Let's cut right to the chase: Regina Spektor could sing aloud from the nutritional information on the box of your favorite breakfast cereal and I'd be enraptured. Her golden slide-whistle voice would have me giddy over the high amount of sugar grams per serving, crying gentle tears into my Honey Sugar O's as she croons about the heartbreakingly low amount of Zinc per 3/4 cup. True to form, Spektor's show at the Roseland on Sunday was nothing short of engrossing. Accompanied only by a cello, violin, and drum kit, Spektor started out the eclectic night with a steady stream of subtle, yet lushly-arranged, songs from her new album, Far
. Also on the bill were the more well-known hits from her breakout album Begin to Hope
and older gems from her earlier albums to keep the hard-core fans feeling good about themselves (sidenote: We know you know the words, dudes. But we didn't come to hear YOU).
Standout tunes were the sad, delicate "Laughing With" and the eerie, seemingly 1984-inspired "Machine," where Spektor darkly chants "I am part of a composite/hooked into machine." But it wasn't all doom and gloom: Spektor's humor shone through in an a capella song about plaid and polka dot eyeballs ("Silly Eye-Color Generalizations"), singing brassily into a single mic like a 1920s torch singer in an underground speakeasy, and she whipped the adoring crowd into a rollicking, hand-clapping, foot-stomping frenzy with her last self-proclaimed "country song," entitled "Love, You're a Whore."
Photo courtesy of Regina Spektor