, making fans laugh with her, sing with her and cry with her. The New York performer introduced the average person to a world of wonders by tapping the mic for rythmic effects, mixing classical influences with noise effects and even simulating throwing up during one of her choruses. Her songs are musically innovative and are a creative gateway into a potlatch of original short stories. Taking on her characters’ emotions and quirks, Spektor acted out her stories, helping us to visualize the fruits of her particularly eccentric imagination.
It was refreshing to see an artist take such pleasure in performing and interacting with her audience. Spektor invited her fans to sing along with her and seemed to feed off listening to them. Also appearing that night at the National was Only Son, a more than adequate opening band for such a great musical experience. A guy, a guitar and an ipod recording of a band was all it took to perform some really down to earth songs making Only Son a name to be remembered. n