Tornadoland

The classicism of a pop artist making the grand piano their signature instrument feels vanishingly old-school. Or an empty flex, depending on the artist’s level of artistry. Regina Spektor feels completely at home playing shows that are more classic recital than pop concert. Hers is chamber pop with the emphasis on chamber. She also defies the stereotype that the piano keyboard is a place for shedding tears. Not the angry piano-pounder or the weepy confessionalist; she really is a classicist. Which is not to imply that her songs are always formal or serious; many of her songs are very silly.

Small Bill$

Regina Spektor named her first major label album Soviet Kitsch, way back in 2004, but she’s never leaned into it as heavily as she does here. Not that she needs a gimmick to differentiate herself from all of those other girls with pianos, but she’s …

Sellers of Flowers

With songs like this one, Regina Spektor sometimes seems like an artist who belongs to a different time. I imagine she would have been quite at home generations ago, the singing sweetheart of 1924, say, and your great-grandmother would have been happy to tune in …