"but bono can't scat!"

On Tuesday, October 30th, musical legend and humanitarian Bono, lead singer of U2, came to speak at my school about...something. I don't know, the environment, I guess, or aid to Africa. I think it was that last one. I wasn't there, because I had already bought tickets to see Regina Spektor live at the Wiltern! I went with my friend Ash, who had already seen her at Coachella, but for me it was the first time.

There is not much to say about Regina as a performer beyond what a great musician she is, and anyone who's listened to her music (her albums Begin to Hope or Soviet Kitsch, or watched an episode of Grey's Anatomy or seen a commercial on TV) already knows that, I hope. Her voice can sweep from the throaty depths reminiscent of her Soviet homeland, to the unbearable lightness of being in one phrase, and carries with it stories that are incredibly easy to relate to, even if tempered with sometimes nonsensical vocal trills.

The stage was set very simply, and it wasn't until later in the evening that I understood the visual implications of the lighting. Her beautiful grand piano was set up on stage left, with clusters of "twinkle lights" (is there a real name for those?) strewn around its legs. Hanging from the ceiling were exposed light bulbs on cords of different lengths. Three slightly larger ones descended directly above the piano while the rest mostly illuminated the back of the stage. Stage right had a lot of negative space, but Regina used it when she stood to sing a capella or play the electric guitar for some songs. Finally, sitting alone next to her piano was an abandoned disco ball. At first glance this setup looked like Regina had found herself an abandoned loft with various lighting equipment in it, and brought her piano there to have a private practice space. Later on, spotlit, and with the light bulbs and twinkle lights reflecting off the disco ball, she looked like she was playing her piano on a cloud in the night sky, the moon in the distance and the stars gathered to hear her play. It was quite lovely, and perfectly suited her personality.

I'd say she performed about evenly from both of the popular albums, with a couple of songs that I hadn't heard before, but the audience was highly receptive to each song she played. Actually, when she returned for her extra-long encore (about five songs - almost a mini set!), I think the screams in the Wiltern were the loudest I'd ever heard them. And speaking of the audience...boy, were they obnoxious. I understand the impulse to sing along at a concert, and I certainly have done so, but it's much more acceptable at a rock concert, or under your breath. I think it defeats the purpose of paying $40 to listen to a chanteuse playing and singing solo when the teenage girl behind you is trying to out-diva the woman on stage. Regina, though, was performing for herself, which was the lasting impression of the whole concert. She's not necessarily a great entertainer, but because she's such an amazing performer, I got the impression she'd be up there singing with or without us, and we had the good fortune to be able to listen in. Because she often changed up the length of notes held or times she repeated a syllable, audience divas mimicking the CDs had a little trouble keeping up. It was pretty funny from where I was standing, behind a too-tall frizzy ponytail.

I think the two most impressive stage shows I've seen at the Wiltern (one of the most beautiful places in LA, if you ask me, along with the Henry Fonda) were Death Cab for Cutie and Imogen Heap. Imogen's stage set up was similar to Regina's, but had a really incredible see-through piano, and of course a lot more equipment. But for simplicity, Regina really created a wonderful experience for me.