A Glowing Performance
Even if the setting isn’t quite as idyllic as the organisers made out, Regina Spektor’s performance at the Serpentine Sessions is special for several reasons. It’s rare to hear an audience lap up brand new songs as much as Spektor’s audience do tonight, and it’s also delightful to see a performer who is so genuinely excited about the warm reception she receives. The minute the folk-styled singer appears on stage, the crowd go wild and she gasps, “You really kill me before I start playing,” while later musing that she’d love to fit the whole of New York in the tent to witness the crowd’s fervour.
The set is well-crafted, starting with new tune, ‘Folding Chair’, accompanied by Regina on piano and a cellist and violinist and drummer, which adds a sparkley folk shine to the performance. New tunes like the delicate, sparky, ‘Blue Lips’ and eloquent ‘Eet’ with its soaring vocals that seem just as familiar to Regina as the audience are very warmly received and the lights that roam around the audience do add a special, intimate feel. Regina mixes spritely, quirky, upbeat numbers with more intense and dramatic tunes like, ‘Machine’ and ‘Samson’, transforming herself from a whimsical charmer to an emotional storyteller in seconds. There’s plenty of opportunity for a light-hearted sing-a-long with ‘On The Radio’, ‘That Time’ or the plain nutty, ‘Bobbing For Apples’, but whether you prefer the serious singer or the playful performer there’s plenty for you to love about tonight’s show.
Like a kookier Kate Bush, Regina Spektor manages to captivate a crowd with her wit and charm, which are perfect for an intimate and laidback event like this.