Regina Spektor at the Fillmore: No amps necessary

The crowd at the Fillmore was milling Saturday night as they waited for singer-pianist Regina Spektor to walk onstage, after an opening performance by her husband Jack Dishel's solo act, Only Son. The show was the last stop of her North American tour this year.

When Spektor appeared around 10 p.m., a wave of screams greeted her, but spectators in their seats were still. They remained so through most of the Russian-born singer's set, although her opening song was an acoustic rhyme that proved her ability to fill the auditorium with a clean, unwavering vocal boom.

Throughout the night, Spektor's throaty-yet-dulcet voice sounded as though it needed no amplification. Her set was a balanced spread of new tracks and her fans' beloved "oldies." "Don't Leave Me (Ne Me Quitte Pas)," off her latest album, came along with "Ode To Divorce," from her first release under a label.

Spektor punctuates her songs with her own sound effects: Trumpet-like noises come from her lips and she has a soft style of beatboxing that sounds as though she's just doing it to play around, but carries a beat altogether.


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The audience responded to her beat-breakouts and long vocal notes well, but remained passive until the last few songs. One woman dozed off in her seat. But when Regi, as Spektor signs all her Facebook posts to her fans, came onstage for a four-song encore, most of the crowd was on their feet.

"Us," "Fidelity" and "Hotel Song," all pre-2007 songs, preceded an intimate rendering of "Samson." The slow piano, coupled with hundreds of female voices singing along from the crowd, and Spektor's easy-flowing pitch range, made the love song the best encore of the year.

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